Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Rachel Willis-Sørensen

Orchester und Inszenierung köcheln auf Sparflamme, aber immerhin liefern einige gesangliche Leistungen Grund für Euphorie an der Staatsoper. 

Kornél Mundruczós Inszenierung lenkt von Wagners Meisterwerk ab, doch eine gewaltige musikalische Leistung tröstet darüber hinweg.

Ein musikalisch solider Abend mit etwas Degen-Gefuchtel, um eine weitere Verdi-Oper kennenzulernen.

Für drei Konzerte nach München zurückgekehrt, leitete Kirill Petrenko Mahlers Achte mit dem Bayerischen Staatsorchester, fantastischen Chören und einem exquisiten Solistenemsemble in einer Aufführung von himmlischer Schönheit.

Stuart Skelton als Grimes und Edward Gardner am Pult prägten Herheims imponierende Neuinszenierung von Brittens Oper am Nationaltheater.

In einer morbiden Inszenierung von Antú Romero Nunes ist Verdis Les Vêpres siciliennes in München erstmals im franzöischen Original zu sehen.

Diese Vorstellung war Sir Mark Elders Debüt mit der Kompanie und von der Ouvertüre an bot er seine individuelle Lesart der Partitur, mit einer enormen dynamischen Bandbreite und je nach den emotionalen Werten jeder Szene stark variierenden Tempi.

La rare Symphonie n° 3 « Kaddish » de Leonard Bernstein a fait l'événement, avant une Symphonie « du Nouveau Monde » passionnante avec ses instruments d'époque – malgré quelques accrocs.

With its busy videography, Kasper Holten's 2014 production returns, vibrantly conducted by Stefano Montanari. 

Pelly’s low-level intervention leaves the audience marooned at the end of his new production of Strauss and Hofmannsthal’s operatic divertissement. 

The Metropolitan Opera revives Otto Schenk’s venerable staging of Strauss’s intimate melodrama. 

Par sa somptueuse beauté plastique intemporelle et raffinée, la scénographie contribue puissamment à la magie d'une partition défendue par deux interprètes de premier plan (Rachel Willis-Sørensen et Tassis Christoyannis).

Despite excellent performances from Rachel Willis-Sørensen and Elmina Hasan, the Staatsoper Unter den Linden's new production of Norma lacks a pinch of salt. 

Giacomo Sagripanti’s live wire dynamics and keenly judged tempo choices keep this revival of Verdi's Il trovatore buoyant at Covent Garden. 

Four superstars deliver dramatic moments in this revival of Sir David McVicar’s Goya-inspired staging of Verdi’s melodrama. 

Shawna Lucey's production from San Francisco Opera misses the mark as it premieres to a packed Dorothy Chandler Pavilion. 

Dans la mise en scène bien connue de Robert Carsen, le ténor français crève l'écran dans le rôle-titre de l'opéra d'Offenbach, au sein d'une distribution très satisfaisante.

A revival of Adrian Noble’s abstract and dark production of Verdi’s Otello fields a strong cast led by Jonas Kaufmann, Ludovic Tézier and Rachel Willis-Sørensen. 

A grand rendition of Verdi’s Don Carlos opens season at the Grand Théâtre de Genève under the inspired baton of Marc Minkowski, in his first encounter with the opera, directed by Lydia Steier. 

Adam Palka shines as the devil in this revival of Frank Castorf's multimedia staging that relocates the work to mid-20th century Paris, around the end of the Algerian War.

Gageure tenue : l'Opéra de Bordeaux est l'un des premiers en France à rouvrir ses portes avec un spectacle mis en scène, en l'occurrence une Traviata portée par un plateau somptueux. Prise de rôle pour Rachel Willis-Sørensen.

Le Grand Théâtre de Genève propose une version des Huguenots satisfaisante musicalement mais desservie, hélas, par une lecture scénique dont on cherche en vain les clés.

Both vocally and instrumentally the performance  was a high-class one

Andris Nelsons leads a moving performance of Dvořák’s Stabat Mater with the Boston Symphony and Tanglewood Festival Chorus. 

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

A terrific cast takes on the latest revival of Kasper Holten’s video-infused staging of Mozart’s opera buffa.

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

Under elegant leadership of conductor Harry Bicket, the Met's revival of the "Marriage of Figaro" succeeds with a strong ensemble of cast.

Alan Gilbert reaches a pinnacle at the end of his tenure at the New York Philarmonic.

Holten's masonic lodge setting of Meistersinger gets a lot right but is occasionally uneven; Terfel and Hughes Jones are constantly good to listen to.

Released from the incarceration of directorial prison walls, Fidelio can still make a most powerful impact on the concert platform.

Weaknesses in the staging did little to dim the musical pleasure of hearing Sir Mark Elder conduct Weber's masterpiece with OAE forces and an impressvee cast

Mozart’s beauty asserted but never implied, Sir Richard Eyre’s Le nozze di Figaro brings grand complications in bright turns and quick wit.

After a six week hiatus, the Metropolitan Opera's new Le nozze di Figaro has returned, with a new cast and conductor.

Tony Pappano’s recipe for a concert programme: take a 20th century Italian one act opera, follow it with a romantic symphony chopped in half, then throw in a related German aria; play without a break. It may sound like a train wreck in the making, but the result was a triumph.

Mozart wrote 20 operas during his relatively short life, the first being performed in Salzburg in 1767, when the composer was just eleven years old. However, it is Idomeneo, written and premièred when Mozart was the ripe old age of 25, which is usually considered to be his first mature opera.The opera takes place on the island of Crete immediately after the Trojan War.

Monumental in scale and scope, Götterdämmerung is a work to which it is hard to be indifferent. For many, the idea of an evening of fantasy opera lasting nearly seven hours is unimaginable, so uncongenial is the subject material and so great the attention span demanded.

There's no such thing as a perfect comic opera, and I know it's wrong to describe any work of art as perfect. But seeing Mozart and da Ponte's Le Nozze di Figaro last night, I found this a difficult principle to accept: this opera is about as close as you can get.Many operas have a slew of memorable tunes; many have opportunities for singers to show off their qualities.