Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Philipp Stölzl

An den Bregenzer Festspielen präsentiert Regisseur Philipp Stölzl eine radikale Aktualisierung des Klassikers, erreicht dabei aber eine Umdeutung des Stücks, die sich von Weber meilenweit entfernt.

Die Münchner Inszenierung des Andrea Chénier überzeugt mir großen Bildern, großartiger Musik und einer herausragenden Anja Harteros.

Das Niveau der Solisten steht der enttäuschenden Inszenierung in unüberbrückbarer Distanz gegenüber.

Anja Harteros strahlt in Umberto Giordanos Verismo-Oper mit Spitzenklängen und übertrumpft damit selbst Jonas Kaufmanns Comeback.

The Baden-Baden Easter Festival presents an extraordinary performance of Elektra, with Nina Stemme in the title role and the Berliner Philharmoniker, led by Kirill Petrenko, in a stark and modern production. 

The magic in Philipp Stölzl and Philipp Krenn's new production comes from the pit, where Joana Mallwitz and the Royal Concertgebouw Orchestra captivate. 

Philipp Stölzl depicts Turandot as a tragedy of a lonely princess who pays dearly for her cruelty in his fascinating new production at the Staatsoper Berlin.

Here was the much-loved three-act opera Rigoletto, yes, but chances are, it was one far beyond Verdi’s wildest dreams.

Staging the story of the Italian political figure Rienzi as that of a dictator in 20th-century Germany was an inspired idea. This revival was a rare occasion to experience Wagner's early opera. 

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

Philipp Stölzl's production of Der fliegende Holländer, which places the action within a giant frame in a library, arrives at The Liceu.

Oksana Lyniv se estrena en la dirección de la ópera wagneriana y ofrece una lectura solvente de Un holandés errante de resultados desiguales, tanto en la escena, como en las voces, de entre las que Dohmen fue de lo mejor de la noche.

Deutsche Oper Berlin's revival of Parsifal features a brilliant musical performances to override the production's focus on the dark side of religion.

Parsifal at the Deutsche Oper Berlin is both sublime and terrifying. Vincke's Parsifal was bold and heroic while Herlitzius sang with a silver, sinuous soprano. Stolzl's production gave us the fanaticism of religion rather than hope.

Il Trovatore has doggedly survived in opera’s hit charts despite dispensing generous quantities of hair-raising as well as eyebrow-raising content. Verdi’s music is intoxicating, of course, but there is something to this work that makes it accessible beyond reasoning.