Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Kasper Holten

Die diesjährige Sommerinszenierung von Bizets Carmen auf der Seebühne Bregenz bietet ein großes Spektakel.

Wiederaufnahme am Himmelfahrtstag: Der Berliner Lohengrin lohnt vor allem, aber nicht nur wegen des einzigartigen Klaus Florian Vogt.

Kasper Holten’s much travelled and spectacular Don Giovanni gets a fresh and lively remount at Toronto’s Four Seasons Centre from a young cast headed up by Gordon Bintner. 

Lucas Meachem’s portrayal suggests a paraphrase of what another Hollywood Don Juan, Errol Flynn in 1949, said to his Leporello in excusing his escapades. “My dear friend, there’s a little bit of Don Giovanni in every man, and since I am Don Giovanni, there must be more of it in me!” 

Ildar Abdrazakov and Ain Anger excel in the confrontation of tsar and historian; Kaspar Holten's safe but effective staging focuses on the relentless march of history.

Kasper Holten's decade-old production begins to show its age, in a routine revival with undistinguished soloists.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

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

A visually stunning production with a fine cast to match. 

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.

It's the libretto's equivocation that has denied King Roger the frequency of performance that its music deserves.

Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.

Britten's The Turn of the Screw finally makes its debut at La Scala in Kasper Holten's eerie staging. 

Kasper Holten's new production fails to convince about the alleged virtues of Wagner's outcast comic opera.

Would a younger soprano taking the role of Tatyana blur Kasper Holten's "dancing doubles" vision of Eugene Onegin at the Royal Opera House?

Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.

In his production of La traviata for the Swedish Royal Opera, Kasper Holten puts Violetta in a strip club and on the streets. Both the staging and the music are excellent, though the cast's acting is uneven.

Although technical problems threatened to undermine this production, Anja Harteros' Elsa and Klaus Florian Vogt's Lohengrin transcended all.

Kasper Holten's production of Carl Nielsen's delightful comedy Maskarade delights in Copenhagen.

At carnival time, Cavalli’s mission was to make his audience laugh, wow them with a bit of vocal gymnastics, butter up their romantic feelings with a few delicate cadences, and maybe leave a tear or two in their eye. It’s a potent formula, and it still works.

There is something pleasurably straining, for the big-hall, velvet-accustomed operagoer, about the experience of sitting for three hours on a very tiny bench in a charmingly chiselled, candlelit little theatre that invites contemplation in its own right – beyond the attractions, musical and other, set up within its frame.

Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.

Starring celebrated heldentenor Klaus Florian Vogt, Kasper Holten's highly-praised production of Korngold's Die tote Stadt for Finnish National Opera is brilliantly revived.

Nothing says “Happy Easter” like a bit of alcohol-fuelled murder on the church steps, right? With their new double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, the Norwegian National Opera certainly seems to think so!The two productions were done on practically the same sets, albeit with a few differences, which did create a rather wonderful sense of continuity from the fir

Tchaikovsky’s Eugene Onegin is one of the most beautiful scores in the operatic repertoire, and I don’t blame people who come to it looking forward to immersing themselves in the warm bath of the familiar story and music.