Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Violeta Urmana

Herbert Wernickes fast 30 Jahre alte Inszenierung von Richard Strauss' monumentalem Einakter ist auch heute ein faszinierend visuelles wie musikalisches Erlebnis.

Mit Vorliebe für Exzentrik und Akrobatik nähert sich Barrie Kosky der wenig bekannten ukrainischen „Weihnachtsgeschichte“, abseits dunkler deutscher Märchentradition.

Eine moderne Sicht auf Janáčeks Beziehungsgeschichte durch Krzysztof Warlikowski erweist sich als vordergründig eindrucksvoll, verwischt aber in weiträumigem Bühnenspiel den Fokus auf die Charaktere der Figuren. Corinne Winters brilliert erneut als zur Außenseiterin abgestempelten Káťa Kabanová.

Szenisch enttäuscht der Abend auf ganzer Linie, da Peter Sellars Regie lieb- und ideenlos daherkommt; musikalisch bleiben allerdings keine Wünsche offen! 

Die Neuinszenierung von Tschaikowskys Pique Dame an der Bayerischen Staatsoper überzeugt vor allem durch vokale und instrumentale Hochspannung.

In Tcherniakovs neuer Inszenierung an der Staatsoper Hamburg ist Asmik Grigorian nach fünf Jahren endlich wieder als Salome zu erleben.

Prokofjews Tolstoi-Veroperung kann an der Bayerischen Staatsoper dank kluger Regie durch Dmitri Tcherniakov und phänomenalem Dirigat von Vladimir Jurowski auch in aktuell belastendem politischen Umfeld überzeugen.

Buhs für Dmitri Tcherniakovs Ring-Inszenierung und Standing Ovations für Thielemanns packendes Dirigat.

Àlex Ollé inszeniert ein alle Sinne überwaltigendes Fest für die Augen.

Wien an Ostern ist ohne das Bühnenweihfestspiel Richard Wagners nicht denkbar, und die langjährige Produktion kann auch in diesem Jahr begeistern.

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Galina Cheplakova steps in for Sonya Yoncheva in the penultimate performance of this revival, winning over the audience with vocal clarity and dramatic commitment. 

A memorable, impassioned performance of Arnold Schoenberg’s Gurre-Lieder in Disney Hall. 

Le Staatsoper Stuttgart a livré une splendide version de concert de l'œuvre de Strauss avec un Cornelius Meister remarquable à la baguette, un orchestre exemplaire et de très grands chanteurs.

Avec son orchestre sur scène, son plateau ensanglanté et son excellente distribution, l'Elektra haute en couleurs de Michel Fau vient clôturer la saison amputée du Théâtre du Capitole.

La producción de la Staatsoper Berlin de Falstaff se presenta en Les Arts con un elenco bien armado y en la que orquesta y escena contribuyen al fluir de la diversión.

Notwithstanding director Pippo Delbono's narcissistic excesses, his staging confirmed itself as effective and penetrating.

The Russian director's role play production of Prokofiev's comedy falls flat at the Staatsoper.

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

The Boston Symphony Orchestra led by Andris Nelsons performs Boulanger, Debussy and Puccini. 

You feel you ought not to approve of such directorial extravagance, but catch yourself being drawn into the grand pageant. 

In a disappointing revival of Hugo de Ana's clichéd and clumsy production, Liudmyla Monastyrska and Violeta Urmana confronted each other with their superb vocal techniques and diverging styles.

Entre pesados muros y bajo la presencia de la cruz pudimos observar como algunas leyendas se encontraban, en una representación con algunos elementos muy notables.

James Levine brings masterful control to Mahler with the Staatskapelle in the Philharmonie.

Peter Sellars's much-travelled staging of Stravinsky's Oedipus Rex provided a powerful opening for the 15th Baltic Sea Festival under the festival's artistic director Esa-Pekka Salonen.

The Metropolitan Opera’s now 29-year old production of Aida is still standing and still looking good. Gianni Quaranta’s gigantic sets – floor-to-sky-statuary, regal-looking staircases, a couple of horses, wise/exciting use of the stage elevator to change scenes (causing, unfortunately, a glitch the other night which delayed the final scene for a few minutes), costumes (by Dada Saligeri) mostly of

S’il fallait choisir parmi toutes les belles idées de mise en scène de ce très réussi Oedipus Rex, on s’accorderait sans doute sur celle-ci : la primauté incontestée de l’esthétique et des intentions de Stravinski.

The Met’s revival of David McVicar’s year-old take on the perennial Verismo twins strikes out emotionally in Cavalleria rusticana but scores high in Pagliacci. Working on the same set by Rae Smith, flanked by the forbidding stone walls of the town church, Cavalleria is dark, dark, dark – the very picture of a poor, unhappy Sicilian hill town.

To celebrate its 50th birthday Dutch National Opera put on a festive tribute to the people that have made it the innovative and much-admired house it is today.

At the Dutch National Opera, director Àlex Ollé from La Fura dels Baus stages a dark and monochromatic Trovatore, in which the four stars shine.

Mario Martone's Cavalleria rusticana—Pagliacci returns to La Scala, with results that do not always convince. 

Dans le Requiem de Verdi, Violeta Urmana provoque une émotion durable sur les auditeurs parmi un plateau de solistes déséquilibré.

A great love story as well as a cultural and musical shock as it has been from the beginning, this performance of Tristan und Isolde in Naples was led by an inspired Zubin Metha.

La Fura dels Baus's production balances the familiar with modern detail in a clever staging that packs a real punch. The Arena enjoyed its centennial edition last year, and one wonders whether this might be the production that they celebrate the next time around.

Don Juan, sept lieder de Strauss et Titan : les Bamberger Symphoniker nous offraient ce soir un vaste aperçu de l'idéal postromantique allemand, tant amoureux qu'héroïque. À leur tête, le charismatique Jonathan Nott a suscité la totale adhésion du public, malgré les imperfections de son orchestre et de sa battue.

Video artist Bill Viola fills Tristan und Isolde with mesmerising images. Peter Sellars stages and Marc Piollet conducts a cast where King Marke reigns, at the Teatro Real in Madrid.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

When most of us feel like we’re getting a little stale with a piece of work we’re doing – when the thoughts, words or ideas are drying up – we stop for a coffee, stretch our legs, or do a bit of internet browsing. When Richard Wagner realised inspiration was running low for Siegfried, he decided to have a break from it too.

​In each case, you know the murder is coming. In each case the music is explosive and closes the opera: there is nothing left to say except Canio's simple words: "La commedia è finita.

The Strauss opera Ariadne auf Naxos was inspired by the Moliere play The Middle-Class Gentleman. The richest man in Vienna has arranged for two entertainments--one a serious opera composed by a young man just for the occasion, and the other an Italian comedy group. He decides at the last minute to combine the two into one entertainment. If he were a proper gentleman, he would know better.

Tumblers and fire jugglers in rainbow colors. Singing nymphs soaring for stories into the air. Arias deeply dramatic and broadly comic. The Metropolitan Opera’s interpretation of Ariadne auf Naxos by Richard Strauss is a magical mashup of modern and classic, seria and buffa, technique and technology that pleases but falls short of terrific for this reviewer.

Read our review of Gianni Quaranta's production of Verdi­'s Aida in its 2009 broadcast from the Met Opera in New York.