Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jennifer Johnson Cano

Without a baton, the contemporary-music specialist showcases the Chicago Symphony strings in an intimate program ranging from music of the last decade all the way back to Pergolesi. 

Montreal's Orchestre Métropolitain launches its season with a Bruckner Ninth that includes both an orchestral introduction and a choral finale. 

Michael Volle headlines a deluxe revival of Verdi's Falstaff in this revival of Robert Carsen's popular production. 

Despite beautifully realized performances from Renée Fleming and Kelli O'Hara, Kevin Puts' opera is still finding its voice.

This Requiem was a gift to Music Director Corrado Rovaris for the anniversary of his twenty years with the company.

The Pittsburgh Symphony Orchestra, under Music Director Manfred Honeck, the Mendelssohn Choir of Pittsburgh and soloists gave a brilliant performance of Beethoven's monumental Ninth Symphony. 

Jennifer Johnson Cano’s stamina and total commitment were exceptional in the East Coast premiere of Poul Ruders' opera. 

A welcome revival at the Met of Robert Carsen's witty production of Verdi's final opera. 

When it comes to the title role, Bartlett Sher's non-interventionist production misses the core of the character. 

Netrebko put together a potpourri showcasting her immense vocal gifts as well as her versatility.

The Mostly Mozart Festival ended its season with an all-Mozart program centered on the Requiem. Paired with that was a piano concerto with Stephen Hough and the rarely-heard Meistermusik.

Dudamel and the Los Angeles Philharmonic unleash the darkness of Verdi’s late masterpiece Otello upon the picnickers at the Hollywood Bowl. 

Stephan Mulligan steps up to lead tight and virtuosic performances of music by Kurth, Bernstein and Beethoven.

The Cleveland Orchestra’s centennial season was off to an auspicious start with an encore presentation of Janáček’s The Cunning Little Vixen.

Enlightenment indeed at Lincoln Center as the Mostly Mozart Festival opens with a gloriouds hodge-podge. 

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

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

Cet oratorio, dont le livret de John Adams et Peter Sellars mélange habilement plusieurs langues semble symboliser l'universalité du langage musical. Interprété avec beaucoup de justesse par le LSO, il constitue une oeuvre majeure du compositeur américain.

John Adams' Christmas oratorio sees some fine performances, but was ultimately found wanting.

If you think you know Carmen, think you know Calixto Bieto, then you definitely should head to the Opera House and have your eyes opened on both counts.

Little mark of Shakespeare's drama or Verdi's passion behind Bartlett Sher's exsanguinated, highly-stylized Otello for The Metropolitan Opera.

Despite mostly solid work from soloists and chorus, several ensemble problems and overall stylistic decisions diminished this performance's success.

In celebration of the Atlanta Symphony's long-term music director Robert Shaw, the orchestra, its celebrated chorus and four effective soloists, presented an aggressive and often loud Verdi Requiem, conducted by Robert Spano.  

Bartlett Sher’s new production of Verdi's Otello opens the Metropolitan Opera's season in a staging dominated by multimedia sets.

Alan Held and Martina Janková star in a technologically and musically stunning production of Leoš Janáček's fable of nature and time.

Andrea Chénier can seem more a series of scenes than a dramatic whole and it relies on exciting, charismatic luminaries to hold it together and keep the interest high. This revival of Nicolas Joël’s staging is a noble effort, but disappoints.

Like Falstaff, I found myself attempting to gobble up as much as I could: the amusing story, Robert Carsen's resourceful directing, and the brilliant music. In addition to the strong instrumental performing, the singing was, on the whole, delightful.

Read our review of Robert Lepage's production of Wagner's Götterdämmerung in its 2012 broadcast from the Met Opera in New York.