Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Janina Baechle

Ein Siegfried von musikalischer Qualität wie dieser ist immer ein Ereignis und das Diktum, wonach Musik eine heilige Kunst ist, sah sich eindrucksvoll bestätigt.

Das Musizieren im Konzentrationslager Theresienstadt/Terezín ist etwas, das uns bis heute fasziniert, sprachlos macht, inspiriert.

Schön statt schaurig: Christian Thielemann und das Staatsopernorchester liefern die erwartete Sensation, Adrian Noble inszeniert klassich mit Anklängen an Alice im Wunderland.

Die Wiederaufnahme von Wagners Ring-Zyklus an der Wiener Staatsoper wird im Rheingold von einer grandiosen Orchesterleistung unter Sir Simon Rattle eingeläutet.

À la Philharmonie, Pascal Rophé emmène l'ONPL dans une passionnante (re)découverte d'Alcyone, cantate méconnue du jeune Ravel, et d'Orion, de Kaija Saariaho. Vadim Repin offre un Bruch sentimental mais imparfait.

Les voix du Seigneur sont parfois inintelligibles : une panne de surtitrage a accentué les légers manques d'une belle production toulousaine des Dialogues des Carmélites.

Le Théâtre du Capitole accueille pour la première fois et dans une nouvelle production l’unique opéra de Paul Dukas : Ariane et Barbe-Bleue. Dans une mise en scène de Stefano Poda et sous la direction de Pascal Rophé.

Leading five choirs, fine soloists and a glowing Netherlands Philharmonic, conductor Marc Albrecht emphasised the human struggle in a highly dramatic performance of Mahler’s mammoth eighth symphony.

Wagner demands vocal resilience from the large cast of singers in Das Rheingold, but Willy Decker wants strong thigh muscles as well.

The Wiener Staatsoper revives a beautiful production of Daphne that juxtaposes myth, dream and reality, with brilliant vocal performances by the two leads.

Mehta's refusal to treat these as episodic statements gave the playing its polish. The music unravelled in a spun-out yarn.

La mise en scène de Stefan Herheim scrute l’ambiguïté de la nymphe tchèque dans une éblouissante production.

With his one act opera The Rise of Spinoza Theo Loevendie wrought an attractive opera, that may well become part of the repertoire

Thunderous applause, numerous curtain calls; Stoyanova, Bĕlohlávek and a strong cast enjoy a fairy-tale reception in Sven-Bechtolf´s new production of Dvorak's Rusalka at the Vienna Staatsoper.

Think of all the adjectives typically used to report on the best of female Wagner singing; add lyrical phrasing and imagine the absence of any shrillness, and you have come as close as possible to a description of the perfection that Nina Stemme achieved in her first Isolde for the Wiener Staatsoper.

Born in 1920 to a Venetian bandmaster, Bruno Maderna became famous during his formative years as a violin prodigy and was told by his grandfather that he could gravitate to the mafia later in life and God would still look kindly on one who played the violin so wonderfully.

When Richard Strauss first wrote Salome, he was unable to get it performed in his home city of Vienna, so shocking was the material with its heavy eroticism and necrophiliac ending (the première was in Dresden). A century on, times are more permissive, and Salome features in the seasons both of Vienna's Volksoper and of the Staatsoper, where we saw it last night.