Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Andrew Owens

Mit einer verwunschenen Inszenierung zieht Damiano Michielettos das Publikum im Theater an der Wien einmal mehr in seinen Bann.

Bo Skovhus und Maria Bengtsson begeistern in Peter Konwitschnys gelungenem Wiederbelebungsversuch einer Rarität. Lasst uns träumen und leben, statt uns zu Tode zu konsumieren.

Schlank ist schön: Gekürzt und auf Violettas Kampf um Leben und Liebesglück fokussiert, begeistert Peter Konwitschnys Grazer Traviata-Inszenierung die Wiener. Marlis Petersen in der Titelpartie ist ein Ereignis.

Excellent soloists, inventive sets and fine direction from Sheil and Phelan makes for an entertaining Cenerentola at the Bord Gais Energy Theatre Dublin. 

Top-notch singers and some sensitive direction almost make up for Laurent Pelly's frustrating Opera Philadelphia production. 

The Philadelphia Orchestra's superb semi-staged production of Tosca. 

The opera can be summed up by a line sung by the Countess in Act 4: “You’re killing her with all this noise.”

Electrifying playing under the baton of Giancarlo Andretta and a strong cast of singers convince that Verdi's I due Foscari deserves more than the occasional revival.

The thrills of Tudor (pseudo-)history and bel canto expressivity combine in the second of Donizetti's “Three Queens” operas, Maria Stuarda, making its company debut at Seattle Opera.

Attention to clarity and detail without fussiness is a wonderful thing in the presentation of a Rossini comic opera, and Opera Saratoga in upstate New York scored a triumph with their new production of La Cenerentola by assembling a fine all-around team.

I have no objection per se with naked women bathing in blood, masturbating to crucifixes or being flagellated by priests in confessional booths, but only if it somehow aids understanding of the story

If you are going to see Verdi’s I due Foscari, this production is likely the way to do it. Although this production is by no means unflawed, there are several reasons that it is a must-see for opera fans in Vienna.

The Theater an der Wien has a storied history with Fidelio, having hosted the première of the work’s first and second versions in 1805 and 1806 respectively.

In times where musical luxury is sometimes associated with having a pop star perform a short “Happy Birthday” and a handful of songs in a private performance – and for a usually undisclosed (and indecent) fee, having a whole piece of music composed for an occasion, or organising a private performance by a famous orchestra, is almost unimaginable.

When Jean-Christophe Spinosi stepped onto the podium to conduct Le Comte Ory that night, he didn’t wait for his applause to cease, but instantly cued a hearty forte from the Ensemble Matheus, and consequently a few incredulous looks from the audience.

A father having marriage plans for his daughter of which the latter does not approve may not be the most original plot, but it has inspired operas throughout the centuries, with well-known examples being The Bartered Bride and Arabella.