Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Diana Damrau

Mariss Jansons durchleutet Strauss' Vier letzten Lieder und Bruckners f-Moll-Messe differenziert und genau.

Diana Damrau und Helmut Deutsch gelang mit ihrem Festspiel-Liederabend in der Bayerischen Staatsoper ein Liederabend der Extraklasse, der neben Schubert und Richard Strauss auch Werke von Rachmaninow bot.

Bei den Münchner Opernfestspielen begeistert Diana Damrau in einer musikalisch hochklassigen Interpretation von Lucia di Lammermoor und einer Inszenierung, die eher unspäktakulär bleibt.

Vittorio Grigòlo und Diana Damrau wiederholten und festigten ihre intensive Bühnenbeziehung in Bartlett Shers neuer Produktion von Roméo et Juliette an der Met.

Dieter Dorns 1997er Inszenierung bietet gute Unterhaltung, kann aber mit dem Starensemble um Diana Damrau nicht mithalten.

Unter der Leitung von Kirill Petrenko gestaltete das Orchester der Bayerischen Staatsoper mit Diana Damrau ein Programm, das mit atemberaubender Intensität von den Schattenseiten des Lebens berichtete.

Diana Damrau erhielt noch vor Konzertende Standing Ovations, doch auch das restliche Ensemble sowie Orchester und Chor standen ihr in nichts nach. 

Naives Mädchen, berechnendes Luder, Vamp und Todgeweihte: Diana Damrau überzeugt als Manon in der ästhetischen und klugen Inszenierung von Andrei Serban.

Die Neuproduktion der Bayerischen Staatsoper ist stimmig, die musikalische Leistung erntet Begeisterungsstürme.

Oper? Reality Show? Lotte de Beer inszeniert Bizets Perlenfischer als herrliche Dschungelcamp-Satire. Diana Damrau, Dmitry Korchak und Nathan Gunn beeindrucken unter der Leitung von Jean-Christophe Spinosi. 

Gergiev sculpte la sonorité des Münchner Philharmoniker dans une Cinquième de Mahler lumineuse. Diana Damrau recrée avec les Quatre derniers lieder de Strauss une atmosphère subtilement intimiste.

Mariss Jansons and the BRSO offer defining performances of two of Richard Strauss' greatest works.

A new production of La Traviata, colorful and conventional, brings little new ideas but is a fine vehicle for a fine performance conducted by Yannick Nezet-Seguin that features a trio of excellent singers.

Unlike the conucopia of duets Verdi wrote for soprano and baritone, his music for soprano and bass is much more limited and what exists is not exactly the acme of his output.

Gaetano Donizetti’s Maria Stuarda is perhaps most famous for a single and highly emotional scene in which two monarchs engage in a venomous confrontation. One is doomed to die. 

With Damrau, one hears every word and her account of Strauss' Four Last Songs was memorable. 

Soutenus par l’irréprochable Helmut Deutsch, l'Italienisches liederbuch de Jonas Kaufmann et Diana Damrau babillait, roucoulait, allégeant considérablement le style au demeurant sophistiqué d’Hugo Wolf.

While Dvořák’s Eighth Symphony failed to gel, the German soprano's Mozart turned the Royal Concertgebouw Orchestra’s first concert of the season into a real celebration.

Diana Damrau performs Mozart and Strauss at the Grafenegg Festival, located about an hour’s drive from Vienna.

Offenbach's vivid setting of E.T.A. Hoffmann's fantastic tales gets an enjoyable outing, with Spyres, Testé and Pudova the undoubted stars of the show.

Los Angeles Opera's Tales of Hoffmann survives multiple cast changes to look and sound fabulous, but it drags dramatically.

As it turned out, the second performance of the Met’s revival of I puritani was the one to see – it offered some of this season’s greatest singing – and a surprise.

Diana Damrau a fait vibrer l'Opéra de Marseille lors d'un récital qui restera dans les anales de l'institution marseillaise. 

At La Scala, Milan a disappointing tribute to Giorgio Strehler's historic staging of The Marriage of Figaro by young English director Frederic Wake-Walker. 

Ambitieux programme, peut-être un peu trop, pouvait-on redouter en début de concert, tant la sécheresse de l’acoustique du Théâtre des Champs-Elysées ne laissa, chez Wagner puis Strauss, aucune place à l’erreur. 

El tenor mexicano Javier Camarena dio una lección de belcanto ante un elenco discutible y un foso rutinario

El espectacular canto de Celso Albelo destaca en un elenco vocal sólido y una producción atractiva pero vacía de tragedia.

Le 27 mai le TCE accueillait une version de concert de Lucia di Lammermoor avec les équipes du Teatro Regio de Turin sous la direction de leur charismatique directeur musical Gianandrea Noseda : au sein d'un cast de bon niveau, Diana Damrau a reçu un triomphe mérité dans le rôle titre grâce à une superbe maîtrise vocale, malgré une caractérisation quelque peu excessive.

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

C’est à une leçon de chant que Diana Damrau nous invite dans son récital : la voix est magnifique accompagnée par un Xavier De Maistre magistral. Le hic réside très certainement sur l’adéquation de la harpe à un répertoire symphonique… Si le doute existait avant le récital, il subsiste après. 

Les Pêcheurs de Perles is a graceful if senseless piece, composed when Georges Bizet was only 25 years old and miles away from the psycho-musical drama of Carmen.

Donizetti’s magic potion was much more Bollinger bubbles than bad Bordeaux.  It was delightful, delicious and de-lovely.

The two leads in the brand-new cast of the Met’s three year old production of Massenet’s Manon were unbeatable. 

The Vienna Philharmonic, the Westminster Symphonic Choir, Diana Damrau and Christian Gerhaher present a sublime Brahms Requiem on a snowy Sunday afternoon. 

International opera stars Piotr Beczala, Diana Damrau and Nicolas Testé delight the public of the Concertgebouw in Amsterdam, but their vocal prowess do not quite compensate for an ill-constructed program.

Munich revives La traviata showcasing Diana Damrau, who is growing into one of the best Violettas to grace the opera stage today.

Le cinéaste Benoît Jacquot, réalisateur des Adieux à la reine trois fois auréolé aux Césars 2013, s'invite à l'Opéra National de Paris et, en bon nostalgique du drame lyrique traditionnel, relève l'épineux défi de s'attaquer à un monument du répertoire opératique.

A great deal of the audience were in the house for La traviata last night for the chance to see Diana Damrau and Dmitri Hvorostovsky. They will not have been disappointed: these were performances of the very highest quality by two very fine singers, with Francesco Demuro all but matching them.

This year’s revival of Mary Zimmerman’s La Sonnambula at the Met requires too much suspension of disbelief to seriously work, but it provides a fun and vibrant take on Bellini’s bel canto opera all the same. In the title role, Diana Damrau knocked it out of the park. 

Iain Bell’s new opera A Harlot’s Progress, premièred at the Theater an der Wien this month, has much going for it. Its chances for making it into modern repertory are good – if people can handle the depressing plot.

On Monday night the Eisenhower Theater at the Kennedy Center for Performing Arts hosted a debut recital of internationally acclaimed German soprano Diana Damrau and her concert accompanist, French harpist Xavier de Maistre.

Read our review of Michael Mayer's production of Verdi's Rigoletto in its 2013 broadcast from the Met Opera in New York.

Verdi’s Rigoletto is possessed of a truly tragic plot. A physically disabled jester keeps his innocent daughter locked up except for weekly church visits, a situation which she only lightly resists. Rigoletto believes a curse is to blame for his daughter being killed, although she only dies as a substitute for the man Rigoletto himself has arranged to be assassinated.

One of the questions this opera poses for any director is how to link the 'tales' of Hoffmann's three lost loves together and knit them satisfactorily into the Prologue and Epilogue.

Read our review of Bartlett Sher's production of Rossini's Le Comte Ory in its 2011 broadcast from the Met Opera in New York.

When Franz Liszt conducted Le Comte Ory in Weimar, he said it “bubbled like champagne,” according to the Metropolitan Opera’s program note. It also noted that Liszt arranged for the audience to be served champagne in Act II.