Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Michelle Breedt

Die bunten Farben und Kindlichkeit in Konwitschnys Produktion für die Bayerische Staatsoper schockieren, aber funktionieren. Die Besetzung und das Orchester glänzen, besonders im ersten Aufzug.

Zwei Gluck-Opern in einer gelungen Sonderedition von Torsten Fischer und Leo Hussain. Véronique Gens, Stéphane Degout und Christoph Pohl brillieren ebenso wie die Wiener Symphoniker.

Zwei Frauen, zwei Welten – gegensätzlich präsentiert in einem einzigen, mehrstöckigen Bühnenbild. Eine der Welten ist das makellose, weiße Deck eines Schiffes der 1960er Jahre auf dem Weg nach Brasilien, und darunter, wo sonst der Schiffsrumpf sein könnte, befindet sich die graue, trostlose Welt von Auschwitz.

Anlässlich Richard Strauss' 150. Geburtstag heizte das Bayerische Staatsorchester dem Publikum am heißesten Pfingstmontag aller Zeiten noch zusätzlich ein und bot ein rauschendes musikalisches Fest.

Un duo formidable et une mise en scène efficace : porté par Petra Lang et Michael Weinius, le Crépuscule des Dieux de Dieter Dorn est venu clore la tétralogie genevoise avec panache.

A strong cast, a lyrically simmering orchestra and lucid staging make this a Tristan und Isolde to treasure.

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

Pour la première de la saison lyrique romaine, Daniele Gatti amenait l’Orchestra e Coro del Teatro dell’Opera di Roma dans un Richard Wagner épuré.

Given the spate of visually distracting, if not irksome productions which seem to blight the opera world these days, there is something to be said for concert performances.

Pour ce Tristan und Isolde proposé au Théâtre des Champs-Elysées, Daniele Gatti dirige un Orchestre National de France très inspiré et un duo vocal en or, Torsten Kerl et Rachel Nicholls, étoiles d'une distribution équilibrée. Une production vraiment satisfaisante, dans une mise en scène soignée de Pierre Audi.

At the basic level Tristan und Isolde is an opera of hormones, not happenings; fathoms deeper it explores human experience at a point where sense is dumb and flesh retires – as close to heaven and hell as it’s possible to go without first having to die.

After showing in 13 theatres around the world, Robert Carsen’s Dialogues des carmélites returns again to Amsterdam, where it was premiered in 1997. Almost 20 years on, its finale remains a shattering theatrical experience.

Impression mitigée au sortir de ce long voyage musical de près de quatre heures.

Nina Stemme's domination of the heaviest dramatic soprano repertoire continues with an outstanding Isolde at the Zurich Opera House, ably assisted by Stephen Gould, Matti Salminen, and other notable performers under John Fiore.

Art installation of a biogas factory is the setting for a mostly undistinguished musical performance.

Peter Konwitschny’s Tannhäuser at Dresden’s Semperoper dates back to 1997, making it relatively old for an opera production, and though I sense this may be its last revival, it is still modern and engaging.

Institutional violence has been a running theme in Torsten Fischer’s series of Gluck operas at the Theater an der Wien, albeit with a lid kept firmly on the idea of actual conflict.

When audiences first heard Wagner’s Tristan and Isolde, they were stunned by the sustained, passionate eroticism of the score, with the musicians amongst them amazed by the variety of novel compositional devices.

Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts.

The glittering white of a luxury cruise liner above, the darkened hell of the concentration camp below. Johan Engels' set for Weinberg's The Passenger, first seen at the Bregenz festival in 2010 and now at the ENO in London, is one of the most striking and effective opera sets I've ever seen, both framing the action and adding colour.

Never a city to shy away from seasonal programming, this Easter Vienna is offering productions of Poulenc’s Dialogues des Carmélites, Gounod’s Faust, and Wagner’s Parsifal. The latter two, at the Staatsoper, are familiar, but audiences should run to see the Theater an der Wien’s enthralling revival of Poulenc’s relatively rarely-produced masterwork.

We spent last night in Zurich, where we had the chance to see the Zurich Opernhaus production of Offenbach’s Tales of Hoffmann. It’s the first time I’ve been to the opera house here and the first time I’ve seen Offenbach on stage, so interesting on both counts. The opera house is “small but perfectly formed”, as the cliché goes.