Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Juliane Banse

Eine tolle Inszenierung des Grafen von Luxemburg von musikalischer Klasse - ein jahreszeitlicher Leckerbissen an der Deutschen Oper am Rhein.

Zur Eröffnung des diesjährigen Festivals gab der neue Leiter des Lucerne Festival Orchestra Riccardo Chailly seinen bejubelten Einstand mit einer grandiosen Aufführung von Mahlers Achter Symphonie.

Das Theater an der Wien feiert sein 10-jähriges Bestehen mit einer von Nikloaus Harnoncourt eingerichteten Fassung der Leonore von 1806. 

Even without a gingerbread house, there’s enough wickedness in Richard Jones’ staging of Humperdinck’s opera for sweet tooths to savour.

Entre le concert de l'ensemble Os Músicos do Tejo, la messe mozartienne du dimanche matin, la soirée symphonique en plein air et les concerts de musique de chambre, tous les goûts sont à Marvão !

Le week-end de clôture du festival portugais dirigé par Christoph Poppen a fait la part belle aux jeunes interprètes, avec des résultats particulièrement enthousiasmants.

Heinz Holliger’s Lunea, which recently premiered at the Zurich Opera House, is “not an opera”, or so the ground-breaking Swiss composer contends.

Baritone Kay Stiefermann steals hearts at the eponymous Count of Luxembourg, in an operetta so charming that neither musical missteps nor a mixed-up staging can sink it.

Un Così fan tutte tan afortunado como inquietante de la mano de J. Pons y D. Michieletto

With its minimalist but grandiose sets, the imposing sound of the Choir of the Dutch National Opera and the excellent conducting of Marc Albrecht, there is much to be enjoyed in this revival of Pierre Audi’s Lohengrin in Amsterdam.

Michael Volle stars as a complex Mandryka in the Met's birthday revival of Richard Strauss's Arabella.

The production of Die Fledermaus currently onstage at the Lyric Opera is smart, goofy and not too fussed about keeping all its parts under tight control.

The evening began on a fun note: Juliane Banse’s voice rang out in a pre-recorded message, reminding the audience that as far as she knew, cell phones and classical music did not generally mix. After a community chuckle, the audience applauded Banse, Bo Skovhus and Helmut Deutsch onto the stage, and then settled back into its seats for an evening of Hugo Wolf’s Italienisches Liederbuch.

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.