Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Alexandra Oomens

***11

Amsterdam

24. Juni 2017

Virtuelle Entdeckungsreise im australischen Busch

Von Michael Klier

Berlin

Upstairs, downstairs, Richard Strauss style: Die Frau ohne Schatten at Deutsche Oper

Von Zenaida des Aubris, 26. Januar 2025

Tobias Kratzer gives his third Strauss production in three seasons at Deutsche Oper Berlin another contemporary spin.

****1

****1

Berlin

26. Jan. 2025

Upstairs, downstairs: Die Frau ohne Schatten at Deutsche Oper

Von Zenaida des Aubris

Sinéad Campbell-Wallace (Sister Angelica) © Genevieve Girling

Sensitive stagecraft, directorial rage: Suor Angelica... for one night only at ENO

Von Mark Valencia, 27. September 2024

Miskimmon's relocation of the action to Ireland is unsparing in its evocation not of some tearjerking melodrama but of an almost documentary reportage on real events.

*****

*****

London

27. Sept. 2024

Sensitive stagecraft and directorial rage: Suor Angelica at ENO

Von Mark Valencia

Helen Sherman (Dorabella), Nardus Williams (Fiordiligi) and Richard Anderson (Don Alfonso) © Keith Saunders

A captivating Così fan tutte in Sydney

Von Sandra Bowdler, 1. August 2024

Opera Australia's well nigh perfect production of Mozart's Così fan tutte excels in every dimension, with an excellent ambiguous conclusion.

*****

*****

Sydney

1. Aug. 2024

A captivating Così fan tutte in Sydney

Von Sandra Bowdler

Alexandra Oomens (Anne Trulove) and Adam Temple-Smith (Tom Rakewell) © Craig Fuller

Alresford

The Rake's Progress at The Grange Festival: richly entertaining, but is there soul?

Von David Karlin, 23. Juni 2024

Singing performances are excellent, the staging is well crafted and Stravinsky's eclectic score entertains from start to finish. But it's an evening's opera that doesn't touch the soul.

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Alresford

23. Juni 2024

The Rake's Progress at The Grange: richly entertaining

Von David Karlin

Jake Arditti (Rinaldo) and Alexandra Oomens (Almirena) © Cassandra Hannagan

A streamlined, dramatic Rinaldo from Pinchgut

Von Sandra Bowdler, 30. November 2023

Although abbreviated, Pinchgut Opera's production of Handel's Rinaldo makes a powerful dramatic impact and exemplifies high musical values, with excellent orchestral playing and consistently fine singing.

****1

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Sydney

30. Nov. 2023

A streamlined, dramatic Rinaldo from Pinchgut

Von Sandra Bowdler

Pinchgut Opera's Membra Jesu Nostri © Albert Comper

Melbourne

Sublime performance of Buxtehude's Membra Jesu Nostri by Pinchgut Opera in Melbourne

Von Sandra Bowdler, 4. April 2023

A wonderful night of late 17th-century music by the somewhat obscure German composer Dietrich Buxtehude is brought to radiant life by Erin Helyard and the Pinchgut Opera company.

*****

*****

Melbourne

4. Apr. 2023

Sublime performance of Buxtehude by Pinchgut Opera

Von Sandra Bowdler

Leonidas Kavakos et Kent Nagano © Christophe Abramowitz

Paris

D’Unsuk Chin à Yann Robin, le silence et son contraire au Festival Présences

Von Erwan Gentric, 10. Februar 2023

Retour sur le week-end de clôture du Festival Présences 2023, qui présentait de très belles créations d'Unsuk Chin mais aussi une œuvre monumentale de Yann Robin...

****1

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Paris

10. Feb. 2023

Présences : d’Unsuk Chin à Yann Robin, le silence et son contraire

Von Erwan Gentric

Sean Panikkar (Don José) and Ginger Costa-Jackson (Carmen) © Adiam Yemane

On a knife-edge: Calixto Bieito's Carmen returns to English National Opera

Von Dominic Lowe, 1. Februar 2023

Bieito’s vivid production of Bizet's most famous work is a classic; his attack on toxic masculinity is visceral, made more potent by an excellent leading pair of singers.

****1

****1

London

1. Feb. 2023

On a knife-edge: Carmen returns to English National Opera

Von Dominic Lowe

Paula Murrihy (Frances) and Christine Rice (Elizabeth I) © Nirah Sanghani

The second Elizabethan age receives a noble tribute from the first in ENO's Gloriana

Von Roy Westbrook, 8. Dezember 2022

When done as well as this, a "concert staging" is not oxymoronic, but a precise term for a valuable mode of presentation.

****1

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London

8. Dez. 2022

Second Elizabethan age receives a noble tribute in ENO's Gloriana

Von Roy Westbrook

A fine tail: new Cunning Little Vixen at English National Opera

Von Dominic Lowe, 20. Februar 2022

ENO has a long and fine history in Janáček’s corpus, and Jamie Manton's new production, performed by a cast that revels in the clash between nature and mankind, has much in which to delight.

****1

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London

20. Feb. 2022

A fine tail: new Cunning Little Vixen at English National Opera

Von Dominic Lowe

Laurels for Pinchgut Opera's Loves of Apollo and Dafne in Sydney

Von Jeremy Eccles, 20. Mai 2021

Love comes in 57 varieties in Cavalli's Apollo and Dafne, and they're both enjoyed and suffered by a dynamic cast of six playing 20 characters.

*****

*****

Sydney

20. Mai 2021

Laurels for Pinchgut Opera's Loves of Apollo and Dafne

Von Jeremy Eccles

Telemann and Bach triumphant in Pinchgut Easter concert

Von Sandra Bowdler, 7. April 2019

Soprano Alexandra Oomens confirmed her star potential, but all soloists and players shone in this jubilant concert featuring Telemann's Thunder Ode and Bach's Easter Oratorio

*****

*****

Sydney

7. Apr. 2019

Pinchgut Opera's Easter concert

Von Sandra Bowdler

Emotion and mayhem: a golden double bill from Royal Academy Opera

Von Stephen Pritchard, 18. März 2019

Students triumph in Tchaikovsky's Iolanta and Ravel's L'Enfant et les sortilèges.

****1

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London

18. März 2019

Emotion and mayhem: a golden double bill from Royal Academy Opera

Von Stephen Pritchard

Le ravissement de Semele à la Royal Academy of Music de Londres

Von Georgiana Hatara, 17. November 2018

À la Royal Academy of Music, Semele de Händel offre une expérience jubilatoire et rafraîchissante. Mise en scène ingénieuse et jeunes chanteurs talentueux sont au menu de cette production.

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London

17. Nov. 2018

Le ravissement de Semele à Londres

Von Georgiana Hatara

Sublimely ridiculous: Grétry’s L’Amant jaloux another hit for Pinchgut Opera

Von David Larkin, 6. Dezember 2015

Another ancient hit revived and delivered with panache by Sydney-based Pinchgut Opera: Gretry's L'Amant jaloux (1778) proved it still could raise laughs, aided by a superb cast.

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Sydney

6. Dez. 2015

Sublimely ridiculous: Grétry’s L’Amant jaloux

Von David Larkin

Eighteenth-century Salieri romp given new life by Pinchgut Opera

Von David Larkin, 6. Juli 2014

It has been Salieri’s tragedy to have largely been overlooked by history, but The Chimney Sweep shows his mastery of musical stagecraft. It was given a spirited and musically satisfying performance by Pinchgut Opera.

****1

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Sydney

6. Juli 2014

18th century romp given new life

Von David Larkin

Pinchgut Opera’s cheeky take on Cavalli’s Giasone a winner in Sydney

Von David Larkin, 5. Dezember 2013

Giasone was the most performed opera of the 17th century, but this was no dry, reverent exhumation. This was something much better from Pinchgut Opera: a joyous, animated resurrection.

****1