Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Asher Fisch

Das Staatsopernorchester unter Asher Fisch und eine großartige Besetzungen zündeten Bizets Rhythmusfeuerwerk.

Die Münchner Inszenierung des Andrea Chénier überzeugt mir großen Bildern, großartiger Musik und einer herausragenden Anja Harteros.

Renaissance trifft Moderne, trifft Industriezeitalter. Der Münchner Holländer hat schrille Kontraste zu bieten, bevor er schließlich mit krachender Pyrotechnik endet.

Matthew Polenzani zeigt an der Bayerischen Staatsoper einen vielschichtigen und abgründigen Werther, der den Zuschauer bis an den äußersten Rand der Verzweiflung führt.

Trotz ihres Alters überwältigt Herbert Wernickes Inszenierung bis heute mit gewaltiger Bildsprache, doch gerade reduziertes Bühnenbild bedarf umso feinerer Personenregie.

Martin Kušejs Inszenierung von La forza del destino ist intelligent und trifft hart; eine unvollkommene Orchesterleistung wird von einer hervorragenden Besetzung mehr als wettgemacht.

Wenn Sie sich in David Böschs seltsame Welt entführen lassen, finden Sie ein Elisir d'amore, das abwechselnd in tiefe Traurigkeit und Hochstimmung versetzen wird.

Martin Kušejs moderne Inszenierung von La forza del destino betont, dass familiäre und religiöse Unterdrückung ein und das selbe sein und die Liebe zweier Freigeister zerstören kann.

Cellist Li-Wei Qin plays Tchaikovsky with a fantastically in-form West Australian Symphony Orchestra, in a programme with other works by Mozart and Wagner. 

The West Australian Symphony Orchestra precedes Dvořák with equally well rendered works by Kodály and Bartók as the orchestra comes to grips with performing in a less than ideal venue.

An impressive new work by Paul Stanhope, Mahāsāgar (the Indian Ocean) is well sung and played by the WASO choir and orchestra with soloists Sara Macliver and Andrew Goodwin, alongside some oceanic favourites

An enjoyable performance of Die Fledermaus from the West Australian Symphony Orchestra and an excellent cast of singers is somewhat mitigated by the venue, as the celebrated Perth Concert Hall undergoes renovation.

Excerpts from Wagner's opus magnum, minus the singing, along with a Rossini overture and a new work by local composer Lachlan Skipworth make for an enjoyable concert by the larger forces of the West Australian Symphony Orchestra. 

Este Lear de Calixto Bieito constituye la mejor propuesta hasta el momento de la temporada de Teatro Real.

After a six month gap, the Nationaltheater welcomes a limited audience to an opera-in-concert of extraordinary beauty of singing.

There were no unorthodox interpretations in this program, which featured The Cleveland Orchestra’s associate concertmaster Jung-Min Amy Lee in Samuel Barber’s Violin Concerto, just excellent, straightforward music making.

Esta Capriccio es moderna porque se mantiene escrupulosamente fiel a los códigos de los salones intelectuales del siglo XVIII. Y también es realista porque detecta con irreverente precisión y astuta elegancia el interrogante filosófico que atraviesa el testamento operístico straussiano y la época en que se inscribe.

Wagner is a rare bird in Perth; the second *Tristan und Isolde* in 12 years worth the wait, no less for being a concert performance, and for bringing Skelton's masterful interpretation to an Australian audience

A revival of a traditional staging,  with great singers and full of dramatic energy

Better conducting and supertitles would also help breathe life into this drab revival of Bayerische Staatsoper's Don Carlo.

The Merry Wives of Windsor – relocated to Scotland – sing beautifully, as does their wooer, Falstaff. But it's not clear why they're in Scotland in the first place, or how the rest of the staging fits the opera.

The Il trovatore on offer at the Lyric this month would make a fine CD, its vocal strengths to be found equally among the leading foursome, but its weaknesses are visual and dramaturgical, and these are plenty too.

Wagner famously idealized the concept of the “Gesamtkunstwerk”, a total work of art that incorporates many artistic media into a single piece. He would have appreciated Seattle Opera’s production of Götterdämmerung.

Seattle Opera’s Siegfried takes place in familiar territory. Mime lives in the part of the forest where the gods roamed in Das Rheingold, and the dragon has made its lair where Hunding and Siegmund fought in Die Walküre (there’s even a bloodstain on the rock, which the Wanderer touches regretfully).

After Sunday night’s breathtaking Das Rheingold, it was difficult to imagine Die Walküre could be more beautiful or committed. Seattle Opera outdid themselves with this second installment of the Ring cycle, which featured energetic playing and singing, gorgeous stage pictures, and devastatingly believable acting from all of the singers.

Some Ring cycles are based on ideological concepts; Seattle Opera’s current Ring cycle is based on a place. That place is the Pacific Northwest of the United States, home to such extraordinary natural beauty that stage director Stephen Wadsworth has deemed it fit for the gods.

Dating from 2008, the Semperoper’s current production of Rigoletto is quite intriguing. It’s set in what appears to be a swanky 21st-century Berlin apartment – industrial, sparse and effortlessly cool – and in many ways this is an interesting choice.

Otello is usually considered to be Verdi’s most mature opera. It was one of the last ones he wrote, the result of a plot by his publisher Riccordi and the conductor Franco Faccio to draw him out of early retirement. The result is a work which combines all the aspects of Verdi’s earlier operatic style with Wagner’s concept of Gesamtkunstwerk.