Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Michael Mofidian

Roxana Haines' Inszenierung mag zwar etwas bieder sein, aber sie ist ein stimmlicher Genuss.

Die heißesten Operntickets in London in dieser Season zeigen Anna Netrebko und Jonas Kaufmann vereint auf der Bühne der Royal Opera. Das Warten hat sich gelohnt.

Pour l'entrée au répertoire d'Anna Bolena à Genève, seul l'orchestre semble véritablement tirer son épingle d'un jeu belcantiste face à un plateau vocal et une proposition scénique en demi-teinte.

An evening of musical optimism launches the 2021 Edinburgh International Festival with a burst of light and colour.

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

A deep-dive into the world of 14th-century Persian poet, Hafez, and his influence on song across the centuries. 

The evening’s most unbuttoned applause was reserved for two native anglophone artists, countertenor Patrick Terry and bass-baritone Michael Mofidian.

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

The American must be one of the few tenors to tackle both Rossini and Verdi's Moor with success. 

Edward Gardner brings out the Wagner influence in Massenet's opulent score, Juan Diego Flórez give a persuasive performance in the title role.

The young singers spin any raw material into opera gold, sending the audience home as uplifted as if they’d just glugged a bellyful of Pimm’s.

Barrie Kosky's divisive production returns to The Royal Opera but has lost its zing. 

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way. 

A post-mortem fantasy that’s as compelling as it is confusing.

Short of the three lead stars of its opening, The Royal Opera's La forza del destino remains a thrilling evening, powered by Christof Loy's interesting staging and virile singing from Christopher Maltman.

Herheim places the composer at the centre of his opera in a staging that's clever and erudite but somewhat cold; musical performances are mixed.

Stefan Herheim's dreamlike production of Debussy's opera sets it squarely in the Sussex manor house that gave birth to Glyndebourne's festival. 

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

Dove's infectious score nods to Copland, Bernstein and Britten and its tongue-twisting ensembles and high-wire vocal writing were wonderfully performed. 

Brecht and Weill's tirade against Big Money is exceptionally well acted throughout; vocal and musical performances are more mixed.

Joan Rodger's idiomatic soprano and the surging cello obbligato were revelatory in this symbolist paean.

“Folies Bergère does Greek gods” is how director Martin Duncan describes Offenbach's Orphée aux enfers, and his production for Royal Academy Opera is enormous fun. 

Royal Academy Opera's thoroughly competent Suor Angelica precedes a fabulously entertaining Gianni Schicchi, with a top drawer performance from Haobin Wang in the title role.