Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Christine Goerke

George Saunders’ preisgekrönter Roman wird in Lileana Blain-Cruz’ genreübergreifender, visuell atemberaubender und überraschend heiterer Inszenierung der Opernadaption von Missy Mazzoli und Royce Vavrek vom Buch auf die Bühne gebracht.

Christine Goerke debütiert voller Leidenschaft als Isolde mit dem Concertgebouw-Orchester Amsterdam unter der musikalischen Leitung von Daniel Harding.

David Aldens Neuinszenierung am Royal Opera House, die ans faschistische Deutschland anspielt, ist eintönig, aber es gibt musikalische Entschädigungen.

Wer braucht schon ein Bühnenbild? Eine glühende Elektra von Semyon Bychkov mit Solistin Christine Goerke erhellt die BBC Proms durch ihre schiere Energie.

An enveloping performance of Die Walküre spans three consecutive evenings, featuring world class singing in Frank Gehry’s stunning space.

The composer's magnum opus, unjustly neglected in English-speaking countries, receives magnificent treatment from Andris Nelsons and the Boston Symphony Orchestra, anchored by David Butt Philip and Christine Goerke.

A memorable, impassioned performance of Arnold Schoenberg’s Gurre-Lieder in Disney Hall. 

A well thought-out, fearless, affirmation of hope which drew its listeners ever upwards into the realm of ecstasy.

A star-is-born performance from the young American bass David Leigh anchors a thrilling performance of the Ring cycle's dramatic conclusion.

Jonathan Heyward's first season as BSO Music Director closed with an exciting world premiere from composer-in-residence James Lee III, alongside audience favorites old and new.

The second installment in The Atlanta Opera's first-ever Ring Cycle benefits from the committed performances of veteran Wagnerians like Christine Goerke and Greer Grimsley.

David Danzmayr delivers epic storytelling in Sibelius' First Symphony, while soprano Christine Goerke heightens the drama with powerful Barber and Menotti heroines.

The Met's new Lohengrin descends into old-fashioned hilarity, despite an excellent cast. 

John Dexter's production, now among the longest-serving in the company's repertory, remains a marvel of simple, effective storytelling.

Andris Nelsons conducts the young musicians of the Tanglewood Music Center Orchestra in Berlioz and Mahler. 

When a voice as potent as Christine Goerke’s has to push to be heard, you know there’s a problem.

Franco Zeffirelli’s spectacular production of Turandot gets another revival with Christine Goerke and Yusif Eyvazov as the ice princess and Calaf.

Le fils prodigue est de retour à la tête de l'Orchestre du Festival de Bayreuth pour deux superbes soirées dans la salle dorée de l'Opéra National de Lettonie.

Zubin Mehta returns to Disney Hall, demonstrating the multifaceted implications of Wagner and his “music of tomorrow”.

Christine Goerke gives a thrillingly fleshed-out performance as the princess Turandot that is everything one wants opera to be.

Things went from good to great in the course of the Götterdämmerung highlights.

The EIF’s cycle comes to a fabulous end with RSNO and Andrew Davis leading a luxury cast, Christine Goerke’s emotionally powerful Brünnhilde a highlight. 

Andris Nelsons finishes his 2019 Tanglewood residency on a high note.

Stéphane Denève and the RCO gave a powerful, meticulously prepared performance of Honegger’s dramatic oratorio about Joan of Arc.

Sir Mark Elder and The Hallé orchestra are the powerhouse in a memorable performance of Siegfried. Simon O’ Neill, Iain Paterson and Christine Goerke head up a universally strong cast.

"She commands the stage, she commands the notes, she commands the tension": Christine Goerke's portrayal of Elektra haunts The Met. 

David Pountney's new production of Die Walküre for the Lyric Opera of Chicago incisively charts the tectonic shift of control over the future from Wotan to Brünnhilde.

A thought-provoking production and killer cast make San Francisco Opera's Elektra top-notch music drama.

A sensational Die Walküre from Sir Andrew Davis and the RSNO at the Edinburgh Festival that will be talked about for years.

An icy female ruler, three chaotic cabinet ministers, questionable hand-holding - it could only be Puccini's last opera in a revivial of Serban's gorgeous 1984 production.

At the Concertgebouw, the three soloist headed by Christine Goerke’s Brünnhilde’s lift the performance of Act III of Die Walküre conducted by Valery Gergiev to the Valhalla of music.

This production, directed by Tim Albery and with sets and costumes by Tobias Hoheisel, boasts more than one megastar.

Nobody at Carnegie Hall last night could recall a Wagner concert so gigantic, so thrilling, or so special. 

Zambello's Die Walküre engages and excites in this promising Ring cycle. 

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

Andris Nelsons, the Boston Symphony Orchestra and Christine Goerke give a breathtaking, frenzied performance of Strauss's hate-filled opera, whose score still jars today.

The Met's Turandot remains a grand spectacle, worthy of the opera itself, with a cast rightly earnsing the wild ovation it received.

Boston Symphony Orchestra Music Director Andris Nelsons experienced his first time leading the Tanglewood Music Center Orchestra – and hundreds of other performers – in Mahler’s Symphony no. 8.

"under Inkinen the New Zealand Symphony Orchestra has set a standard that is rarely surpassed even internationally"

All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.

The Glimmerglass Festival's updated Ariadne in Naxos contains comedy, character and great singing.

The unnecessary celebrations of Richard Strauss’ 150th birthday seem to have begun early at the Metropolitan Opera. Two weeks after this Die Frau ohne Schatten comes Der Rosenkavalier, and a few months after that Arabella. By the standards of Strauss at the Met, Herbert Wernicke’s Frau is still new at only a dozen years old.

In the Royal Opera revival of Richard Strauss’s Elektra, the overwhelming theme is blood, both metaphorical and literal.

Between acts, and between shows, the stage at Chicago’s Civic Opera House is usually blocked from view by a solid mural painted with baroque figures in gold – perhaps the gaudiest feature of an already fussily ornate hall. The gilt-painted screen was up, however, for Elektra, the first show of the Lyric Opera’s new season (along with Verdi’s Simon Boccanegra, which runs concurrently).