Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Richard Samek

Spritzig inszeniert und musiziert wird Franz Lehárs selten gespielte Operette zu einem kurzweiligen Vergnügen. 

Andriy Yurkevych leads a rousing musical performance, but this visually impressive Nabucco tries to hard to be relevant and misses the mark.

Tomáš Netopil and the Czech Philharmonic bring high energy to the Martinů Days festival with a smart, fresh take on Ariadne. 

Santa Cecilia's newly-appointed Principal Guest Conductor Jakub Hrůša leads an all-Czech concert, promising a bright future in Rome.

“Who's dead, you or the old man?” asks Leporello after Don Giovanni’s duel with the Commendatore. What if the answer was that they had both received fatal wounds?

The Janáček Festival maintains its proud tradition with a brave eleventh-hour performance.

Slovak director Zuzana Gilhuus' serendipitous production could hardly be more timely.

Dvořák's failed King and Charcoal Burner gets a second chance and new life at his namesake festival.

The Dvořákʼs Prague Festival opens with an upbeat treatment of one of the composer's masterworks.

Prague's National Theater wraps its season with a wickedly funny revival of Offenbach's audacious operetta.

The BBC Symphony Orchestra and Chorus grow in stature through an evening which provides a good introduction to the virtues of Dvořák’s seldom-played large scale choral work.

Whilst the spirit of Mozart permeates the Estates Theatre in Prague, it was sadly absent in both the staging and singing of his “work of uninterrupted perfection”.  

“What Czech does not like music?” declares Beneš, the jailor in Smetana’s opera Dalibor. Certainly not Jiří Bělohlávek, who is as superb an advocate for Czech music as any conductor in the world right now.