Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Barbara Frittoli

Dass Falstaff auch konzertant seinen spitzbübischen Charme behalten kann, zeigte das BRSO unter Daniel Harding: das großartige Ensemble ließ nichts vermissen.

Musically and scenically sumptuous melodrama with a solid cast in Karlsruhe.

A piece of Italian verismo well worth being in the repertoire, beautifully staged and sung.

Leo Nucci y Josep Bros se coronan como triunfadores en un Simon Boccanegra "mensual", a la espera de Plácido Domingo

The Met’s revival of David McVicar’s year-old take on the perennial Verismo twins strikes out emotionally in Cavalleria rusticana but scores high in Pagliacci. Working on the same set by Rae Smith, flanked by the forbidding stone walls of the town church, Cavalleria is dark, dark, dark – the very picture of a poor, unhappy Sicilian hill town.

Excellent music-making over an indecisive but faithful Simon Boccanegra production opens Genoa's Teatro Carlo Felice new season.

Great singing from veterans and some visually stunning effects light up the Met's revival of Hytner's 2010 production of Verdi's Don Carlo.

The magnificent Teatro Colón in Buenos Aires welcomed a full house to the production of Falstaff starring Ambrogio Maestri, the world’s primary portrayer of the pompous knight. Unfortunately, one singer does not an opera make.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

On Wednesday night the Kennedy Center for Performing Arts was more crowded than a shopping mall during the holiday season. Apparently, nothing could keep DC opera lovers from getting to the Washington National Opera - not even the notorious peak hour traffic.It comes as no surprise that Mozart’s Don Giovanni, known to some as "the greatest opera ever written" is on most opera fans’ must-see lists.

After years of opera going, is it really still possible for me to be moved to tears by a tenor’s wail at the sight of a consumptive heroine dying tunefully in her bed at the end of the last act? I didn’t think so, but on the basis of last night’s Covent Garden performance of La Bohème, the answer would appear to be yes.