Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Jonathan Darlington

Stephen Gould und Krassimira Stoyanova triumphieren in einer unaufregenden Wohlfühlinszenierung von Adrian Noble.

Im Finalkonzert des Internationalen Gesangswettbewerbs beeindruckt die Breite der sängerischen Begabung junger Talente.

Zwischen Jonathan Darlington und dem Staatsopernorchester stimmt an diesem Repertoireabend die Chemie.

Mit Fabio Sartori und Anja Harteros entsteht beim ersten Don Carlo der Saison ein ganz besonderer musikalischer Zauber.

Huge de Ana's staging is carefully crafted but feels dramaturgically outdated as the Teatro di San Carlo heads into the twilight of sovrintendente Stéphane Lissner’s final season. 

Norwegian National Ballet's highly entertaining double bill of two of Mats Ek's most popular works is enthralling.

One of the greatest launching pads for an opera singer’s career, the Neue Stimmen once again proves its ability to attract the best operatic talents the world has to offer. 

Pierre Lacotte rend un dernier hommage à l’Opéra de Paris en lui offrant un nouveau ballet classique de grande envergure, inspiré du roman de Stendhal Le Rouge et le Noir.

Figure emblématique de la chorégraphie contemporaine suédoise, Mats Ek est de retour à l’Opéra de Paris, quatre ans après l’annonce de son retrait de la scène artistique. Avec son ballet Carmen et deux nouvelles créations.

Étoiles d’un soir, les solistes de l’Orchestre de Paris dévoilaient ce jeudi leurs infinies couleurs, dans un programme bigarré dédié à la musique de ballet.  

Not just a jolly romp through the inconstancies of the heart, Sir David McVicar takes Così fan tutte through a dark lesson for lovers while leaving the music ravishingly intact.

Vancouver Opera's opening production of the 2015-16 season features an ideal cast let down by stale production

Vancouver Opera's updated Sweeney Todd is an incisive and disconcerting theatrical experience, backed by a musically excellent cast

David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso). 

Entering the Norwegian National Opera for their season opener of Mozart’s Le nozze di Figaro, I imagined it would be a pretty conventional production and was hoping for some good singing. Turns out, I was only partly right.

Opera Australia's production of The Magic Flute was advertised as a family-friendly production, and at times felt more like a pantomime than an opera.