Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Ladislav Elgr

Calixto Bieitos Inszenierung von 2014 geht auch bei der Genfer Wiederaufnahme durch Mark und Bein. Aušrinė Stundytė gestaltet die Hauptrolle der Kaufmannstochter Katerina mit unglaublicher Authentizität.

Amélie Niermeyers Inszenierung von Dvořaks Werk ist ein Totalausfall; Sänger und Orchester geben zusätzlich nicht viel Anlass zur Freude.

Mit enormer Ausdruckskraft verleiht Evelyn Herlitzius den zwei Seiten der Emilia Marty stimmlich und darstellerisch nuancierte Gestalt.

The Royal Liverpool Philharmonic Choir star in Janáček’s Glagolitic Mass after an ideal Pastoral Symphony from the RLPO and Dinis Sousa. 

Un quart de siècle après sa création à l’Opéra de Flandre, la mise en scène du chef-d'œuvre de Janáček par l'artiste canadien n'a rien perdu de sa poésie.

Amanda Majeski reprises her peerless Kátya, but Katarina Dalayman's flint-like characterisation as Kabanicha strikes the most sparks.

La production genevoise est d’abord un grand moment de théâtre, auquel s'ajoutent la direction musicale convaincante de Tomáš Hanus et une belle distribution, emmenée par une Corinne Winters impeccable.

Although Damiano Michieletto's new production resembles an expensive drama workshop, it’s the marvellous performances that make this such a moving Jenůfa.

Canellakis is an elegant conductor who invests so much in the music and inhabits its lilts and thrills with her whole demeanour.

La production de l'année pour l'Opéra de Lyon ! Warlikowski livre une interprétation particulièrement efficace du chef-d'œuvre de Janáček, entre parabole poétique et réalisme cru.

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.

Créé il y a dix ans à Vienne, triomphe au Festival d’Aix qui a suivi, De la maison des morts, dans la mise en scène de Patrice Chéreau, est enfin donné sur la scène de Bastille, ici encore sous l’impulsion bienveillante de Stéphane Lissner.

Torsten Fischer's Nazified production of Strauss' Daphne in the Semperoper Dresden may leave you confused, but it receives a solid performance. 

Schubert's unfinished oratorio Lazarus joined with other interesting works by both Schubert and Charles Ives in a staged performance at the Theater an der Wien, directed by Claus Guth. Strongly cast, the musical juxtaposition works better than the oratorio itself, and the rather cold dramaturgy.

Iolanta and Francesca da Rimini work particularly well as a double bill because both works share the theme of lovers who find themselves at the mercy of possessive forces. Iolanta's domineering father ultimately yields in Tchaikovsky's opera, but in Rachmaninov's the deceitful Lanceotto is not so accommodating.

Before writing a note of Gogol, composer Lera Auerbach immersed herself in the writer’s complete works and over twenty books written about him. It would take similar efforts to begin to understand this opera: taking us inside the fevered mind of its title character, Gogol is less a biographical narrative set to music than a phantasmagorical, psychological investigation.