Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Vocalconsort Berlin

Wie ersprießlich ein barockes Bühnenspiel doch sein kann, wenn historischer Ansatz, Solisten und Ensemble Hand in Hand gehen, zeigten Oberlinger und Niemann auf schnörkellose, Zeit und Werk dienliche Weise.

Welches Werk spielt man vor Mozarts Requiem? Ivan Fischer und das Konzerthausorchester haben mit Mozarts Symphonie in Es-Dur an diesem Abend eine hervorragende Lösung gefunden. 

Barrie Kosky's new production of Philip Glass' Akhnaten for Komische Oper at the Schillertheater removes any egyptological references. 

The last of Jacques Offenbach's great buffo operettas provides an opportunity for topical satire but Max Hopp’s attempts at updating it fall short of the mark.

Sailor suits and powder-puff bows as Herbert Fritsch directs a colourful new production in Berlin. 

Jurowski and the Berlin Radio Symphony Orchestra give the Konzerthaus a night to remember with pungent renditions of Goldmann, Weill and Stravinsky's Jeu de cartes.

La meticulosa dirección de García Alarcón y la cuidada propuesta de Sasha Waltz redundan en un espectáculo en el que la centralidad de la música se ve reforzada por una coreografía que construye el espacio y las relaciones entre personajes.

Marking the beginning of a new artistic direction, the Komische Oper's new production of Nono's Intolleranza 1960 proves a success, with director Marco Štorman's deep rethinking of the theatre stage.

Pour trois représentations, le Staatsoper Unter den Linden hisse le drapeau du baroque en affichant la désormais célèbre mise en scène de Didon et Énée par la chorégraphe allemande Sasha Waltz. 

Leigh Melrose appears in a strong new Œdipe directed by Evgeny Titov to open the 2021-22 season at the Komische Oper. 

The Salzburg Festival's production of Offenbach's Orpheus in the Underworld is another classic in the making from Barrie Kosky.

La madurez del Dido & Aeneas de Sasha Waltz hilvana ópera y danza en trazos invisibles que erizan la piel y recrea un relato legendario con aires de vanguardia.

Franz Schreker’s Die Gezeichneten (The Branded One) is an unsettling work given the storyline’s background of abduction and clandestine sexual abuse. Calixto Bieito, as expected, eschews ambiguity regarding what goes on behind the scenes, and casts even the titular cripple Alviano Salvago in a damning light.

The Spanish director offers a controversial angle but tones it down to focus on dark psychology rather than spectacle in his staging of Schrecker's hothouse opera.

Rattle conducts Janáček's glorious score with unerring skill and barely concealed adoration, but is let down by his regular collaborator's muddy vision. 

Barrie Kosky's production of Schoenberg's unfinished masterpiece is brought to musical life by Vladimir Jurowski's intense and compelling interpretation.

Sasha Waltz's choreography-heavy production of Purcell's Dido and Aeneas at the Sydney Festival is both intruiging and distracting, giving the singers little chance to shine.