Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Graham Vick

Benjamin Brittens Tod in Venedig an der Deutschen Oper Berlin ist eine herausragende Neuproduktion von Graham Vick und Donald Runnicles.

Graham Vick's new staging of Mozart's unfinished Singspiel marks a welcome, exciting reopening of Teatro Costanzi after the Covid-19 shutdown.

Michele Mariotti triumphs in Rossini’s masterpiece with a good cast led by Salome Jicia and a new production, only partially successful.

The wealth of visual images displayed by director Graham Vick goes with the extraordinary richness of Korngold's music.

La presentación de La flauta mágica de Vick en Les Arts prometía una intensidad subversiva que resultó tan solo una sucesión de clichés trasnochados.

Graham Vick stages his Marriage of Figaro in todays vulgarity, but he is not fully convincing.

Peter Seiffert can still impress as Tristan, but Graham Vick's staging is uncertain and unconvincing. 

The Magic Flute's roots in popular theatre come through most strongly throughout Vick's production, which sparkles with a wealth of witty detail. But treatment of the work's socio-political undercurrents doesn't work nearly as well.

Vick enjoys working with young singers, and in with the young second cast he is spoiled.

Without recourse to virtual reality or hallucinogens, Vick has created a suggestive, vividly surreal world where one's reference points are lost to the wind.

A strange evening: superb Mozart playing from Rousset, plenty of fine singing, staging and costumes that one certainly isn’t going to forget. But what’s the point of it all?

The advantage of staging a rare opera such as Cavalli's Hipermestra at Glyndebourne this year is that the director can work with a blank canvas without audience’s preconceptions.

Strong vocal talent rules the night, and a late moment of visual splendor caps off a serviceable reading of a battered warhorse.

Deutsche Oper Berlin performed an intensely focussed opera on the birth and death of one man based on Jon Fosse's novel – a memorable and moving contemplation on life.

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

A threadbare staging from Graham Vick allows Haas’ innovative score to shine. Drama is modest, but complements sophisticated music to project an impressively unified vision.

On attendait beaucoup de cette production du Roi Arthus de Chausson à l'Opéra de Paris mais force est de reconnaître que cette redécouverte ne fut qu’un demi-succès ou plutôt même un demi-échec.

The Met's revival of Shostakovich's satirical opera of an oppressed Russian housewife's tragedy is a must-see event of the season.

Nabucco in a shopping mall – this is Graham Vick’s concept for his new production of Verdi’s early masterpiece created specifically for New National Theatre Tokyo.

Birmingham Opera Company’s production of Mittwoch aus Licht, Karlheinz Stockhausen’s six-hour sonic exploration of light, love, and the boundlessness of the human imagination, was a triumph from start to finish, and an unforgettable experience. Graham Vick’s spectacular production fostered a sense of child-like wonder that continued unabated throughout the night.