Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Henrik Nánási

Der Jahrmarkt von Sorotschinzy wurde zuletzt 1948 an der Komischen Oper Berlin gegeben, inszeniert von dem legendären Walter Felsenstein. Jetzt hat Barrie Kosky, Regisseur und Intendant des Hauses, sich daran versucht. 

Auch nach vier Jahren lockt die Produktion von Mozarts Evergreen das Publikum in Scharen ins Opernhaus und verspricht einen anregenden Abend.

Cantantes estrella y una escenografía icónica, imprescindible para cualquier aficionado, para el final de temporada del Teatro Real

Le metteur en scène polonais est à la tête d'une production de l'opéra de Strauss qui fera date, avec une distribution de rêve (dont Véronique Gens en Maréchale) et un orchestre au diapason.

The Royal Opera's season opener is a welcome return for Tchaikovsky's opera after nine years, and a house debut for American director Ted Huffman.

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

In the Italian version of Verdi's French grand opéra, Emma Dante updates the action from 1282 to the organised crime of the Sicilian Mafia. 

For the 84th edition of its summer festival, the Teatro del Maggio Musicale Fiorentino presents its first ever production of Gounod's Roméo et Juliette.

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

Dans la mise en scène de Robert Carsen, le célèbre opéra de Mozart fait un retour remarqué à l'Opéra national de Paris, avec un grand Florian Sempey en Papageno.

Llega al Palau de les Arts una producción procedente del Teatro Mariinsky de la última ópera compuesta por Tchaikovsky, Iolanta.

Henrik Nánási leads the Atlanta Symphony is a dynamnic, yet restrained Tchaikovsky Fourth Symphony.

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

An impressively cast revival for Verdi's one-time neglected masterpiece at Covent Garden.

Henrik Nánási balances the Orchestra of the Royal Opera House to perfection, setting the stage for a memorable title role performance from Byström and a powerful Jochanaan from Michael Volle.

A thought-provoking production and killer cast make San Francisco Opera's Elektra top-notch music drama.

With a guest performance of the Komische Oper Berlin, Barrie Kosky's and Suzanne Andrade's magical production triumphs in Budapest.

Cette reprise de La Flûte dans la mise en scène de Robert Carsen nous dévoile un casting vocal à la hauteur des exigences de la partition, et nous démontre une fois de plus la capacité du metteur en scène à traduire avec poésie et grâce les sentiments les plus perfides qui bien souvent s'expriment dans les rapports les plus intenses entre les êtres.

Barrie Kosky's 2011 production confines the action of the opera to a stark white room. A fine ensemble of singers made for a successful evening.

For the latest revival of Moshe Leiser and Patrice Caurier's candy-striped production, the Royal Opera serves up the operatic equivalent of stodgy semolina.

El Liceu comienza su temporada con La flauta mágica, en una producción de inspiración cinematográfica que conforma un espectáculo audiovisual abierto a todos los públicos completado por una interpretación ágil de la partitura.

Barrie Kosky's new production of Eugene Onegin at the Komische Oper Berlin is delicious for the eyes, ears and emotions. 

What makes this Figaro memorable and admirable is the way it manages both to be sprightly in its tone and details and also luxuriant in places that another director might have blown through.

At the end of the season, and before closing for the summer break, the Komische Oper Berlin reprise some of their most successful recent productions for one night only in the Komische Oper Festival, including the popular “cartoon” Magic Flute. Included in this busy week was a performance of Tchaikovsky’s Mazeppa, a rarely performed epic opera of battle-torn love and murder.

In the early years of the 20th century Puccini was a very happy man. His most recent opera, Tosca, was proving as successful as La Bohème, and the lucky composer was being summoned to opera houses throughout Europe for its premières. In the summer of 1900 Puccini attended the première performance of Tosca in London, and soaked in the atmosphere of Europe’s largest city.