Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Christine Rice

Sellars und Rattle schaffen einen Raum und Klang, der Bach mit seiner Deutung einer der bekanntesten Erzählungen der Welt lebendig werden lässt.

Mit viel Zuspruch belohnte das Publikum der Salzburger Fespiele Thomas Adès, Tom Cairns und alle Musiker für eine stimmige und spannende Uraufführung. 

Warner vuelve a mostrar su talento indiscutible en la escena y su afinidad con Benjamin Britten, aunque, en esta ocasión, el aspecto musical no ha acompañado lo suficiente.

Anneliese Miskimmon's ENO production of Jake Heggie and Terence McNally's tale of crime, repentance, compassion and redemption compels from start to finish.

Following her Billy Budd and Peter Grimes, Deborah Warner directs a third Britten opera at the Teatro Costanzi. 

Sacred and secular, operatic and symphonic dimensions united in a thrilling climax to the London Philharmonic Orchestra's season. 

Two individual works worth seeking out with outstanding performances in each.

With gloriously inventive sets and costumes, Alex Esposito’s splendid Four Villains drive a wonderfully entertaining new production.

Miskimmon's relocation of the action to Ireland is unsparing in its evocation not of some tearjerking melodrama but of an almost documentary reportage on real events. 

Christopher Alden, Chris Hopkins and an excellent cast send us a comic roller coaster ride with Verdi’s ultra-rarely performed second opera.

In the first and last acts, ladies entered with a train still attached to a bolt of cloth, which was then cut to length by an attendant. Was this production brought to the stage in a great hurry, allowing no time for costume fittings? 

La création française de l'opéra du compositeur britannique restera LE temps fort de la saison pour la Grande Boutique, la musique, la mise en scène et la distribution s'accordant à merveille.

English National Opera opens its new season with a revival of David Alden's masterly production. 

Incest, family secrets, murder… this is a fiercely compelling evening of dance, drama and song.

Charles Edwards' ambitious production is well served by a strong cast as Grange Park Opera opens its season in the Theatre in the Woods. 

Martyn Brabbins conducts an excellent ENO orchestra and consistently good ensemble cast as Richard Jones delivers a wealth of narrative detail to introduce Wagner's Ring.

When done as well as this, a "concert staging" is not oxymoronic, but a precise term for a valuable mode of presentation.

A mixed bag of performances at Covent Garden, but with an outstanding Butterfly who brings ample rewards to an evening where the emotional temperature eventually soars.    

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

Christine Rice gives an astonishingly performance in an evening of four powerful chamber pieces.

Verdi and Schiller lose out to Barbora Horáková in a new staging for English National Opera. 

Les Violons du Roy ont permis aux mélomanes de Québec de découvrir la mezzo-soprano britannique Christine Rice, qui a ébloui dans un répertoire allant de Purcell à Britten.

Edward Gardner conducts a richly entertaining account of Berlioz's masterpiece in Birmingham

The French-Sicilian tenor shines in Sir David's McVicar's pristine take on Umberto Giordano's slice of verismo. 

Challenging and vivid Bach in the first UK showing of Peter Sellars' staging of Bach's great liturgical masterpiece.

In Germany, the Christmas Oratorio is performed with the same frequency during the holiday season as Messiah in English-speaking countries. In Boston, the BSO gives its first performance!

Awkard programming but fine musicianship from the Nash Ensemble and Christine Rice as part of its 'German Romantics' series.

Selectively unearthed from current critical editions, this fabulously performed new Hoffmann plumbs the murky depths of its antihero’s psyche.

David Pountney’s 2014 staging was revived in Naples with good singing and empathetic conducting.

Adès opera resists explanation, and the ambiguity of the story drives much of its compelling nature. 

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

Luis Buñuel's derision at the sense of entitlement of over-privileged, self-righteous prigs shines through a high quality operatic adaptation.

In a rare performance of Bach’s Mass in B minor, Andris Nelsons and the BSO brought forward the music’s gravitas.

When an enormous black gondola creaks and shudders its way across the stage in the “Giulietta' act of the Royal Opera's Tales of Hoffmann, it acts as a metaphor for John Schlesinger's venerable production.

Verdi’s masterpiece dazzled a packed Festival Hall on Thursday night. 

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

Happy Birthday, Mozart! An incisive Gran Partita from London Winds, a spirited Sesto from Christine Rice, and a memorable and arresting Concerto from Collins and the City of London Sinfonia.

Director Ole Anders Tandberg's production of Monteverdi's Il ritorno d'Ulisse expertly balances the line between irreverent humour and human tragedy.

Karina Gauvin y Christine Rice lideran el estreno escénico en Madrid de la obra maestra de Händel

The BBC Concert Orchestra and Barry Wordsworth were joined by Stile Antico, Jack Liebeck and Christine Rice in an exploration of the musical mind of fictional detective Sherlock Holmes. 

The Rape of Lucretia may be something of a problem piece, but Fiona Shaw's production is an excellent piece of ensemble theatre set around some very fine performances of music of rare beauty.

From its stunningly filmic opening to its faux-Golgotha finale, the Royal Opera House’s new production of Weill’s Rise and Fall of the City of Mahagonny demands our attention. 

The Met's holiday special, Hänsel und Gretel, is a treat not only for young children but for adults with its sophisticated music, excellent singing ensemble and orchestra playing, as well as its witty production.

A star-studded Alcina delights at the Barbican, though remains less than the sum of its considerable parts. 

A colour-coded Mosè in Egitto uses the paintings of Marc Chagall to inspire the costumes for the Jews and the Egyptians in this production of a Rossinian rarity.

Prom 23 contained a mixed programme of McLeod, Beethoven and Mozart. Whilst each piece was enjoyable in its own right, and some truly outstanding musicianship was evident throughout the evening, the lack of connection between the pieces left a feeling of unsettledness.

There’s nothing like a bit of Mozart to help you unwind… and this was far more than a bit of Mozart, as part of the CBSO’s “Relax and Revitalise” series. 

Così fan tutte in a 1950s carnival setting. Visually spectacular, and with plenty of laughs. Not everything works, but still worth seeing, especially for Roderick Williams' spivvy Don Alfonso.

The ROH's revival of Carmen doesn't bring anything new to the opera, but a stellar cast and stylishly traditional production make it a very enjoyable evening.