Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Erwin Ortner

Trotz aller Schwächen lohnt ein Besuch, auch wenn man manchmal beide Augen zudrücken muss.

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

René Jacobs feiert das 10-jährige Bestehen des Theater an der Wien mit einem atemberaubenden konzertanten Idomeneo.

Das Theater an der Wien feiert sein 10-jähriges Bestehen mit einer von Nikloaus Harnoncourt eingerichteten Fassung der Leonore von 1806. 

Wenn auch nicht die herzerwärmendste Geschichte diese Weihnachten, so ist dieser Peter Grimes eine Produktion, die man nicht verpassen sollte.

Leoncavallo's opera is a rare example of a tragic, verismo opera where not a soul dies... neither by natural causes nor foul play.  

Keith Warner directs a new opera which packs in betrayal, murder, oppression, freedom, love and the Spanish Inquisition into a mere 90 minutes.

Sam Brown's sparse production leaves nothing to focus on but the individual protagonists on stage. 

It is all very easy on the eyes, although pondering what it is all supposed to mean is a recipe for a migraine.

At the Theater an der Wien, director Mariame Clément and novelist Lucy Wadham have crafted innovative material that brings the old-fashioned lyrics to life in a coherent and contemporary dramatic setting.

Anno Schreier's successful new opera Hamlet is the first of a series of three Shakespeare-inspired offerings from Theater an der Wien this season. 

The position of Composer in Residence at the Grafenegg festival may as well be called Composer-Conductor in Residence, as the appointments of Tan Dun, HK Gruber, and now James MacMillan have established a tradition whereby the lucky candidates are not only required to be intimately involved with the programming and preparation of their music, but also to stand in front of an orchestra and lead the

The venerable Viennese tradition of airing dirty operatic laundry in public found an unlikely proponent this season in the form of the Theater an der Wien’s mild-mannered director Roland Geyer, who, unhappy with William Friedkin’s production of The Tales of Hoffmann in March, abruptly sacked the American director and announced he would devise a new staging himself a matter of months before the sec

Deborah Warner’s new production of La Traviata for the Wiener Festwochen is dotted with dramatic ideas to much the same extent as flowers are strewn and champagne is uncorked in the Act I ‘Brindisi’ (drinking song), which is to say sparingly.

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.