Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Carlo Rizzi

Die Lyric Opera hat die bisher bestklingende Premiere des Jahres zusammengestellt, in der Sänger, Chor und Orchester alle mit erstaunlicher Sicherheit begannen und nur noch besser wurden.

Malgré la révélation Judit Kutasi dans le rôle d'Azucena, la reprise de la (décevante) mise en scène d'Àlex Ollé à Bastille ne fait pas du Trouvère une production marquante.

A revival for Sir David McVicar's staging from last season, but this time reverting from French to the four-act Italian version, conducted by Carlo Rizzi. 

Aleksandra Kurzak's lyrical Tosca brings out the woman behind the caricature in this revival of Sir David McVicar's lavish production.

Sir David McVicar's new production opens the Met season with house's first ever staging of Cherubini's Medea.

Rossini's 1816 farce fails to make a splash as Marco Carniti's frenetic staging returns to Pesaro. 

A great orchestral performance of an exciting score don't quite mask the dramatic weaknesses of Opera Rara's latest.

La metteuse en scène Mariame Clément s'attaque à l'opéra de Massenet avec plus ou moins de bonheur, dans une production qui ne manque pas de ressources musicales.

Lindy Hume's new production works reasonably well in allowing the story to be told with sufficient emotional weight.

If you have dismissed this opera as overstuffed kitsch in the past, you might want to take a look at this production. It could well change your mind.

Carlo Rizzi se puso al frente de la Orquesta Sinfónica de Galicia y junto a la soprano Chen Reiss ofrecieron un Strauss preciosista y un sensible Dvořák. 

Les Arts estrena una producción muy cuidada de La Cenerentola de Rossini.

A solid Figaro in Cardiff, in which individual performances are a joy, and humour abounds. 

David Pountney completes his “Verdi trilogy” for the company but although his staging has fluidity, it lacks an explosive ending... and the vocal performances disappoint. 

A new, successful production by Leiser and Caurier supports a great cast of Rossini specialists, with Teresa Iervolino, Paolo Bordogna and Davide Luciano in the lead roles.

It is a thing of wonder that Roberto Devereux is one of Donizetti’s lesser known works. Whether on account of its challenging soprano part, or its fussy Tudor setting, it is rarely performed, but contains some of the composer’s most beautiful – and indeed memorable – arias and duets.

Musically, WNO gets it right. Straightforward brilliance is the order of the day, and plenty of it.

Mefistofele proves a mixed blessing: good meets evil, devils fight with angels, lovely lyricism alternates with bombast and second-rate material.

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

Carlo Rizzi and Elizabeth Koch Tiscione perform exquisitely in Mozart’s Oboe Concerto with the Atlanta Symphony Orchestra.

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

Carlo Rizzi conducts WNO's Tosca revival in Cardiff.

When the entire plot is triggered by a freak accident, you can't blame director David Pountney for making Fate itself one of the key characters.  

Carlo Rizzi conducts The Hallé in a programme of inventive and thrilling approaches to Resoighi, Rachmaninov and Rossini at Bridgewater Hall.

The Met succeeded in casting two strong singers for the difficult lead roles of Puccini's final opera. 

Sondra Radvanovsky scores a rousing success in the taxing title role of Bellini's masterpiece in New York.

Rare repertoire, polished orchestral playing, thrilling singing – it's no wonder London's operatic cognoscenti were out in force.

Una sobresaliente Sinfónica de Galicia demostró que a sus veinticinco años goza de la envidiable madurez de las grandes orquestas

Damiano Michieletto’s intriguing production of Rigoletto is set in a mental hospital, and sidelines emotion in favour of analysis. The singing, on the other hand, is heartfelt and exciting.

Proposition étonnante, la programmation des deux oeuvres dans une même soirée fait le pari des contrastes, mais parvient difficilement à se tenir à distance d'un traitement narratif très vertical et moralisateur.

Welsh National Opera may have reached the ripe old age of seventy but it's very much alive and kicking.

David Jones' First World War epic poem comes to musical life in Iain Bell's newly-commissioned opera. 

A revival of a verismo rarity: Umberto Giordano's La cene delle beffe at La Scala. 

Zurich’s revival of Georges Bizet’s three-act opera Les pêcheurs de perles (The Pearl Fishers) pulls out all the stops, but it was not to everyone’s liking.

Annilese Miskimmon's production of I puritani mixes Royalists with Loyalists - but is musically successful under Carlo Rizzi's baton.

Six years after its contested 2009 world première at the Metropolitan Opera, Luc Bondy's disputed production of Giacomo Puccini's Tosca bowed its third Teatro alla Scala staging here on Monday night.

Mario Martone's Cavalleria rusticana—Pagliacci returns to La Scala, with results that do not always convince. 

Puccini's La fanciulla del West gets a modern update at the Deutsche Oper Berlin.

Luisa Miller in Zurich is a finely crafted and intelligent production in which Verdi's music supports a tragic story of bourgeois respectability. 

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.

Welsh National Opera's new production of Rossini's William Tell shows off orchestra and chorus to their full under Carlo Rizzi's baton

Sometimes catching a performance with its second cast can be as revealing as attending a first night, and that was the case with this production of Rigoletto by the Canadian director Robert Carsen at La Monnaie in Brussels.

Gaetano Donizetti’s Lucia di Lammermoor is a coloratura soprano vehicle and this season’s Dutch National Opera production felicitously starred Jessica Pratt, an internationally celebrated Lucia and a favourite of the Italian public.

The Canadian Opera Company provides a traditional production (that’s a complement) of Puccini’s La bohème at Toronto’s Four Seasons Centre for the Performing Arts. Its strengths are a well-sung Mimì (Grazia Doronzio) and Marcello (Joshua Hopkins), and fine directing by John Caird. The set design is very good except for the first act and the orchestral playing is sound.