Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Allison Cook

Die 1966 entstandene avantgardistische Oper erlebt in Zürich erst ihre vierte Aufführung. Der Dirigent Gabriel Feltz, der Regisseur Sebastian Baumgarten und ein spielfreudiges Sängerensemble bereiten dem monströsen Werk einen Triumph.

Transferring from Manchester to London in expanded form, ENO stage a bruising, uncompromising allegory of modern slavery.

Kip Williams and ENO mount an extraordinary new production of Du Yun and Royce Vavrek’s multifaceted opera, with performances of great emotional directness broadcast live on camera.

After 45 years, Ambroise Thomas' Hamlet returns to Buxton in a gripping, psychological staging by Jack Furness. 

Barry goes for out-weirding Carroll at a fast and furious pace. There's plenty of fun and it's beautifully staged – but is that enough?

After 76 performances in 17 theatres and seven different productions, Quartett returns to La Scala in the original sgating by Àlex Ollé of La Fura dels Baus and the Milan audience is once more captivated.

El Gran Teatre del Liceu presenta el estreno mundial de L'enigma de Lea, la primera ópera de Benet Casblancas, con texto de Rafael Argullol y una cuidada dirección musical a cargo de Josep Pons.

ENO's new production of Salome which opens the season features some commendable music-making, but is let down by a flawed concept and dull staging.

Alex Otterburn as East End Eddy gives a towering performance in Scottish Opera’s revival of its Edinburgh Festival production of Mark Anthony Turnage’s Greek.

Lewis Carroll's Alice: so crazy that all Gerald Barry can do is make it crazier.

Britten's The Turn of the Screw finally makes its debut at La Scala in Kasper Holten's eerie staging. 

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.

Barbican Britten: Phaedra is just one of the events in the venue’s two-week celebration of the composer’s centenary. The programme presents four pieces choreographed by Richard Alston to Benjamin Britten’s music. Alston’s choreography is well suited to Britten’s music: both artists are lyrical, tempered, and incline toward narrative.

The chamber opera Powder Her Face has acquired a reputation as a “Don Giovanni for the Monica Lewinsky generation”, a tagline of which I was initially quite skeptical.

A first impression of Quartett, a 2011 chamber opera composed by Luca Francesconi and staged by Àlex Ollé (of the innovative Catalan theatre group La Fura dels Baus), may be that it presents an unapologetically modernist take on the Liaisons dangereuses story which will impenetrably hang together as some fearsomely Teutonic total artwork.