Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Elliot Madore

Vittorio Grigòlo und Diana Damrau wiederholten und festigten ihre intensive Bühnenbeziehung in Bartlett Shers neuer Produktion von Roméo et Juliette an der Met.

Mit Ariadne auf Naxos von Richard Strauss zeigt die Bayerische Staatsoper, dass auch eine Wiederaufnahme für musikalische Höhepunkte sorgen kann.

Eine Rarität der Sonderklasse eröffnete die diesjährigen Münchener Opernfestspiele. Claude Debussys Pelléas et Mélisande war in einer neuen Produktion im Prinzregententheater zu sehen, konnte aber schlussendlich leider nur musikalisch punkten.

The composer's magnum opus, unjustly neglected in English-speaking countries, receives magnificent treatment from Andris Nelsons and the Boston Symphony Orchestra, anchored by David Butt Philip and Christine Goerke.

Sarah Dufresne dazzles as Ophélie in Opéra de Montréal's Hamlet along with mezzo Karine Deshayes and the Orchestre Métropolitain conducted by Jacques Lacombe.

Conducting a reduced version of his own opera, Matthew Aucoin's Eurydice still packs a big punch. 

A memorable night at the opera as Andris Nelsons conducts Così fan tutte at the Tanglewood Festival. 

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

The Teatro dell'Opera opens its season with the world premiere of Giorgio Battistelli and Ian Burton's new Shakespearean work, under the baton of Daniele Gatti and the direction of Robert Carsen.

Présenté en création française dans le cadre du Festival Radio France Occitanie Montpellier, l'opéra de Venables et Huffman déçoit par son aspect répétitif et peu lyrique.

A good audience turnout for the opening of Noseda's third NSO season justifies an all-20th-century program centering on Carl Orff's popular and direct setting of medieval poems about real life and fate, but also presenting gentler works of religious reflection.

Dame Shirley’s texts are here sung by the young American soprano Julia Bullock whose pliable instrument and stylish way with words reveal an ideal storyteller.

Hats off to Andreas Homoki, Artistic Director at the Zurich Opera House, for staging a musical around “the chill of ghostly shadows”.

A fresh and compelling performance of Carl Orff’s classic. Aaron Copland’s rarely-performed Statements filled out the orchestra’s last concert performance at the Blossom Music Festival for 2018.

Under Andris Nelsons' baton, the musical canvas was remarkably supple with proper light shed on Puccini’s melodic inventiveness and wondrous orchestration.

Adams and Peter Sellars demand that the audience take a cold, hard look at the Gold Rush and the founding history of California.

Franz Welser-Möst led a radiant performance of Debussy’s operatic masterpiece directed by Yuval Sharon, starring Elliot Madore, Martina Janková, and Hanno Müller-Brachmann.

Santa Fe Opera presented Gounod’s Roméo et Juliette in Stephen Lawless’ mid 19th-century staging, a co-production with Barcelona's Liceu. Before the overture, General Director Charles MacKay came onstage to announce that Stephen Costello was ill and would be replaced by Joshua Guerrero, a graduate of the Los Angeles Opera Young Artist Program.

Une bien belle soirée ravélienne, qui aura mis en valeur un Orchestre de la Suisse Romande décidémment en grande forme sous la direction raffinée de Charles Dutoit, expert de la musique française.

Kirill Petrenko donnait en version de concert au TCE l'opéra qu'il dirigera bientôt sur scène à Munich, avec le même cast. Il avait cependant une guest star de luxe, le Bacchus de Jonas Kaufmann. Une soirée où la musique était à la fête et où le théâtre était quand même présent.

San Francisco Opera's production of Sweeney Todd brings nothing new to the musical, but the cast includes wonderful surprises – most notably Stephanie Blythe's Mrs Lovett.

L’étoile at the Dutch National Opera, directed by Laurent Pelly and conducted by Patrick Fournillier, is bubbly and light like a glass of sparkling wine, to be consumed without restraint. 

Jonathan Kent claims one of the great difficulties of Mozart-Da Ponte’s 1787 dramma giocoso is ‘the collision of an extraordinary variety of music and mood within it’