Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Emmanuel Villaume

Lotte de Beer schickt in ihrer Inszenierung Hoffmann zur Therapie – vergeblich. Musikalisch überzeugen vor allem die Frauen.

Andrei Serbans Inszenierung bleibt auch nach fast 20 Jahren blass, aber Kristina Mkhitaryan und Vittorio Grigolo füllen den Abend mit Leben. 

Traditionell inszeniert und hervorragend besetzt wurde Puccinis Oper an der Met.

The Prague Philharmonia carries on founder Jiří Bělohlávek's legacy with a bracing birthday celebration. 

Si la mise en scène de Damiano Michieletto propose un spectacle bien mené et bien rythmé, l'œuvre d'Offenbach est plombée par une distribution inégale et une réalisation musicale peu subtile.

Chief Conductor Emmanuel Villaume led a sparkling contribution to the Year of Czech Music, pairing rarely heard items with popular standards.

Si la mise en scène de Tobias Kratzer n'est pas dépourvue d'incohérences, elle réserve tout de même de grands moments de spectacle. Et la distribution tient son rang, emmenée par un grand Pene Pati.

Garrick Ohlsson returns to the scene of earlier triumphs for breathtaking Brahms with Emmanuel Villaume and PKF – Prague Philharmonia.

Laurent Pelly's long-standing production of Offenbach's opéra-fantastique returns to the Deutsche Oper Berlin, under the baton of Emmanuel Villaume.

An eclectic line-up in Prague's Rudolfinum offers surprises and a surfeit of talent.

In Atlanta, guest conductor Emmanuel Villaume and pianist Andrew von Oeyen powerfully perform a Liszt concerto.

This third revival of Richard Jones' production is thoroughly competent but struggles to rise above the routine.

Artificial intelligence shows it can write music, but human composers need not worry – not yet, anyway.

The orchestra closes its 25th anniversary season with a strong statement of accomplishment and ambition.

The second performance of the Met's Pearl Fishers saw one of the leads withdraw mid-performance again. A welcome performance by young baritone Alexander Birch Elliott could not rescue the evening. 

Tragedy turns to joy in an evening laden with expectations and emotion.

Barcelona’s Gran Teatre del Liceu stages Puccini’s first great success as an operatic composer, Manon Lescaut with the stage direction of Davide Livermore. 

Chicago's new Faust is a quest for youth but also a reflection on insipiration, fabrication and manipulation. 

A decision to offer traditional stagings for standard repertoire may be a dangerous path to tread for the Met's future.

Ailyn Pérez draws every eye and ear to her in an easy-on-the-eye production that doesn't solve some of the work's inherent contradictions.

The Dvořákʼs Prague Festival opens with an upbeat treatment of one of the composer's masterworks.

Santa Fe Opera's colorful and beautifully sung The Golden Cockerel makes a case for more Rimsky-Korsakov opera in the repertoire.

A fantiastic walk through Bohemia guided by the PKF Prague Philharmonia conducted by Emmanuel Villaume, with an excellent performance from Gautier Capuçon.

Richard Jones's production of Puccini’s Western opera La fanciulla del West is well sung, but fails to tap in to the Wild West atmosphere of the surroundings.

If the production is full of pleasures, they do not immediately or obviously connect to a sense of some larger plan, which might have been helped along with a more dynamic set.

A clumsily directed, poorly sung Tosca at the ROH made for a dispiriting evening. 

The two leads in the brand-new cast of the Met’s three year old production of Massenet’s Manon were unbeatable. 

Thoughtful character placement and a keen eye for detail contribute to a Carmen in Rome which is short on passion, but lovingly played. 

Every opera poses an acting challenge to its prima donna, but Massenet’s Manon, whose 2010 production by Laurent Pelly started its first revival at Covent Garden last night, is particularly harsh on the singer of its title role. Ermonela Jaho rose to the task magnificently.

On Monday night – and, one might guess from the way the opera crowd gripped their collars as they swept into the Civic Opera House, the coldest night in Chicago this winter – a new La Bohème opened at the Lyric (it’s on loan from the San Francisco opera).

When I heard that Washington National Opera’s upcoming production of Jules Massenet’s romantic and beautifully tragic opera Werther would be set in the 20th century, I was intrigued.