Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Judit Németh

Iréne Théorin singt eine fesselnden Opferszene, während Ádám Fischer den Budapester Ring des Nibelungen mit makelloser Orchesterleistung abschließt.

With Iréne Theorin's Brünnhilde rejuvenated, the Ring receives a worthy finale at the Budapest Wagner Days.

In András Almási-Toth's engaging new production, magnificent orchestral and choral performances let Wagner's music do the talking.

A Ring cycle of sustained excellence closes with telling contributions from Foster, Vinke and Pesendorfer in the three lead roles.

The music, a combination of Italian-sounding melodies, German instrumentation and Hugarian dotted rhythms, was remarkably captivating.

A new production of Humperdinck's charming opera fails to enchant at the Erkel Theatre. 

The big heart and generous melodies of Ferenc Erkel's fine opera shine through in difficult circumstances in Atilla Vidnyánszky semi-abstract new staging at the Erkel Theatre.

Underwhelming performances, all too tempestuous conducting and an aesthetically pleasing but puzzling production fail to thrill.

Solid singing proves to be the main attraction of an ineffective new staging of Die Walküre at the Hungarian State Opera.

An impressive Die Walküre with a trio of first act singers that would be hard to better. Throughout, clarity of diction is allied to clarity of the orchestral reading. 

This production came together brilliantly to illustrate the story of Das Rheingold. But the star of the show was MüPa’s Béla Bartók Hall, with its extraordinary acoustic.