Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Marco Arturo Marelli

Christian Thielemann leitet mit seiner letzten Wagner-Oper seinen Abschied als Chefdirigent der Staatskapelle Dresden ein.

Carlo Rizzi leitet einen genussvollen Abend mit romantischen kleinen Gesten und großen Gefühlen.

Annette Dasch und Daniel Schmutzhard lassen eine der beliebtesten Volskopernproduktionen wie eine Premiere aussehen, auch gesungen und getanzt wird auf höchstem Niveau.

Manfred Trojahns Oper beginnt, wo Richard Strauss' endet: einmal noch wird Orest im Auftrag Elektras töten.

Marco Arturo Marelli hat für diese Inszenierung wie immer solide Arbeit geleistet, was Personenführung und psychologische Charakterisierung der Charaktere betrifft, doch muss einschränkend gesagt werden, dass ihm vieles schon viel besser gelungen ist. 

Ein Abend der Superlative einer Inszenierung, an der man sich noch lange nicht sattsehen wird.

Turandot, eklektisch: Gustavo Dudamel nuanciertes Dirigat verzaubert.

A pleasurable evening of surprises in Marco Arturo Marelli’s Turandot.

Marco Arturo Marelli's 2012 production lacks mystery but puts a fine Golaud centre stage, while Esa-Pekka Salonen ensures superior musical values in the pit. 

Vienna State Opera offered a solid production in which precious little gleamed.

Anja Harteros takes a while to hit her stride in a Don Carlo that doesn't quite gel.

Entre pesados muros y bajo la presencia de la cruz pudimos observar como algunas leyendas se encontraban, en una representación con algunos elementos muy notables.

In 2010, the première of Reimann's Medea was welcomed with enthusiasm, leading the Staatsoper to relaunch it this season for a second run.

Movable walls, some adorned with Baroque frescoes, partition the stage in ways that remind the viewer of the easy proximity of the masters and servants' quarters in Almaviva's estate.

La mise en scène de Marco Arturo Marelli et Enrico De Feo se veut fondamentalement ancrée dans le contexte historique de la création de l’œuvre mozartienne.

Marco Arturo Marelli’s extravagant art deco production is one of the most successful productions available at the Volksoper. It's an appropriate and lighthearted choice to celebrate 25 years of Ildikó Raimondi.

The Merry Widow, performed on a summer evening in Vienna should be an unmissable treat - and it was.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

Puccini’s La fanciulla del West, in its new production by Marco Arturo Marelli, features excellent singing from top to bottom, tight orchestral playing, beautiful lighting, and a decisive lack of cowboys, saloons and other “Wild West” clichés. Set in a modern-day mining village in the middle of somewhere vast and gorgeous, the production focuses on the social interplay and struggles of the miners.

Vienna is a nostalgic town, and in few places is the past clung onto more tightly than at the State Opera, where a Tosca created for Renata Tebaldi has been pressed creakingly into service for over 55 years now.

An obsessively man-hating princess, a slave girl who really needs to open up a bit more about her feelings, a prince who actually fell in love at first sight, and an unhealthily large dose of exoticism? Why, it can only be Puccini’s Turandot.

When you discover your bride-to-be in another man's bed on the eve of your wedding day, the excuse "Darling, I must have been sleepwalking" rates somewhere near the same level of credibility as "Sir, the dog ate my homework." But hey, this is opera, and bel canto opera at that. You didn't come to Bellini's La Sonnambula for the story and the drama: you came here for the singing.