Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Michael Weinius

Die schwedische Sopranistin gibt ihr spannungsumwobenes Debüt als Isolde in Pierre Audis zeitloser Inszenierung.

Robin Ticciati dirigiert einen durchwachsenen Abend, der in der konzertanten Aufführung des zweiten Akts aus Tristan und Isolde enttäuscht.

Die schwedische Sopranistin fuhr an einem unvergesslichen Abend einen letzten Brünnhilden-Triumph ein.

Mit Nina Stemme, Michael Weinius und John Lundgren wird der dritte Tag der Tetralogie zum Fest der großen Stimmen.

Elisabet Strid schockiert, verzaubert und begeistert als Salome. Wahnsinn in all seinen Formen!

In einem Zustand einer fast kindhaften Verklärung und Erfüllung, umfasst Strids Stimme alle Extremen der letzten Szene.

Wenn eine der gefragtesten Sopranistinnen unserer Zeit in die Rolle ihrer berühmtesten Landsmännin schlüpft, ist der Grundstein für einen ereignisreichen Opernabend schon gelegt. Die schwedische Weltpremiere nach dem Film von Alfred Hitchcock zeigt in einer rundum gelungenen Produktion, dass auch zeitgenössische Opern noch eine große Zukunft haben können.

A star-is-born performance from the young American bass David Leigh anchors a thrilling performance of the Ring cycle's dramatic conclusion.

Si la direction de Gustavo Dudamel et la mise en scène de Peter Sellars rendent justice au chef-d'œuvre wagnérien, la distribution inégale suffit à ternir le tableau.

A new production of Lohengrin at Oper Leipzig is conceived as an intimate chamber opera and succeeds with brilliant musical performances.

Si la mise en scène de Willy Decker accuse son âge dans une production inégale, l'œuvre de Wagner bénéficie de l'incarnation parfaite de Ricarda Merbeth et de la direction inspirée d'Hannu Lintu.

What to put with Beethoven's greatest statement on the universality of the human spirit? The BBC Symphony Orchestra and Chorus, Sakari Oramo, Neil Ferris and Andreas Haefliger make a case for renewal.

Un duo formidable et une mise en scène efficace : porté par Petra Lang et Michael Weinius, le Crépuscule des Dieux de Dieter Dorn est venu clore la tétralogie genevoise avec panache.

Stemme as Brünnhilde delivered her opening battle cry in Victorian riding habit like one of Trollope's racier fox- hunting heroines.

Nearly 30 years after its European première, Nixon in China returns to Amsterdam for an engrossing concert performance in which the Youth Orchestra of the Netherlands, led by Kevin John Edusei, shines.

A superb orchestral performance from Lawrence Renes and the Royal Swedish Opera Orchestra lights up Michael Cavanagh's well directed Nixon in China.

In Anna Russell's wittily deadpan analysis of Wagner's Ring cycle, she describes Wotan as “the head god” – pausing for dramatic effect before adding “and he's a crashing bore too.”

Given the spate of visually distracting, if not irksome productions which seem to blight the opera world these days, there is something to be said for concert performances.

German director Christof Loy’s second production for the Royal Swedish opera was of Wagner’s Parsifal. The cast is rather on the luxurious side as well, sporting three of the greatest Wagner singers working today – two of them Swedish, no less!Loy’s Parsifal is a distinctly human drama.

Thomas Søndergård made his BBC Proms debut at the end of a successful first season at the helm of the BBC National Orchestra of Wales, bringing a hefty programme of Stenhammar, Szymanowski and Strauss to the Royal Albert Hall.It was a fascinating programme, with a first half of relatively underperformed works prefacing Strauss’ popular Alpine Symphony.

Few things could unite such a large group of people as the Hallé’s Meistersinger did tonight. Some 515 performers, drawn from three orchestras and five choirs, gathered to present highlights from the first two acts of Wagner’s opera and the third act in full.

What do Schubert’s Third Symphony and Mahler’s Das Lied von der Erde have in common? Not a whole lot, which is why it came across as rather puzzling that the two pieces should be programmed together. Yet, in the Oslo Philharmonic’s September 6 and 8 concerts, they were. The result was a mixed bag of two wildly different works, written almost a century apart.Schubert’s Symphony no.