Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Nicole Car

Kirill Serebrennikovs Inszenierung sorgt vor einen zweigeteilten Abend – mit herausragenden Gesangsleistungen.

Vor allem Andrei Șerbans fantasievolle, zeitlos-elegante Inszenierung ist ein Plädoyer, Hoffmann viel öfters auf den Spielplan zu setzen.

Eine temporeiche Inszenierung und eine starke Besetzung – Gounods Faust war noch nie so kurzweilig. Chapeau! 

Nicht mit der feinsten Klinge unterwegs, aber dennoch beeindruckend, war Andreas Schager in seinem Wiener Otello-Debüt. 

Vor allem das großartige Sänger*innen-Ensemble berührt zutiefst in Magdalena Fuchsbergers Neuinszenierung am Ring.

Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

La Scala presents a new production of Benjamin Britten’s masterpiece, with an excellent cast led by tenor Brandon Jovanovich.

Simone Young marks the start of her tenure at the helm of the Sydney Symphony with a performance that showcases the outstanding acoustics of the renovated Concert Hall.

Présentée à Garnier en 2018, la mise en scène fascinante d'Ivo van Hove est parfaitement adaptée à la nef de Bastille. Nicole Car se distingue dans une distribution remarquable.

Faust and Méphistophélès pal around like buddies in Castorf's multi-media staging, the devil here less diabolical and more anarchistic party-boy. 

Phelim McDermott’s Coney Island Così fan tutte returns to The Met, in sparkling vocal performances. 

Étienne Dupuis et Nicole Car ont remporté tous les suffrages dans les deux rôles principaux de l'opéra Eugène Onéguine à l'Opéra de Montréal, dans une production à peu près sans faille.

Retour à Garnier pour Don Giovanni. La production de Ivo van Hove manque de dynamisme, mais est merveilleusement servie par un casting d'admirables jeunes talents.

Le duo constitué par Jean-François Borras et Anita Rachvelishvili signe une performance de choix dans l'opéra de Bizet. Mise en scène et direction musicale laissent plus de motifs de satisfaction que de regrets.

A debuting conductor, two new singers, and a fine ensemble of singers bring unexpected joy to the Met's traditional La bohème with fresh and youthful energy.

Bracing and emotionally direct performances from the Australian Chamber Orchestra and Nicole Car, in a carefully-planned programme.

After his affectionate treatment of La fanciulla del West for ENO and his devastating Suor Angelica for the Royal Opera, Richard Jones’ new La bohème is disappointingly bland.

Outstanding performances from Nicole Car and Etienne Dupuis turn Opera Australia's unstaged production of Thaïs into a triumph at Sydney Town Hall.

Not just a jolly romp through the inconstancies of the heart, Sir David McVicar takes Così fan tutte through a dark lesson for lovers while leaving the music ravishingly intact.

A relative rarity by Verdi is given an outing at the Sydney Opera House, with excellent performances let down by a disappointing staging. 

Would a younger soprano taking the role of Tatyana blur Kasper Holten's "dancing doubles" vision of Eugene Onegin at the Royal Opera House?

For anyone seeing Carmen for the first time, this Royal Opera revival will have been a more than satisfactory evening. Old hands hoping to see something extra will find it in Hymel's Don José and Car's Micaëla, but not elsewhere.

David McVicar's production of Faust enjoys one of the strongest overall performances of Opera Australia in recent times.

David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso). 

Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.

While this concert’s marketing was focused on Mozart’s Requiem, it was Haydn in the first half that made the greater impact, in the form of an ecstatically virtuosic performance of his Cello Concerto no. 1 with soloist Alban Gerhardt. Passagework was everywhere immaculately tuned and played with perfect dexterity, Gerhardt’s fingers dancing up and down the instrument with tremendous velocity.

There can be fewer more idyllic places in the world to see an opera. Behind the floating stage was Sydney’s harbour bridge and opera house; to the left, the lights of the central business district; and to the right, the glittering lights of the Northern Shore and the occasional ferry making its way to Circular Quay.

Georges Bizet's The Pearl Fishers, written some ten years before Carmen, does not enjoy as much recognition as the latter opera. Composed at the age of 25, the opera received harsh criticism from many contemporary critics, although not from Hector Berlioz, who clearly recognised something of Bizet's genius in the work.

Opera Australia's production of The Magic Flute was advertised as a family-friendly production, and at times felt more like a pantomime than an opera.

The older I get, the more convinced I become that the heart of Mozart’s genius is to be found in his operas. This is no truer than in Don Giovanni, especially when performed by such a talented cast as it was last night in Sydney Opera House, three hours of the most sublime music. I have always believed that great music does not need any gimmicks and should be able to stand on its own.

In an opera of such popularity as Carmen by Georges Bizet, it wouldn’t be easy to please an audience likely to be inured to a variety of performances of arias such as Habanera and The Toreador’s Song. Yet Opera Australia made a thoughtfully constructed and well vindicated attempt.