Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Roman Trekel

Die Zauberflöte besteht in Berlin alle Prüfungen, René Pape begeistert als Sarastro besonders.

Jürgen Flimms Inszenierung von Schumanns Szenen aus Faust bietet keine Lösungen zu selbstauferlegten Problemen bei der schillernden Wiedereröffnung an der Staatsoper Unter den Linden.

In Besetzung mit leichten Stimmen und dezenter Aktualisierung liefert die neue Manon Lescaut der Staatsoper schlagende Argumente für Puccinis schwierige Durchbruchsoper.

Die Wiederaufnahme der Wiener Staatsoper von Janáčeks Schlauem Füchslein unter Tomáš Netopil zeigt lebendig die leuchtenden Farben der großen Lebensbejahung des Komponisten und die ewige Kraft der Natur.

em>Tristan und Isolde ist berüchtigt dafür, wie schwer es im Theater zu spielen ist, aber unter Daniel Baremboims Leitung gaben Waltraud Meier, Peter Seiffert und ein hervorragendes Ensemble eine tiefbewegende Vorstellung von Harry Kupfers Inszenierung an der Berliner Staatsoper.

Patricia Nolz makes an outstanding role debut as Christian Thielemann conducts a thrusting Rosenkavalier to open the Staatsoper Unter den Linden's Festtage. 

With Claus Guth directing and Simone Young on the podium, the Staatsoper Unter den Linden's new production of Mussorgsky's Khovanshchina proves that the past isn't really past. 

Romeo Castellucci's new production of Daphne for the Staatsoper reflects on our relationship with nature, subverting the perspective of Richard Strauss' opera.

La mise en scène de Martin Kušej accentue le caractère sombre du célèbre opéra de Bizet, dans lequel le duo de chanteurs français se distingue.

Peter Eötvös's thirteenth opera, based on the Trilogy by Norwegian author Jon Fosse, chronicles the struggles of a young couple to search for their own identity and place in society.

À Berlin, la nouvelle production du Rosenkavalier par André Heller fait un sans-faute, portée par un casting cinq étoiles.

Irene Théorin and Andreas Schager lead a stunning musical performance, as Guy Cassiers vision of The Ring becomes clear.  

Daniel Barenboim led a performance of deliberate tempo with a great ensemble of singers.  Guy Cassiers‘ production, while visually stunning at times, does little to enhance the performance.

At Sunday’s Philharmonia Orchestra concert, guest conductor Karl-Heinz Steffens paired the Requiem with the composer’s autumnal Clarinet Quintet.

Achim Freyer's production robs Humperdinck's fairy tale of heart and drama at the Lindenoper.

Not even the musical genius of Daniel Barenboim could turn Harry Kupfer’s irritating Sitzprobe production into a “Namenlose Freude”.

The revival of Das Rheingold at Staatsoper Berlin was still marred by distracting use of dancers on stage, but musically it was a great success. 

Conte merveilleux peuplé d’objets et de personnages magiques, c’est également une allégorie de la quête du Bien et de la connaissance, et un opéra maçonnique où les rites d’initiation et les symboles sont repris ouvertement.

Lyrical pathos and battering choral climaxes were the strong suits at the Dutch première of Hans Werner Henze’s incendiary oratorio Das Floβ der Medusa.

The night got off to a very classical, Viennese start when Vladimir Fedoseyev took the stage of the golden hall on Saturday night at the Musikverein.

In his program note, conductor-director Iván Fischer describes his Mostly Mozart Festival production of Mozart’s Le nozze di Figaro as a staged concert. His agenda sounds serious: “This is my attempt to bring theater and music closer to each other, to create a new natural harmony.” He asks for a new era in opera production, seeking “organic unity” between music and theater.

Counting this present concert performance, public outings for Jaromir Weinberger’s 1937 opera Wallenstein may possibly have reached double digits, and such reception details, or indeed any information about the opera beyond a basic synopsis, would have made a welcome addition to the programme.

German baritone Roman Trekel, who made a rare London appearance replacing Dorothea Röschmann at the Wigmore Hall on Friday night, is a highly respected singer known especially for his many Wagner roles as well as for his Lieder interpretation. I first encountered him singing Wolfram in Tannhaüser at the Bayreuth Festival some years ago.