Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Sir Bryn Terfel

Kornél Mundruczó verwebt intensiv den Machtmissbrauch eines Unrechtsstaats mit den aufrüttelnden Filmstoffen des italienischen Filmemachers Pier Paolo Pasolini: Starsänger und das faszinierende Orchester der Staatsoper machen Puccinis berauschende Musik zum hochdramatischen Erlebnis.

Nicht weniger als sechzig grössere und kleinere Stars der klassischen Musikszene gaben sich beim Galakonzert in Verbier die Ehre. Ein grosser Erfolg für den Intendanten Martin Engstroem.

Mit Spannung wurden das Rollen- (Kaufmann) und Bühnendebüt (Davidsen) in der Wiederaufnahme von Peter Grimes an der Staatsoper erwartet, trotz einer Inszenierung, die ohne Ruder aufs Meer geschickt werden sollte.

Das Musikfest 2017 wurde mit einem Konzert des Orchesters der Deutschen Oper Berlin beschlossen. Gegeben wurden zwei Bruchstücke von Roméo et Juliette und der Walküre, die die beiden Seiten des Orchester beleuchteten.

Mit dem Orchesterkonzert am Pfingstsamstag gelang den Pfingstfestspielen, nach dem großen Erfolg mit Ariodante am Abend zuvor, ein programmatischer Coup, der musikalisch überaus überzeugend war.

Dass Falstaff auch konzertant seinen spitzbübischen Charme behalten kann, zeigte das BRSO unter Daniel Harding: das großartige Ensemble ließ nichts vermissen.

Thomas Hengelbrock und das NDR Elbphilharmonie Orchester eröffnen Hamburgs Elbphilharmonie mit einem musikalischen Querschnitt durch die Jahrhunderte, von einer Renaissance-Motette zu Wolfgang Rihms neuestem Werk.

Bryn Terfel hizo su debut en México con una noche de Wagner y una selección de arias y canciones diversas.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

Walton’s Belshazzar’s Feast is brought to life Sir Bryn Terfel, Adam Hickox and the Royal Liverpool Philharmonic Choir and Orchestra. 

Terfel's performance as the legendary sailor is stronger than ever and, one or two issues aside, this revival of Tim Albery's production is a compelling account of Wagner's first mature work. 

A triumphant house debut for Nadine Sierra in the latest revival of Laurent Pelly’s production of Donizetti's joyous village rom-com. 

Initialement prévue pour janvier 2022, la collaboration entre le Gran Teatre del Liceu et l’Opéra national de Paris a finalement accouché en cette fin de saison de son très attendu Château de Barbe-Bleue.

Alexander Soddy steps in for an ailing Esa-Pekka Salonen to conduct the Philharmonia in Wagner and Bruckner. 

Liverpool's Philharmonic Hall bubbles with a concert staging of Puccini's Gianni Schicchi with Sir Byn Terfel leading a cast of fine young singers from the European Opera Centre.

Two outstanding performances by young singers light up a splendidly crafted revival of Caurier and Leiser's colourful production.

Sous la direction convaincante de Gustavo Dudamel, l'interprétation de Saioa Hernández est remarquable dans le rôle-titre, mais une direction d'acteur erratique et la petite forme de Joseph Calleja tempèrent le succès espéré.

Sir Bryn Terfel is at the Royal Opera House for the new Peter Grimes, so Captain Balstrode could cross the Thames to sing some Lieder. 

Deborah Warner's intelligent new Covent Garden staging provides the perfect backdrop for a strong singing cast in Britten's maritime masterpiece.

Sir Bryn Terfel relishes every nuance of the text, but Damiano Michieletto's reading of Donizetti's comedy is no laughing matter. 

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.

Red-blooded performances from the three principals at Covent Garden, even if there are vocal misfires along the way. 

Dirigés par Daniel Harding, les Berliner Philharmoniker illuminent la nef du musée d'Orsay dans un florilège d'œuvres françaises et allemandes. Bryn Terfel les accompagne dans une Walkyrie céleste.

Las dotes interpretativas de Bryn Terfel salvan un recital en el que la música no fue la protagonista.

Hats off to Andreas Homoki, Artistic Director at the Zurich Opera House, for staging a musical around “the chill of ghostly shadows”.

Sir Bryn Terfel’s Falstaff is still a cherishable rogue as he takes on the title role in Robert Carsen’s joyous staging at the Royal Opera. 

At their recital at the Bergen International Festival, Bryn Terfel and pianist Caradog Williams presented a programme of overwhelming sameness and neverending joviality.

Cette reprise de Falstaff fait la part belle à l’esprit buffa et donne à Bryn Terfel une nouvelle occasion de briller dans un rôle qui lui sied à merveille.

A sensational Die Walküre from Sir Andrew Davis and the RSNO at the Edinburgh Festival that will be talked about for years.

Bryn Terfel propose un récital maléfique et jubilatoire aux Chorégies d'Orange !

The Llangollen International Eistedffod opens with a star-studded concert performance of Puccni's political/romantic thriller.  

Holten's masonic lodge setting of Meistersinger gets a lot right but is occasionally uneven; Terfel and Hughes Jones are constantly good to listen to.

Très attaché à la représentation picturale, Pierre Audi signe ici une mise en scène relativement classique, efficace, laissant libre champs à l’attention portée aux voix plutôt qu’aux divers éléments qui composent les décors, très figuratifs.

Bryn Terfel and Sir Antonio Pappano brought their excellent interpretation of the 1869 version of Mussorgsky's seminal opera to the Royal Albert Hall for a one-off revival.

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

El Holandés errante sirve a la OCNE para desplegar todo su poderío sonoro en una noche en la que la Senta de Ricarda Merbeth robó el protagonismo a un desigual Terfel.

Pour la Damnation de Faust, Stéphane Lissner a réuni à l'Opéra de Paris sous la baguette de Philippe Jordan la crème des interprètes du moment, et notamment un Faust au style impressionant, pour lequel on se damnerait ! Hélas le metteur en scène A. Hermanis a choisi de transformer l'œuvre en un concept de science-fiction hors de propos.  

Dancing, jokes, a pogrom and Bryn Terfel balancing on milk vats. It could only be Fiddler on the Roof. Grange Park Opera took an eclectic combination and planted if successfully on the Proms stage.

Opera god meets Hollywood royalty on stage at the Coliseum, in a transatlantic production which heralds the ENO's intention to bring musical theatre back into their repertoire. 

A dark and minimalist staging doesn't quite fire Wagner's Flying Dutchman into life at the Royal Opera House, despite worthy performances from Bryn Terfel, Adrianne Pieczonka and others under the direction of Andris Nelsons.

While still a charming production, a touch more warmth and bel canto style are yet required to bring some authentic Italian sunshine to L'elisir d'amore in Bow Street this November.

It may have taken Verdi’s bicentennial to bring Falstaff back to the San Francisco Opera, but at last the knight has returned to the company’s stage for the first time in over a decade...

Vasily Petrenko conducted the Royal Liverpool Philharmonic and a fine trio of principals in an excellent semi-staged production of Puccini’s Tosca, directed by Amy Lane.The two performances of the opera form the culmination of Bryn Terfel’s two-week stint as Artist in Residence with the orchestra.

Dipping my toes into the murky waters of the Wagner-fest at the Proms this year for the first time, I found myself confronted with the monumental second installment of the Ring cycle, Die Walküre.

A concert like this could have three possible outcomes: one, frustration at catching just a glimpse of a multitude of operas without the benefit of character or plot development or the embellishment of sumptuous costumes or stage sets; two, inspiration to delve further into the world of opera, nudged by tantalising hints of dramatic tension and a world of emotions; or three, sheer escapism into a

The New Zealand Symphony Orchestra really has the perfect Wagner sound. Their full, vibrant string tone and magnificent pealing brass were fully in evidence in a thrilling rendition of the concert version of the overture from Tannhäuser. Few moments in music are as exciting as the build-up to the Big Tune in this piece, and the orchestra’s performance here was barnstorming yet perfectly accurate.

Opera being a strongly visual art form as well as a musical one, the idea of a pure concert performance seems a little strange to those unfamiliar with the form.