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

Mit Händels Orlando ist an der Oper Frankfurt aus subtiler Personenführung, dem genialen Bühnenbild, phantasievollen Kostümen, einem prachtvoll aufspielenden Orchester, einem wunderbaren Sängerensemble und fünf anmutigen Tänzern ein wahres Gesamtkunstwerk gelungen. 

Mit dieser Inszenierung feiert Claus Guth nach Messiah und Saul einen erfolgreichen Händel-Hattrick.

Si la mise en scène de Jeanne Desoubeaux transpose l'opéra de Haendel avec plus ou moins de bonheur, la distribution et la fosse réservent de belles émotions.

“A concert performance with neither scenery nor action would be a sacrilege,” wrote one authority of this opera. Nobody told the Academy of Ancient Music...

Ni el excelente trabajo de la orquesta logra rescatar el peso de unos cantantes a medio gas y de una escena con fondo escaso y forma agotada.

Liberata Collective reveals the intricate language of Baroque gesture in a staging of one of Handel's most inventive operas.

The evening’s most revelatory performance came from the young countertenor Aryeh Nussbaum Cohen as Medoro. 

Handel’s opera Orlando is famous for the great mad scene at the end of Act 2. Specifically written for the celebrated castrato Senesino, it’s an emotionally powerful ten-minute monologue.

Jens-Daniel Herzog sets his new Orlando in a sanatorium where, pulled between his love for a woman and his passion for war, the protagonist is trying to recover his sanity.

The English Concert give us a truly exceptional concert performance of Orlando, starring Iestyn Davies in the title role, with a strong cast and glorious singing: but it's begging for a proper staging. 

With Lawrence Zazzo's spectacular counter-tenor voice, Handel's Orlando finds an ideal interpreter.

Holland Festival revives Pierre Audi’s 2012 production of Handel’s Orlando. Conducted by baroque specialist René Jacobs and featuring an strong cast, it is a great occasion to witness American countertenor Bejun Mehta in what has become, over the past decade, his signature role.

In Pierre Audi’s new production of Handel’s Orlando, currently running at La Monnaie in Brussels (until 12 May, and thereafter available free online on their website for three weeks), the knight Orlando is portrayed as a modern-day fireman who in his fascination with fire has become an arsonist – “pyromane” as Audi explains in the programme.