Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Les Troyens (Die Trojaner)

Zum ersten Mal ist an der Oper Graz Hector Berlioz’ Grand opéra zu hören; musikalisch gelingt dem Haus damit ein großer Wurf.

Im Interview versprach Gardiner Emotionalität und Überraschung. In der Auffühung kam sie mit Assistent Sousa daher, der letztlich den bombastisch grandiosen Berlioz-Höhepunkt von ORR und Monteverdi Choir anerkennend rettete.

Homoerotische Softpornos sorgen bei der Premiere von Hector Berlioz Grand opéra für ein ungewöhnlich lautstarkes Buh-Konzert – trotz einer Vielzahl von musikalischen Highlights.

Ein monumentaler Opernabend mit Joyce DiDonato, den man wohl nicht so schnell vergessen wird.

Grandiose Bilder und die exzellente musikalische Umsetzung bescheren dem Publikum einen insgesamt beeindruckenden Opernabend.

Catherine Naglestad und Elena Zhidkova brillieren in den weiblichen Hauptrollen von Hector Berlioz' *Les Troyens* neben dem bestens aufgelegten Philharmonischen Staatsorchester Hamburg und seinem Generalmusikdirektor Kent Nagano.

Dinis Sousa doesn't put a foot wrong as the Orchestre Révolutionnaire et Romantique and Monteverdi Choir give a performance of startling virtuosity at the end of a European tour. 

Tcherniakov reduces Berlioz' epic to little more than Circle Time therapy, a poor way to mark the composer's anniversary year.

A typically thought-provoking production of The Trojans from Calixto Bieito combines with a thrilling musical performance to compensate for a heavily fileted version of Berlioz's magnum opus.

Nothing is better than when Berlioz ramps up the decibels. With a huge orchestra and choir and a deluxe starry cast assembled in Strasbourg, this was a special performance. 

A musically strong revival of an austere production still leaves one feeling short-changed.

This production, directed by Tim Albery and with sets and costumes by Tobias Hoheisel, boasts more than one megastar.

Staging the operatic behemoth that is Berlioz's Les Troyens comes with huge challenges to harness the artistic, technical and dramatic qualities in a work which spans more than four hours. 

In an all French language opera progromme, Juan Diego Flórez shines in his Dublin leg of Tour l'Amour 

A rare chance to see Berlioz's five act epic Les Troyens. Huge Russian forces from the Mariinsky Opera under Valery Gergiev visit the Edinburgh Festival. 

It’s very difficult to write about Berlioz’s Les Troyens without mentioning its length. Tonight’s cinema screening of Fransesca Zambello’s lush production was billed at 341 minutes – that’s 5.6 hours. But beamed live from the Metropolitan Opera in New York, those 5.6 hours entailed spectacular operatic entertainment.

David McVicar’s production of Berlioz’s opera Les Troyens at the Royal Opera House last month was notable for several reasons. Firstly, stellar vocal performances from world-class lead singers; secondly, brilliant acting; thirdly, ravishing music; and lastly, a memorable set – including a curious giant horse and human made out of what looked like scrap weapons and tools.

It's one of the most famous, most studied, most archetypal passages in epic poetry: in Book I of Virgil's Aeneid, the Trojans, exhausted from their voyage and desolate at the loss of their city, gaze down on the city of Carthage as it rises from the African soil, its people scurrying like worker bees in their manifold tasks.