Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Siegfried

Ein Siegfried von musikalischer Qualität wie dieser ist immer ein Ereignis und das Diktum, wonach Musik eine heilige Kunst ist, sah sich eindrucksvoll bestätigt.

Die Bayerische Staatsoper hat mit Richard Wagners Siegfried in der Inszenierung von Andreas Kriegenburg den Ring-Zyklus mit fabelhafter Besetzung fortgesetzt.

Siegfried ist in Leipzig durch und durch erfolgreich: eine fesselnde Produktion, ein großartiges Ensemble und ein gut dirigiertes Orchester.

Visuelle Verweise, unvereinbare wie merkliche, gibt es im dritten Teil des musikalisch erfolgreichen Bayreuther Ring-Zyklus im Überfluss.

Der Frankfurter Siegfried hält in seiner Inszenierung durch Vera Nemirova kaum Überraschungen bereit. Trotz volltönendem Klang bleibt die Ausgestaltung der Figuren zu oft zermürbend schematisch.

Im Siegfried geht der Ring als Scherzo weiter und trägt dem mit ironischen Bildern Rechnung. 

Castorfs anarchiste Fassung von Siegfried überbietet seine Behandlung der früheren Teile des rings noch, und nicht einmal die heroischen Leistungen von Stefan Vinke, Wolfgang Koch und Catherine Foster können den Abend retten.

Peter Galliard (Mime), Vincent Wolfsteiner (Siegfried) und Antonion Yang (Wanderer) geben zusammen einen aufregenden, herausragenden, dramatischen Siegfried in Nürnberg.

Dieser Abend gehörte eindeutig Stephen Goulds Siegfried, Simon Rattle und dem Staatsopernorchester.

An der Bayerischen Staatsoper funktioniert Regisseur Andreas Kriegenburgs Konzept für Siegfried gut, doch nicht alle Sänger waren den Herausforderungen der Oper gewachsen.

Daniel Barenboim conducts much of Siegfried as an intimate chamber opera, resulting in an unexpected musical joy, with an excellent cast of singers headed by Michael Volle’s Wanderer.

Müpa's Ring sees all-round musical excellence for a third night in row, which will be remembered more than the various distracting miscues in the staging.

Wagner's storytelling shines brightly with the aid of a cast well out of the ordinary. Vinke, Stemme, Siegel and Lundgren make part 3 of The Ring an unforgettable evening of opera.

Troisième épisode de L'Anneau du Nibelung en version de concert à la Philharmonie de Paris, par Valery Gergiev et le Mariinsky, six mois après deux premiers volets mitigés.

Sir Mark Elder and The Hallé orchestra are the powerhouse in a memorable performance of Siegfried. Simon O’ Neill, Iain Paterson and Christine Goerke head up a universally strong cast.

Both the technical effects and the singing impress in San Francisco Opera's dark Siegfried.

The third installment of Semperoper Dresden’s Ring des Nibelungen cycle ups the ante with an outstanding ensemble performance.

Stefan Vinke was a convincing, petulant, pouty Siegfried in the third episode in Wagner's Ring cycle in Vienna.

A performance of Wagner's Siegfried stands or falls by its titular hero and Lars Cleveman is highly experienced. 

The third installment of Géza M. Tóth's staging of the Ring, this Siegfried is visually striking, but it's only a strong cast, and above all Egils Silins' Wanderer, that makes it worth attending.

Joining Music Director Jaap van Zweden were some familiar faces who had appeared in Das Rheingold and Die Walküre in the same or different roles, and new faces appearing for the first time.

A combination of ingenious sets, truly heroic singing in the title role by Stefan Vinke, and excellence throughout the rest of the cast makes the Melbourne Siegfried an unmissible highlight of the Ring so far.

The third installament of the Ring in Frankfurt took full advantage of the architecturally ingenius set to complement great music making by the orchestra and singers.

While the Welsh were merrily slaying Belgians in Euro 2016, one dragon was on the receiving end at the Royal Festival Hall.

A strong performance at Staatsoper Berlin of the third opera of the Ring, Siegfried, was a showcase for tenor Andreas Schager in the title role.

Zambello's Ring for the WNO continues to engage and impress. 

The production is a disconcerting combination of cold metallic future and Neanderthal aesthetics – a startling pairing of humanity’s beginning and its end. 

Despite this mis-en-scene’s lack of intensity, this Siegfried closed the 2015 season of the Teatro Massimo with an outstanding musical performance.

"under Inkinen the New Zealand Symphony Orchestra has set a standard that is rarely surpassed even internationally"

Rewarding performances by Matthäus Schmidlechner as Mime and Lars Cleveman in the title role, plus Elena Nebera as Brünnhilde, made Richard Wagner’s Siegfried at the Landestheater Linz a joy.

Valery Gergiev conducts a mesmerising account of Wagner's Siegfried in Birmingham

Catherine Foster's Brünnhilde bathes Bayreuth's Siegfried in a warm glow, while Wolfgang Koch sings a superb Wanderer. But director Frank Castorf does his best to subvert both.

The third instalment of the Ring in a weekend continued to feature solid singing and orchestra playing as Siegfried played through the night. 

Sometimes the star performer isn’t one of the big romantic headline roles, or even the baritone villain. In this Siegfried, the performance that left me gasping was Gerhard Siegel’s Mime.

Presenting Das Rheingold and Die Walküre in a single evening is audacious enough. To put on a Ring cycle in a week-end, you have to follow this by doing the same with Siegfried and Götterdämmerung, which requires something even more radical. Opéra de Dijon’s director Laurent Joyeux and dramaturg Stephen Sazio set themselves the task of cutting eight hours of music down to five.

Seattle Opera’s Siegfried takes place in familiar territory. Mime lives in the part of the forest where the gods roamed in Das Rheingold, and the dragon has made its lair where Hunding and Siegmund fought in Die Walküre (there’s even a bloodstain on the rock, which the Wanderer touches regretfully).

The third part of Daniel Barenboim’s Ring cycle at the Proms proved to be similarly successful to the first two operas of the cycle, leaving both audience and conductor apparently delighted at its conclusion.The chief justification for “semi-staged” productions such as this is that they encourage greater focus on the music, and particularly on the orchestra.

Siegfried, the “Second Day” of Der Ring des Nibelungen and the third staging by Opera North after Die Walküre in 2012 and Das Rheingold the year before, is just as enthralling as its predecessors.

All things considered, this Met Siegfried was a mixed affair. There was much to enjoy and much to marvel at; there were times where the performance felt as if it might achieve real lift-off, but it never quite achieved the sustained momentum of Friday's Walküre.

For those who view Wagner’s Ring Cycle in symphonic terms, Siegfried is often described as the third movement Scherzo: an episode of comedy in between the existential musings of Die Walküre and the action-packed, apocalyptic Götterdämerung. Last night’s performance at the Opéra Bastille in Paris gave us plenty of high comedy and much more besides.

You have to sit in a small Fulham church, on a pretty uncomfortable chair, for at least four hours. And listen to a load of opera singers warbling about dwarves and gold and stuff. From certain perspectives, Fulham Opera’s production of Wagner’s Siegfried doesn’t sound like much fun at all.