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

Die überladene Inszenierung kann den Sängern, angeführt von Lise Davidsen, nicht das Wasser reichen.

Sir Simon Rattle setzt mit der Walküre seinen konzertanten Ring mit dem BRSO fort – mit großem Erfolg.

Gelungene Haus- und Rollendebüts sowie ein nuancenreiches Orchester tragen zu einer ganz besonderen Walküre bei.

Die Bayerische Staatsoper hat den zweiten Teil des Ring-Zyklus mit exzellenter Besetzung unter der Leitung von Kirill Petrenko wahrlich meisterlich zurück auf die Münchner Bühne gebracht.

Die Walküre in Leipzig wandelt ein Familiendrama zu einer Tragödie voller Angst und Beklemmung, mit einem Funken Hoffnung am Ende.

Gesang, Orchecster und szenische Darstellung zusammen ergeben eine höchst denkwürdige zweite Episode von Wagners Ring.

Mit einer musikalisch gradiosen Aufführung der Walküre und prägnant-wirkungsvollen Projektionen wurde in Budapest der Ring-Zyklus von Adam Fischer fortgesetzt.

Frank Castorfs Bauernhof-Szenerie der Sowiet-Ära drängt sich dem emotionalen Kern von Wagners Walküre nicht auf und bietet ausgezeichnete Leistung von Johan Botha, Anja Kampe und Claudia Mahnke sowie superbes Spiel des Festspielorchesters.

Die zweite Oper des Ring-Zyklus in Wien holte mit ihrer mitreißenden, atemberaubenden Lesart Simon Rattles alles aus Orchester und Sängern heraus.

Eine perfekte Besetzung und ein großartiges Dirigat machen die Walküre der Bayerischen Staatsoper aufregend und unvergesslich.

Kirill Petrenko startet mit einem Tusch in Die Walküre, während Frank Castorfs Inszenierung uns in die Ölfelder von Baku im Russland der späten Zarenzeit entführt.

La primera jornada de la tetralogía El anillo del nibelungo se presenta en el Real bajo la dirección de Heras-Casado y Robert Carsen en una producción que cuenta con un reparto de lujo.

Dutch National Opera revives Pierre Audi's acclaimed Die Walküre for the very last time.

The Staatsoper Berlin celebrate the arrival of Michael Volle, a splendid Wotan, aided by a strong ensemble of singers and Daniel Barenboim's leadership.

Andris Nelsons finishes his 2019 Tanglewood residency on a high note.

Six excellent singers bring out the best in Wagner's dramatic narrative, marred only by a Ride of the Valkyries that fails to convince.

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

The chance to watch their finely gauged interpretation unfold on the Royal Festival Hall platform was a privilege.

We start with a triumphant Royal Opera debut from Stuart Skelton, we close with Nina Stemme at her finest; a thrilling orchestral performance links the two. A memorable Walküre.

San Francisco Opera's Die Walküre overcame a disappointing first act, winning the audience over with excellent singing and playing and impressive stage effects.

Deuxième épisode de la Tétralogie de Richard Wagner, par le Mariinsky en visite à la Philharmonie. Une « version concert » non dénuée de drame. 

Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of  Die Walküre. 

Pour le premier opéra 2018 et la reprise de la saison lyrique, la première des quatre journées du cycle lyrique du compositeur Richard Wagner marquait son grand retour sur la scène toulousaine dans sa production d’avril 1999.

David Pountney's new production of Die Walküre for the Lyric Opera of Chicago incisively charts the tectonic shift of control over the future from Wotan to Brünnhilde.

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

Trophy room glass display cases and glassy-eyed stuffed animals are the setting for a distinctive take on Wagner's epic music drama. 

Stemme as Brünnhilde delivered her opening battle cry in Victorian riding habit like one of Trollope's racier fox- hunting heroines.

Sven-Eric Bechtolf’s minimalist staging brought the protagonists’ complicated psychological interaction into focus but to the detriment of Wagner’s myth and magic.

On a night of technical delays and extraordinary singing, Opera Australia's revival of Die Walküre is particularly memorable for Amber Wagner's Sieglinde and Lise Lindstrom's Brünnhilde.

Wagner's Die Walküre and Tippett's A Child of Our Time both attempt to capture the essence of humanity. Despite making for an unusual pairing, the programme was an effective one.

Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.

In Anna Russell's wittily deadpan analysis of Wagner's Ring cycle, she describes Wotan as “the head god” – pausing for dramatic effect before adding “and he's a crashing bore too.”

The second evening of Staatsoper Berlin's Ring featured an exceptionally strong musical performance, both from the orchestra and the singers. 

Zambello's Die Walküre engages and excites in this promising Ring cycle. 

Solid singing proves to be the main attraction of an ineffective new staging of Die Walküre at the Hungarian State Opera.

Some beautiful singing from Michael Bedjai as Siegmund and Brit-Tone Müller as Sieglinde set a high standard in this Landestheater Linz production of Richard Wagner’s Die Walküre.

All five of the Houston Grand Opera’s performances of Die Walküre sold out immediately – more than 13,000 seats – and there are several good reasons why.

The second instalment of the Erl Ring Cycle brings an even more lively staging, but with a somewhat mixed vocal performance.

An impressive Die Walküre with a trio of first act singers that would be hard to better. Throughout, clarity of diction is allied to clarity of the orchestral reading. 

Des chanteurs, talentueux, une mise en scène efficace, un orchestre convaincant : tels sont les ingrédients d'un succès mérité.

Putting on a Ring cycle is normally considered a major undertaking for any opera company. For a mid-sized provincial opera company, the idea of staging the whole cycle in a weekend seems barely short of insane. But that’s what Opéra de Dijon are doing – Das Rheingold and Die Walküre last night, Siegfried and Götterdämmerung tonight, and it just had to be seen.

After Sunday night’s breathtaking Das Rheingold, it was difficult to imagine Die Walküre could be more beautiful or committed. Seattle Opera outdid themselves with this second installment of the Ring cycle, which featured energetic playing and singing, gorgeous stage pictures, and devastatingly believable acting from all of the singers.

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.

In last night’s performance of Die Walküre at the Met, Martina Serafin as Sieglinde and Simon O’Neill as Siegmund drew us completely into the process of two people falling into illicit love.

If you've been brought up with the Judaeo-Christian ideal of an all-powerful, all-good God, Norse mythology can come as a bit of a shock. Wotan, the father of the gods, is philandering, deceitful, power-hungry, sentimental, violent and ultimately weak - the gamut of human frailties writ large.

Opera North’s concert staging of Wagner’s Ring Cycle continued last night with Die Walküre, the “first night” proper of the cycle after the “preliminary evening” of Das Rheingold.

For any opera company to mount a Wagner opera is a great undertaking. For a very small semi-professional opera company to mount the entire Ring cycle is a feat of extraordinary daring and perhaps madness. But that is exactly what Fulham Opera has decided to do.

The Hallé Orchestra, led by Sir Mark Elder, followed their award-winning 2009 Götterdämmerung with a concert performance of Die Walküre over two nights, prefaced by Gerard McBurney’s new work, The Madness of an Extraordinary Plan. With an array of famed soloists, Elder masterminded a triumph, with the magnificent Hallé showing their quality on the concert stage.

Wagner's Die Walküre was split into two concert performances over two days, the first on one evening and the second on an afternoon and an evening. This review is for both. A spot picks out a man in the Bridgewater Hall’s front row, who steps up to stand by a table in front of the Hallé Orchestra, which is ready to begin. He puts on a braided coat to become Richard Wagner.

Read our review of Robert Lepage's production of Wagner's Die Walküre in its 2011 broadcast from the Met Opera in New York.