Live, Video: Find classical music concert, opera, ballet and dance reviews | Eric Jurenas

The German premiere of Olga Neuwirth’s Orlando at the Komische Oper cements it as a postmodern grand opéra – for better or for worse.

Olga Neuwirth and Elfriede Jelinek take on Donald Trump in their latest operatic collaboration. 

John Adams’ Nativity oratorio is fully staged in a new production by Lileana Blain-Cruz, her first time directing at the Met. 

Brett Dean’s Hamlet at the Met is a worthy addition to the operatic canon, and the production is a treat. 

In its Royal Opera House debut, Irish National Opera's high-energy Bajazet provides a great evening for Baroque fans and sceptics alike.

An over-directed, but vivid staging demonstrating political rise and fall in Ancient Rome transported to the present day.

Laurence Cummings conducting the FestspielOrchester Göttingen and the NDR Chor, with an exemplary suite of vocal soloists, but a slightly problematic venue, sweep all before them in the Handel Festival of 2020.

Loyalty and misdeeds in the jungle of emotions in Handel's Poro, re dell'Indie.

Handel’s Semele is presented as a flashback at the Komische Oper in Berlin. 

A woman, mother and outcast needs to make life choices in a hostile environment.

An astringent sorbet between the courses of a heavily sauced Wagnerian banquet.

Kay Link's new production of Handel's pasticcio Oreste is surprisingly strong theatrically, often musically too. 

The applause and screams at the premiere were raucously frenetic – and while the hysteria seemed a bit exaggerated, an energetically positive reception was completely justified.

Today, Vivaldi’s operas remain rarities. The American première of Cato in Utica at the Glimmerglass Festival (located an hour south of Utica, NY) attempted to elevate this little explored corner of Baroque repertoire.

Als Koproduktion mit Hamburg präsentiert das Opernhaus Zürich ein hochaktuelles zeitgenössisches Musiktheater des österreichischen Gespanns Olga Neuwirth und Elfriede Jelinek. Der Regisseur Tobias Kratzer hat eine eindeutige Sicht darauf.

Die Welturaufführung ist weder konfrontativ noch bringt sie neue Einsichten: überdrüber und doch irgendwie daneben.

Beklemmend, aber auch komisch zeigt Kosky, wie wirkungsvoll Betrug doch ist; Ähnlichkeiten mit lebenden Personen sind dabei nicht beabsichtigt, aber unvermeidlich.

Eötvös' drei Melancholie-Schwestern führen das Frankfurter Publikum durch die todtraurigen und absurden Existenzformen des postmodernen menschlichen Daseins.