En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Ako Imamura

El estreno de Iolanta y El castillo de Barbazul, retrasado a causa de la nieve, abrió con un poderoso canto y una escena muy efectiva. Los roles principales en Iolanta destacaron por una interprtación muy bella, mientras que en El castillo de Barbazul sobresalió la ejecución de la orquesta del Met.

The Metropolitan Opera revives Otto Schenk’s venerable staging of Strauss’s intimate melodrama. 

At 70 years old, American tenor Gregory Kunde makes a magnificent role debut as Captain Vere, with a strong ensemble of singers, chorus, and orchestra in Willy Decker's effective production.

David Bösch directs a creative and thoughtful new production of Die Frau ohne Schatten at the Semperoper in Christian Thielemann's final opera as Principal Conductor. 

The Baden-Baden Easter Festival presents an extraordinary performance of Elektra, with Nina Stemme in the title role and the Berliner Philharmoniker, led by Kirill Petrenko, in a stark and modern production. 

A revival of Adrian Noble’s abstract and dark production of Verdi’s Otello fields a strong cast led by Jonas Kaufmann, Ludovic Tézier and Rachel Willis-Sørensen. 

Vincent Huguet's 2019 production of Richard Strauss‘ masterpiece is given a stupendous revival at the Wiener Staatsoper with an excellent ensemble of soloists.

Bayrischer Staatsoper’s revival of Warlikowski’s static production of Tristan und Isolde featured a sensational role debut of Elena Pankratova as Isolde.

Soloists Klaus Florian Vogt, Christian Gerhaher, Amber Wagner and Marina Prudenskaya star in Act 3 of Tannhäuser.

Stoyanova’s extraordinary performance as the Feldmarschallin made 394th revival of Otto Schenk’s 1968 production of Der Rosenkavalier an occasion to savor.

Ulf Schirmer bows out as General Music Director as the last of Wagner's 13 operas completes a successful Festival Wagner 22 in Leipzig.

Philipp Stölzl depicts Turandot as a tragedy of a lonely princess who pays dearly for her cruelty in his fascinating new production at the Staatsoper Berlin.

Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

The Met unveils Simon Stone’s new production is set in a working class American town in decline... an interesting concept that ultimately fails to overcome its own cluttered ideas.

The Bayerische Staatsoper's revival of a controversial production containing Georg Baselitz’s artwork succeeds with strong musical performances led by veterans of Wagnerian operas.

The Baden-Baden Easter Festival offers a memorable production of Pique Dame with excellent musical performances convincing in Leiser and Caurier's updating of the plot.

Two sopranos bring intensity and tenderness to Strauss’ powerful opera in a revival of the timeless production by Patrice Chéreau.

A new production of Lohengrin at Oper Leipzig is conceived as an intimate chamber opera and succeeds with brilliant musical performances.

The Metropolitan Opera performs the original French version of Don Carlos for the first time with a distinguished ensemble of soloists, but the static production offers no new insights into the depth of Verdi's masterpiece.

Director Claus Guth's new production for the Staatsoper Berlin is a bit of a mixed bag but the evening succeeds more on its musical merits, with a splendid ensemble of singers and orchestra conducted by Sir Simon Rattle.

Franco Zeffirelli’s spectacular production of Turandot gets another revival with Christine Goerke and Yusif Eyvazov as the ice princess and Calaf.

The Orchestra and Chorus of Teatro alla Scala excel in a thrilling concert conducted by Riccardo Chailly with a magnificent contribution from soprano Lise Davidsen.

The Hungarian State Opera presents a new modern production of Don Carlo by a director who depicts the historical cruelty as very much present in our world today.

Dmitri Tcherniakov updates the "German Romantic Opera" into a modern-day thriller with interesting twists in a musically splendid performance in Munich.

Opera North performed a semi-staged and shortened Fidelio with a committed group of soloists, chorus and orchestra led by Mark Wiggelsworth.  With a pared Orchestra, the opera came across as a hymn of hope.

The Bayerische Staatsoper's new production of Falstaff makes the mistake of turning a comedy into a slapstick, but the fine ensemble have the last say as they stand in silence and defiance to face the empty auditorium.

Shortened and simplified to adapt to restrictions, David Bösch's 2016 production succeeds in bringing Mozart's brilliant opera to a modern setting with a splendid cast of singers.

Karina Canellakis leads the Royal Stockholm Philharmonic Orchestra in Wagner and Strauss with style and sophistication.

François Girard’s production presents the moody, stormy atmosphere of Norwegian seascapes with stunning visuals, but offers few fresh ideas on the doomed love between the Dutchman and Senta.

The Opéra Royal de Wallonie-Liège takes a risk in mounting a new, but traditional production of the more rarely heard French version of Verdi’s Don Carlos and succeeds with a great ensemble of singers. 

Deutsche Oper Berlin’s new production of A Midsummer Night’s Dream is a delightful and whimsical homage to Britten’s masterpiece. The orchestra, soloists and children’s chorus performed with energy and charm under the baton of Donald Runnicles.

Michael Mayer’s colorful and busy production of La traviata returned to the Met with a triumphant performance of the title role by soprano Aleksandra Kurzak.

The Met revives Robert Carsen's updated production of Der Rosenkavalier with a strong cast led by Camilla Nylund.  Sir Simon Rattle led the Met Orchestra in an inspired and detailed reading of the score.

The young soprano Lise Davidsen scored a successful debut at the Met, with impressive support by conductor Vasily Petrenko, also making a debut, led a memorable revival of Pique Dame. 

A semi-staged performance of the two early 20th-century modernist works at the New York Philharmonic featured excellent soloists, great production and an inspired orchestra led by Jaap van Zweden.

Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. In the title role, Lisette Oropesa demonstrated elegant and incisive singing, while Michael Fabiano was her virile and powerful partner.

Irene Théorin and Andreas Schager lead a stunning musical performance, as Guy Cassiers vision of The Ring becomes clear.  

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.

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

Daniel Barenboim led a performance of deliberate tempo with a great ensemble of singers.  Guy Cassiers‘ production, while visually stunning at times, does little to enhance the performance.

Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.

Juan Diego Flórez was impressive in his first portrayal of a lovesick soldier/priest in Manon, with Nino Machaidze's accomplished heroine. Andrei Serban's modern and thoughtful production was still fresh and arresting.

Staging the story of the Italian political figure Rienzi as that of a dictator in 20th-century Germany was an inspired idea. This revival was a rare occasion to experience Wagner's early opera. 

Zubin Mehta conducts Verdi's Otello in an iconic Robert Wilson production of stylized theater where less is more. The effect was mesmerizing.  

In a program devoted to Béla Bartók, the visitors from Hungary conveyed both a distinct uniqueness of their heritage as well as a possibility of music as a tool for communication and understanding.

The Met's revival of Jean-Pierre Ponnelle's 1984 production of La clemenza di Tito is given a new breath of life with superb conducting and an excellent ensemble of singers.

This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.

Vienna's Theater an der Wien stage a seldom performed opera by Carl Maria von Weber with an excellent cast, orchestra, and chorus.  

25 years after its creation in Bayreuth, Director Heiner Müller's legendary production of Tristan und Isolde was recreated and presented in Linz with committed performers with great success.

Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.