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

La producción de La flauta mágica de Kosky y Andrade regresa tras 4 años al Real con renovado éxito.

La producción de la Komische Oper de Berlín de La flauta mágica se presenta de nuevo en el Teatro Real. Un montaje de inspiración cinematográfica que no acaba de reflejar los ideales del Singspiel de Mozart. 

Nicholas Collon and the Aurora Orchestra, together with Frantic Assembly, present an illuminating analysis of Shostakovich's Fifth Symphony, followed by a blistering account of the work from memory.

Eye-popping, hand-drawn animation melds with Mozart's fantastical world and the silent film era to create a colorful and energetic new-to-Seattle production.  

This is not Carmen, but then Wu Tsang's bizarre meta-work, originally commissioned by Schauspielhaus Zürich, is all about breaking ties with convention. 

Ironie du sort, un an après sa démission de l'Opéra de Paris, le chef vénézuélien est de retour à Paris pour un opéra mis en scène... à la Philharmonie ! Pour un résultat mitigé.

Gustavo Dudamel's concept of a semi-staged Fidelio in collaboration with Deaf West Theatre gives a voice to Beethoven so enormous that those with hearing impairments can surely hear.

Brecht and Weill’s political satire could hardly be more relevant, but Thomas Ostermeier and Maxime Balcon's new production fails to do it justice.

The Queen of the Night appeared as a malevolent giant spider, complete with exoskeleton, threatening Tamino with her stabbing limbs and summoning hordes of smaller spiders to writhe over Pamina when the latter hesitated to commit to Sarastro's murder.

The German word Betroffenheit doesn’t translate easily to English. Any German-English dictionary will spit out approximations like "shocked" and "dismayed", but for a real translation, see Crystal Pite and Jonathan Young’s challenging, beautiful work by the same name. 

What is it about Arvo Pärt’s ‘Angel Music’ that appeals to the dying? Vanishing Point’s theatre and Scottish Ensemble’s playing combine to produce a thoughtful and poignant performance.  

La gazza ladra celebrates its 200th anniversary with a new production at La Scala, an earthbound effort from director Gabriele Salvatores, but it was Riccardo Chailly who drew the wrath of sections of the Milanese audience. 

Garsington’s first collaboration with the Royal Shakespeare Company married an abridgement of Shakespeare’s play with Mendelssohn’s incidental music, a union which promised much but which stumbled awkwardly.

Song in a Strange Land is an evocative blend of concert jazz dance, jazz music, and literary texts layered to tell diasporic and lived memories of African Americans.

Die Zauberflöte is a work whose outward simplicity masks internal complexity and even contradictions. Mozart’s music is childishly tuneful and yet reaches for the classically sublime; Emmanuel Schikaneder’s libretto alternates a magical quest story out of a German storybook with Masonic claptrap and secondhand Voltaire.