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

Los figurines y la escenografía austera de Stewart Laing se contrastan con el ensueño, resuelto de forma notable por Stephen Costello en una maravillosa Che gelida manina, y la réplica, ascendente pero no menos cautivadora, de Anita Hartig

Un notable reparto vocal y un cantante leyenda para una producción de claroscuros.

Amy Lane’s production of Gounod’s Roméo et Juliette at the COC is eye-catching and enjoyable but doesn’t offer the same level of insight as her Faust last season. 

This revival of the company’s 2019 Weimar-inspired staging of Verdi’s heartbreaking masterpiece is distinguished by stylish singing. 

The summer festival closes with the Tanglewood Music Center Orchestra playing Tippett and Beethoven. 

Nadine Sierra's thrilling Violetta deserves better than Michael Mayer's superficial production revived at the Metropolitan Opera.

Adam Palka shines as the devil in this revival of Frank Castorf's multimedia staging that relocates the work to mid-20th century Paris, around the end of the Algerian War.

Despite the setting in a condo, Dante’s staging is basically traditional, to the point of even respecting the original story's 1830s fashions.

Christian Spuck revisits Verdi’s sublime Messa da Requiem with a host of gifted dancers and singers at the Zurich Opernhaus.

Here was the much-loved three-act opera Rigoletto, yes, but chances are, it was one far beyond Verdi’s wildest dreams.

Christopher Alden’s production of Verdi’s Rigoletto returned to Toronto tighter, more focussed and with fewer dramatic incongruities. Add to this that every aspect of the music making was top notch and it made for a fine evening at the theatre.

Malgré quelques imperfections, cette Veuve Joyeuse mérite qu’on s’y intéresse, ne serait-ce que pour la joie qu’elle distille en cette rentrée plutôt morose.

The gambling tables and neon lights of Las Vegas might not be the images which immediately enter your head when you think of Verdi’s Rigoletto, but bold art is often created and progressed by the pushing of boundaries and by challenging audiences to reimagine the familiar.

It would be no exaggeration to say Franz Hawlata stole the show, an act of grand larceny made all the more remarkable by the strong cast which shared the stage.

A new cast arrives for Katie Mitchell's gothic Lucia di Lammermoor – and, despite caveats about the staging, deliver some excellent performances. 

Does it really matter where an opera is set? These days, this question seems to trail Rigoletto. 

In Anna Bolena, Sondra Radvanovsky plays a queen who loses her crown. But she approaches a different coronation: as the first to play three of Donizetti's Tudor Queens at the Met.

Willy Decker’s 2010 bleak, fascinating, controversial production of La traviata has returned to the Met with an entirely new cast.

Ailyn Pérez and Stephen Costello open San Diego Opera's season in a generous duo recital.

Ailyn Perez, Stephen Costello and Simon Keenlyside star in Verdi's La Traviata at the Deutsche Oper Berlin.

Everything about the opening scene of this production set me on edge: centre-stage a hybrid bed on wheels, part crib part hospital, and propped up on it, peering through the bars, a young female, presumably Lucia. The set is a high-walled room, dingy white, plaster stained, paper peeling, with  a short door and elongated windows suggesting a surreal Alice-in-Wonderland distortion.

Chicks dig the high notes. The enduring popularity of Donizetti’s The Daughter of the Regiment seems to indicate as much. The plot is silly (even by opera’s standards) and much of the music is not as memorable as some of Donizetti’s more popular works.

Though reports of the work’s importance and dramatic power have attended it since its 2010 premiere in Dallas, I doubt many in the audience of the War Memorial Opera House on Wednesday night were prepared for the impact of Jake Heggie’s Moby-Dick.

Read our review of David McVicar's production of Donizetti­'s Anna Bolena in its 2011 broadcast from the Met Opera in New York.

Opera Company of Philadelphia (OCP) reached into the Philadelphia community with its remake of Gounod’s Romeo and Juliet, the second of five shows in the 2010-11 season. In his OCP debut, Italian director Manfred Schweigkofler gave the company a chance to recast a Renaissance-era tale of two Italian families bearing ancient and deadly grudges as warring fashion houses in 21st century Verona.