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

Stravinsky’s fable of desire and downfall receives a meticulously unified staging in Glimmerglass’s 50th season.

The English theatre directs turns his hand to opera with a staging of Gounod's take on Shakespeare's star-crossed lovers. 

Glimmerglass Opera Festival’s production of Candide leans heavily on a dry comedic sensibility, which most of the cast execute admirably.

Denyce Graves, once the reigning Carmen of her day, directs a new production full of interesting choices that rarely cohere.

Colorful sets and lavish costumes greet Seattle audiences as live opera finally returns to the McCaw Hall. 

Soprano Alexandra Shiner displays extraordinary vocal promise and stage presence across a host of Wagner's great female roles.

Rising mezzo-soprano Raehann Bryce-Davis offers a gorgeously sung and grippingly acted portrait of Verdi's gypsy. 

Francesca Zambello sets the whole opera as a flashback, showing, during the prelude, the heroine surrounded by doctors and nurses in a sanatorium for patients dying from tuberculosis.

Musically and dramatically, Jay Lesenger's production makes a strong case for John Corigliano's sole opera.

Mefistofele proves a mixed blessing: good meets evil, devils fight with angels, lovely lyricism alternates with bombast and second-rate material.

A production that veers close to the Disneyesque but still provides plenty to enjoy. 

The winter revival of the Met’s opening night Norma brought a new conductor and new stars in the main two female roles.

The Glimmerglass Festival in Cooperstown, New York always does themed seasons. This year the season was about the idea of home. As such, the production directed by Francesca Zambello was updated from the Middle Ages to a modern-day refugee camp.

First presented in Perth in 2002, West Australian Opera’s Il trovatore (a co-production with Opera Queensland and State Opera of South Australia) is dedicated to the memory of director Elke Neidhardt, and here the stage becomes hers.

Whether you call it Un giorno di regno or “King for a Day”, Giuseppe Verdi’s second opera and his first comedy is mostly unknown. That has not stopped the Glimmerglass Festival from mounting a spirited production for its 2013 season in the Alice Busch Opera Theatre on the shores of Otsego Lake in upstate New York.

Read our review of Luc Bondy's production of Giacomo Puccini’s Tosca in its 2009 broadcast from the Met Opera in New York.