Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Natalya Romaniw

The BBC NOW gave us two hearty Russian works and celebrated the lunar landing with a world premiere of Huw Watkins' The Moon.

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

Natalya Romaniw is a natural as our maligned heroine: Paul Curran creates staging of bewildering comic complexity and pulls it off with panache.

Daniel Kramer’s direction is a model of restraint compared to some of his earlier work for the company.

Jonathan Miller's production of La bohème is revived by ENO and features an important house debut. 

Lars Vogt and Royal Northern Sinfonia deliver Beethoven's Symphony no. 9 with swaggering self-confidence, and heroic chorus singing.

Director Oliver Mears turns Scottish Opera’s Eugene Onegin into a memory play, with fine singing from a strong cast starring Natalya Romaniv as a thrilling Tatyana.  

The cavernous Mayflower pit eats singers for breakfast and only Natalya Romaniw’s full-blooded Tatyana escaped its jaws unmarked

In a concert of two halves, Worcester Cathedral experiences unforgettable pain and pleasure in works by Strauss, Rasch and Janáček.

Grange Park Opera scored a direct hit with a fine production of Janáček's masterpiece, led by a superb performances from Natalya Romaniw and Susan Bullock as Jenůfa and the Kostelnička.

Intended to signify the contribution of Russian music to the Western canon, the Royal Choral Society gave admirable performances of two major choral works, rarely heard in Winchester Cathedral.

Scottish Opera may be admirably committed to Mascagni's under-appreciated opera, but the musical quality and vision are lacking.

Tchaikovsky's High Gothic opera about gambling obsessions is worth seeing for a first class staging, albeit with a mixed musical performance.

Michael Boyd's stylish new production is broadly traditional, apart from beyond-the-grave appearances by Lensky. 

Anthony McDonald’s Rusalka looks and sounds wonderful in a traditionally told production, with Anne Sophie Duprels returning to the role.

In Opera Holland Park's latest foray into obscure verismo, an excellent orchestral performance and high quality singing fails to translate into a compelling drama.

Vladimir Jurowski is a wily programmer. Pairing a concert performance of Rachmaninov's The Miserly Knight with extracts from Das Rheingold seemed a shrewd move.

Slick, surreal and creepy, with a strong cast of exciting young singers: it's hard to imagine a Turn of the Screw better than Glyndebourne's Jonathan Kent version, revived for their 2014 Tour by Francesca Gilpin. 

Ermanno Wolf-Ferrari is a bit of a strange fish: a recluse, a self-described mystic, and proud enough of his hybrid German-Italian identity that he appended his mother’s maiden name to his own at the age of nineteen.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.