Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Paula Murrihy

Ivor Bolton y David McVicar se han unido para crear una Gloriana auténticamente britteniana, con Anna Caterina Antonacci encabezando un elenco de gran nivel.

Mit Faurés Pénélope bringt die Oper Frankfurt erneut eine Rarität und unterschätzte Oper in ihren Spielplan.

The Orchestra of the 18th Century proves the main asset of a rewarding Don Giovanni at the Amsterdam Concertgebouw. 

Hugo Wolf once said “Brahms cannot exult”. He should have heard this.

Joshua Bloom and Paula Murrihy excel in Irish National Opera's staging of Bartók's opera, although director Enda Walsh takes too many liberties with the libretto. 

The transfer of last year's Clemenza di Tito from Salzburg delights and irritates in equal measure.

Kenneth Montgomery leads the Orchestra of the 18th Century and a fine team of young soloists in a swift, finely detailed interpretation of La clemenza di Tito.

David Alden's staging of Alcina mines the rich theatricality of one of Handel's best-loved operas with enchanting but also perplexing results. 

Željko Lučić als Gast zu Haus: Wieder singt er eine hinreißende Partie an der Oper Frankfurt.

L’Indian Queen de Purcell aura ravi à Genève les auditeurs d’un drame baroque tellement moderne. Les héros de cette fresque amoureuse malheureuse auront suscité bien des émotions qui perdureront longtemps tant leur implication fut totale. Bravo ! 

The legendary Kings College Choir, Cambridge, conducted by their very own Stephen Cleobury, was accompanied by the Orchestra of the Age of Enlightenment on period instruments at the Royal Albert Hall.

Paula Murrihys Rollendebüt in Frankfurt entpuppt sich nicht als betörend, sondern als unwiderstehlich cool.

In einem minimalistischen Bühnenbild aber durch höchst intensive Charakterisierung der Figuren gelingt an der Frankfurter Oper mit Händels Radamisto ein außergewöhnlich packender Opernabend.

Douglas Boyd dirigeait l’Orchestre de Chambre de Paris dans un Messie de belle tenue à la Philharmonie de Paris. On y était.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

Mark Padmore est aujourd’hui l’un des Évangélistes les plus renommés et expérimentés de la scène internationale. Pour ce concert qu'il dirige aussi il a choisi un effectif de 16 chanteurs pour l'ensemble des parties vocales.

Als turbulenter Faschingsspaß ist die frühbarocke Oper L’Orontea 1656 uraufgeführt worden. An der Frankfurter Oper erlebte sie jetzt als moderner Operngag eine rasante Neuinterpretation.

Where is the line? Where does the stage end and the audience begin? This is what Australian director Barrie Kosky probes in his production pairing Purcell's Dido and Aeneas with Bartók's Bluebeard's Castle.

“He’s not an opera director. He’s a very naughty boy!” Three years after his surreal Damnation of Faust, Terry Gilliam tackles more Berlioz for English National Opera in the shape of Benvenuto Cellini, striking gold again.

Twenty-eight immobile cast members faced the audience from the long white bench which comprised the totality of Katrin Lea Tag’s bare set. Meanwhile, a floor-level, period instrument orchestra delivered the attention-grabbing, minor key Overture to Purcell's 1688 Dido and Aeneas.