En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Juan Francisco Gatell

Una nueva producción del Teatro Real pone en valor la ópera de un Mozart adolescente gracias a una inteligente escena y una cuidada dirección musical.

La producción de la Staatsoper Berlin de Falstaff se presenta en Les Arts con un elenco bien armado y en la que orquesta y escena contribuyen al fluir de la diversión.

El Teatro Real renueva la producción de Damiano Michieletto de L'elisir d'amore y apuesta por el dinamismo con cantantes versátiles como actores.

La divertida escena de el director Michieletto, la expresiva direcci&oaccuten de Stefano Montanari y el estiloso canto de un reparto puramente rossiniano nos llevan a fascinante nueva producción de la poco frecuente Il viaggio a Reims en la De Nationale Opera.

Musikalisch war Daniele Gattis Falstaff eine Offenbarung und ein grandioser Einstieg als Chef an der Semperoper. Auch das Sängerensemble nötigte Bewunderung ab. Michielettos Personenführung diente der Komödie gut, blieb aber im szenischen Setting einigermaßen belanglos.

Cecilia Ligorio directs the first new production of Mozart's early opera at the Opera di Roma since 1988. 

Szenisch enttäuscht der Abend auf ganzer Linie, da Peter Sellars Regie lieb- und ideenlos daherkommt; musikalisch bleiben allerdings keine Wünsche offen! 

Puccinis Commedia lirica erscheint in Zürich als Schweizerische Erstaufführung. Ermonela Jaho ist eine fabelhafte Hauptdarstellerin, Christof Loy bietet eine schlüssige Inszenierung und Marco Armiliato lässt Italianità vom Feinsten erklingen. 

Dans cette nouvelle production quasi monochrome signée Damiano Michieletto, La Monnaie dévoile un Rosenkavalier magnifiquement mélancolique, porté par la direction d'Alain Altinoglu.

Falstaff très réussi à l'Archevêché d'Aix-en-Provence, pour notre plus grand plaisir : une véritable leçon de joie dans un monde où, nous dit-on, tout n'est que farce.

Graham Vick's new staging of Mozart's unfinished Singspiel marks a welcome, exciting reopening of Teatro Costanzi after the Covid-19 shutdown.

Dans une production contemporaine et provocatrice mettant directement en lien les opéras de la trilogie Mozart-Da Ponte, le casting vocal se montre à la hauteur malgré certaines incohérences de mise en scène.

Le duo de metteurs en scène Jean-Philippe Clarac et Olivier Deloeil mettent en scène la trilogie Mozart-Da Ponte à La Monnaie. Dans une production aux allures de série télévisée, Così constitue un épisode très convaincant.

ROF presents the first, immature effort of the composer in the successful production by Davide Livermore, with a solid cast led by Jessica Pratt.

Il re pastore seems to be a work that deserves to be included in the repertoire for its undoubted qualities and not only because it foreshadows the genius of the works that will follow.

In a successfully streamlined staging, Stefano Landi’s obscure, overpopulated opera got the royal treatment by a superior cast and orchestra.

Absent from theatres for more than a century and a half, Donizetti's comedy about Tsar Peter the Great is revived in the composer's home town.

Not a particularly revealing Falstaff, but a pleasing performance though. Maybe one would have expected something of greater impact from a festival like this one, but that goal had already accomplished by Graham Vick with his Stiffelio the night before...

Lord Sidney's contemplation of the insanity of the world seems to be the impetus for this delirious production. So endless is its stream of gags that to attend this show is to be left feeling exhausted.

The charm of Gaetano Donizetti’s spirited two-act L’elisir d’amore lies in its mixture of sharp comedy and poignant pathos. Zurich gave us just that.

Suggesting that Otello was a migrant, like modern refugees, was not a great staging idea for a production which could count on an high-rate vocal cast.

In a staging new to Florence, the action is often merely a set of friezes, singers immobilised on a pair of moving plinths. 

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.

Michael Hanekes letztjährigen Madrider Sensationserfolg stieß in Wien auf einhellige  Begeisterung. Tatsächlich und ganz ohne Ironie: Was man zu sehen bekam, war der Inbegriff des vielstrapazierten Vergleichs vom großen Kino.

In the bicentenary anniversary of Giuseppe Verdi, tributes are aplenty. On Saturday evening, Los Angeles Opera presented a new production of the Italian master’s final work, Falstaff, though that wasn’t all.

On Wednesday night the Kennedy Center for Performing Arts was more crowded than a shopping mall during the holiday season. Apparently, nothing could keep DC opera lovers from getting to the Washington National Opera - not even the notorious peak hour traffic.It comes as no surprise that Mozart’s Don Giovanni, known to some as "the greatest opera ever written" is on most opera fans’ must-see lists.

Puccini's Il Trittico, performed last night at the Opéra Bastille in Paris, is a unique item in the repertoire: a series of three one act operas with little to link them except the composer's conceit of what would work together in an evening. Each opera clocks in at something under an hour, and despite the relatively short duration, each has plenty of time to develop its characters.