En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Michael J. Scott

Even locked behind a music stand, like a caged panther in a sleek black gown, Grigorian’s Salome bristles with dramatic energy in Barbican concert performance of Strauss’ “scherzo with a fatal conclusion”. 

Calixto Bieito inszeniert Mussorgskys unvollendete Oper als tödliches Machtgerangel verschiedener Gruppen. Bei der Gestaltung des Schlusses leistet er sich Freiheiten, die grenzwertig sind.

The Grand Théâtre de Genève is certainly not risk-averse and Hungarian director Kornél Mundruczó controversially translates the action to a penthouse bar in New York.

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

Swedish soprano Malin Byström returns to Sir David McVicar's production at Covent Garden, where she is now probably unsurpassed in the role, vocally and histrionically.

The Teatro dell'Opera opens its season with the world premiere of Giorgio Battistelli and Ian Burton's new Shakespearean work, under the baton of Daniele Gatti and the direction of Robert Carsen.

La mise en scène de Michael Thalheimer va à l’essentiel dans Macbeth, dernière production du mandat d'Aviel Cahn à la tête de l’Opéra de Flandre.

Christian Gerhaher erbringt als Elias in Karohemd und Cargohose eine göttliche Leistung.

A fine cast convinces in Dutch Reisopera's new Tosca, staged in a dystopian police state.

Hagen, the first chapter in the Theater an der Wien's reimagining of The Ring, features music from Das Rhinegold and Götterdämmerung woven seamlessly together, telling the story from the perspective of Hagen, son of Nibelung dwarf, Alberich.

Rimsky-Korsakov’s opera is rarely performed outside Russia. Sadly, I doubt that Daniel Kramer’s staging for Opera Vlaanderen will win it many new friends.

I arrived at the Royal Opera House in the usual way, settled into my seat, and – could you believe it – the opera was gone!