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

The first concert of the Orchestra's streaming fall season brought variety show elements to the classical stage.

Classic works by Barber and Copland were performed alongside a contemporary composition that puts itself in conversation with the National Anthem.

The program paired works of two living female composers with a suite of selections from Porgy and Bess, featuring star soprano Angel Blue.

The Met’s new production is directed by James Robinson, who has the characters interacting and listening to one another as if in real life – the inhabitants of Catfish Row have known each other for all of their lives and love, pray and grieve like family.

The COC's revival production of Puccini's La bohème is an enjoyable trip to the opera but it won't blow your socks off.

On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.

The Albanian soprano, who made a spectacular jump-in for her house debut in Richard Eyre's production in 2008, makes a splendid return. 

A debuting conductor, two new singers, and a fine ensemble of singers bring unexpected joy to the Met's traditional La bohème with fresh and youthful energy.

Seattle Opera's memorable Porgy and Bess excels with an exceptional cast who performed with utmost sympathy for their roles.

A revival of Franco Zeffirelli’s 1981 production was graced by an impressive case, including the Met debut of soprano Angel Blue. 

A sombre programme of four substantial works, part of the LPOs series of concert Belief and Beyond Belief nevertheless had something of showbusiness about it, thanks to the charismatic presence of John Mauceri. 

Two fascinating casts make Peter Konwitschny's stripped-down Traviata a must-see artistic event in Seattle.

Despite Angel Blue and Ryan Speedo Green, this revival of Franco Zeffirelli’s classic production lacked vocal colour.

ENO's revival of Jonathan Miller's 2009 production is musically solid, but falls short of the dramatic intensity achieved in previous years.

In his programme note, director John Fulljames remarked that “any opera has many layers of authorship”, and that is truer of American Lulu than most.Alban Berg compiled the original libretto for Lulu (1929–34) from two plays by Frank Wedekind: Erdgreist (“Earth Spirit”, 1895) and Die Büsche der Pandora (“Pandora’s Box”, 1904). At the time of Berg”s death in 1935 the third act remained incomplete.

What to do with a “classic revival” that has, in the main, met the critics’ eye of approval? That was the question facing Natascha Metherell, the revival director of ENO’s production of La bohème, which opened this week at the Coliseum. The revival was in fact deftly handled: a production which remained faithful to Miller’s original vision, with honest, rather than over-egged, sentimentality.

Director William Friedkin doesn’t put a dramaturgical foot wrong in his Theater an der Wien production of The Tales of Hoffmann and yet doesn’t challenge, or even engage with, any of the opera’s Romantic positions.