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

The Lyric Opera of Chicago's presentation of El último sueño de Frida y Diego brings the Mexican artists to life... or at least a life reminiscent of their real ones.

Benjamin Zander’s meticulous preparation, compelling concept and strong casting make for a shattering experience in the Boston Philharmonic’s performance. 

Lyric Opera of Chicago's production of Missy Mazzoli's opera, which the company co-commissioned, has strong, dramatic, expressive music throughout, but the story lacks continuity. 

Valentina Carrasco's contemporary staging, with impressive sets and singing, makes for a remarkable show at the Teatro dell'Opera. 

John Adams’ Nativity oratorio is fully staged in a new production by Lileana Blain-Cruz, her first time directing at the Met. 

Lorena Maza's vibrant production of Gabriela Lena Frank's 2021 opera about Frida Kahlo and her relationship with Diego Rivera reaches Los Angeles.

John Adams' opera, in its third revision since its 2017, receives an outstanding concert performance in Walt Disney Concert Hall under the composer's baton. 

Lawrence Brownlee further cements his status as the world's leading bel canto tenor with a blazing performance as Rodrigo, the unlikely central figure in Rossini's rendering of the Shakespearean tragedy.

Amid an uncertain future for the Mostly Mozart Festival, conductor Louis Langrée led a fiery program that overflowed with rage rather than grief.

The five female voices in the opera's main roles complement each other wonderfully in this more-than-concert performance in New York. 

James Darrah stages Handel's sensual oratorio for Festival O, a feast of wonderful singing. 

Jane Glover conducts a skittish Mozart's Così fan tutte for Kansas City's Lyric Opera.

Paul Curran's movie-Like Carmen for Opera Philadelphia

Puts’ and Campbell’s fast and furious neo-Victorians launch Philadelphia’s Annual Opera Festival.

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

The Metropolitan Opera's new produdtion of Rusalka fails to explore a deeper complexity of the fairy tale, although a strong ensemble of singers and the superb Met Orchestra make it a musically compelling performance.

For the latest revival of Moshe Leiser and Patrice Caurier's candy-striped production, the Royal Opera serves up the operatic equivalent of stodgy semolina.

Charles Dutoit's mostly Spanish program was highlighted by two major scores of Manuel de Falla.

Une bien belle soirée ravélienne, qui aura mis en valeur un Orchestre de la Suisse Romande décidémment en grande forme sous la direction raffinée de Charles Dutoit, expert de la musique française.

Director Christopher Alden's charming Partenope slinks its Surrealist way into San Francisco.

The full name of Handel's opera is Giulio Cesare in Egitto: it depicts a historically loose version of Caesar's sojourn in Alexandria, during which Pompey is murdered, Ptolemy is killed in battle and Cleopatra is installed as Queen.

After the success of Benjamin Britten’s opera The Rape of Lucretia, Britten and director/librettist Eric Crozier discussed future operatic projects. The composer wanted his next opera to be a comedy and insisted that it be set in England. When Crozier suggested adapting Guy de Maupassant’s La Rosier de Madame Husson, Britten knew he was on to something good. Indeed, it was an ideal choice.