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

Capitaneada por Gustavo Dudamel, esta es una representación de lujo que ningún aficionado debería perderse y una perfecta oportunidad para crear afición.

La legendaria y perspicaz producción de Claus Guth para Salzburgo visita Madrid lastrada por un reparto insuficiente.

La escena de Claus Guth acompaña la psicología de los personajes y da salida a las tensiones, bien sustentadas, a su vez, por una dirección musical vivaz de sonoridad articulada a cargo de Ivor Bolton.

Tras décadas de olvido en Europa, la obra maestra de Ginastera llega al Teatro Real con una nueva producción de Pierre Audi y la enérgica batuta de David Afkham

Billy Budd triunfa en Madrid gracias a una orquesta inspirada, un reparto sólido y un dream team de magos de la escena

Baritone and pianist Thomas Oliemans demonstrated his love of the French chanson accompanied by the richly layered strings of the Amsterdam Sinfonietta.

Orchestra and singers reached great heights in this highly lyrical and dramatically flowing Frau ohne Schatten conducted by Yannick Nézet-Séguin.

Retrouvant ses musiciens de Rotterdam, Yannick Nézet-Séguin triomphe de la redoutable Femme sans ombre de Strauss, aidé par un plateau de toute première classe.

Dutch National Opera's superbly sang Così fan tutte is transposed into a teenager summer crush story.

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

Back for its third run at Dutch National Opera, with a satisfying cast, McBurney's staging wins new converts. 

McBurney's brilliant stagecraft brings child-like wonderment to the most hardened adults; his interpretation and Raphaël Pichon's conducting exude Mozartian rightness.

Fiona Shaw's production doesn't always get everything right, but Lucy Crowe's debut as the Countess is the defining success of the this revival.

Gifted conductor Andrea Battistoni and a vocally seductive cast made this revival of Benedict Andrews’s flawed La bohème a musical triumph.

Mismatching between programme and performers resulted in a disappointing evening of operatic all-time favourites.

An aesthetically handsome but cold and distant staging mars the long-awaited return of  Eva-Maria Westbroek as Puccini’s heroine at Dutch National Opera.

Mit Ambroise Thomas' Oper über den dänischen Prinzen beginnt die Oper Göteborg ihr Mitfeiern am Shakespeare-Jahr 2016.

At Dutch National Opera, director Lotte de Beer’s reminds us who the Hänsels and Gretels of the 21st century are, juggling between harsh reality and heartening fairy tale in a spectacle that both delights and unsettles.

To celebrate its 50th birthday Dutch National Opera put on a festive tribute to the people that have made it the innovative and much-admired house it is today.

It is the first version of Rossini’s Petite messe solennelle, with piano and harmonium, that the Flemish Radio Choir and Hervé Niquet chose to perform, their fine performance demonstrating the originality and impact of this more intimate version.

A fine cast and orchestra revive Simon McBurney’s twilit, inventive Magic Flute at Dutch National Opera.

For his first collaboration with the Dutch National Opera, Australian director Benedict Andrews emphasizes the modernity of Puccini’s most popular opera.

Eine Inszenierung, in der einfach alles passt: Mozarts Figaro in Göteborg übertrifft alle Erwartungen und bietet Unterhaltung auf höchstem Niveau, bis zum letzten Akkord.

Martijn Padding's opera Laika is let down by its libretto, which illustrates that though authors may write successful novels, this doesn’t necessarily imply they can also produce good theatre texts.

With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.

The new Netherlands Opera performance of Richard Wagner’s only comic opera Die Meistersinger von Nürnberg was an absolute success. Spanning a daunting four-and-a-half hours, the evening kept us wanting more rather than searching for the clock.

After years of opera going, is it really still possible for me to be moved to tears by a tenor’s wail at the sight of a consumptive heroine dying tunefully in her bed at the end of the last act? I didn’t think so, but on the basis of last night’s Covent Garden performance of La Bohème, the answer would appear to be yes.