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

“Lima darf nicht Österreich werden!” Offenbach's operetta is set in Lima, but really it’s Vienna in director Nikolaus Habjan uproarious production. 

Mezzo J'Nai Bridges stuns in the title role of Bizet's opera, returning to Amsterdam in Robert Carsen's celebrated staging. 

Jordan de Souza conducting the BBC Symphony Orchestra fails to set our reviewer's heart racing, but the young Swedish violinist John Dalene most certainly does.

An ideal young cast and a thoughtful production bring fresh perspectives to Puccini's tragedy.

Regisseur Roger Vontobel veranschaulicht durch tänzerische Doubles die innere Gefühlswelt seiner Hauptfiguren.

Mixed performances that highlighted Francesco Dego's riveting account of Mendelssohn's Violin Concerto, bookended by Berlioz's ground-breaking symphony and a rare overture by Louise Farrenc. 

Doté d'une distribution inégale en partie compensée par un jeu d'acteurs appréciable, le Don Giovanni de Daniel Benoin ne convainc qu'à moitié à Toulon.

Outstanding singing from a beautifully chosen cast led by Miah Persson and Hanna Hipp. 

Nicola Raab's production doesn't quite provide the bold rethinking it promises, but stylish execution and a fine cast make for an effective modern Traviata. 

À la Maison Symphonique de Montréal, l'Orchestre Métropolitain et le violoncelliste Maximilian Hornung ont livré une prestation admirable, sous la direction inspirée de Jordan de Souza.

The Queen of the Night appeared as a malevolent giant spider, complete with exoskeleton, threatening Tamino with her stabbing limbs and summoning hordes of smaller spiders to writhe over Pamina when the latter hesitated to commit to Sarastro's murder.

The new version of La bohème at the Komische Oper Berlin follows a hard Verismo-beat.

Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.

There’s no doubt that Mélisande endeavours to escape past troubles when she first appears in Barrie Kosky’s production of Debussy’s opera, yet Nadja Mchantaf is no reticent, wispy maiden. Every vocal and physical gesture – always precise and penetrating – displays an atypically forthright quest for vitality, something that Arkel’s chauvinistic world does not readily offer.

Tchaikovsky's opera packs a powerful emotional punch in the Komische Oper's concentrated and dreamlike production.

Introspected and atmospheric, this late romantic opera appeals to the psychotherapists within us.