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

Claus Guth nos traslada a un entorno sombrío y lúgubre para narrar las horas finales de un Don Giovanni herido de muerte.

Klischees, Klamauk und Kitsch – Matthias Davids Meistersinger setzen auf bunte Bilder und reichlich Provinzposse statt Tiefgründigkeit und frischer Ideen. 

La mise en scène du troisième volet de la Tétralogie déçoit cette fois-ci franchement, malgré de splendides décors. Musicalement cependant, il est difficile de rêver mieux !

Pour ce premier tableau du Ring, Valentin Schwarz avance une vision parfois comique mais toujours cohérente de L'Or du Rhin. Musicalement, Ólafur Sigurdarson se distingue dans le rôle d'Alberich.

La production est de retour à Bayreuth, avec les avantages et les inconvénients de son dispositif de réalité augmentée, et surtout une interprétation musicale de très haut vol.

Jay Scheib peppt bei seiner Parsifal-Inszenierung das visuelle Erleben mit digitalen Inhalten auf. Klingt gut – ist es das auch?

Laurent Pelly's long-standing production of Offenbach's opéra-fantastique returns to the Deutsche Oper Berlin, under the baton of Emmanuel Villaume.

Set in a 1930s music school, Sergio Morabito, Jossi Wieler and Anna Viebrick's new production of Die Meistersinger von Nürnberg at Deutsche Oper Berlin has some inspirational ideas but they often get in the way of the music.

Diese Vorstellungsserie ist dem Andenken des Regisseurs dieser Produktion, Hans Neuenfels (1941-2022) gewidmet.

So schließt sich der Kreis. Mit Siegfried wird nun der letzte Teil von Stefan Herheims Ring an der Deutschen Oper Berlin enthüllt.

Der langersehnte Herheim-Ring kann nun endlich mit einem aufschlussreichen und spannend erzählten Rheingold beginnen.

Die überladene Inszenierung kann den Sängern, angeführt von Lise Davidsen, nicht das Wasser reichen.

Deutsche Oper Berlin returns in rousing style with a pared-down, open-air Rheingold on its “Parkdeck”.

Frederic Wake-Walker sticks to a vapid pop-parody that demeans the intellectual message of Strauss' Ariadne auf Naxos.

Gelungene Haus- und Rollendebüts sowie ein nuancenreiches Orchester tragen zu einer ganz besonderen Walküre bei.

Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.

The passion of Alban Berg's music under Donald Runnicles fights against a disjointed production by Ole Anders Tandberg.

The Deutsche Oper's production of Rossini's sparkling occasion piece is big on gags but short on stardust.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Stage director Ole Anders Tandberg casts Carmen as the leader of a gang of human organ dealers.

The musical experience was dominated by the imagery making spectators feel, at least at times, overwhelmed.

Zubin Mehta brings a great deal of class to most things he conducts at La Scala, and here his bright account of Mozart's score was a joy. 

Eric’s dream of a love story with no redemption in Christian Spuck's new production of Der fliegende Holländer at Deutsche Oper Berlin. 

In spite of some questionable staging, Lyric Opera of Chicago opened its Ring cycle on a strong note with a stellar cast, notably featuring Eric Owens’ role debut as Wotan.

Stage director Rodrigo Garcia makes a controversial opera debut with The Abduction from the Seraglio in Berlin. 

Elektra, as performed during the Deutsche Oper Berlin Strauss-Wochen: Such gorgeous music, we will all want to dance ourselves to death.

Trotz starker musikalischer Leistungen geht Claus Guths Salome-Konzept an der Deutschen Oper nicht auf.

Harry Kupfers Rosenkavalier bei den Salzburger Festspielen ist und bleibt ein mitreißendes Erlebnis: Stimmliche Höchstleistung treffen darstellerische Exzelenz und viel Liebe zum Detail.

You think semi-staged opera is only half the fun? Think again. Glyndebourne's production of Mozart's oriental opera was a revelation.

David McVicar updates Mozart's Singspiel Die Entführung aus dem Serail to the time of composition in a stylish, tender production at Glyndebourne. 

Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.

Michaela Kaune, Albert Pesendorfer, Eun Yee You and Elīna Garanča transported the audience to a lost time and place, even while embodying their characters’ ultimate timelessness. 

Clémentine Margaine and Riccardo Massi star as the troubled lover's in the Deutsche Oper's classic, yet bloodless, production of Carmen.

What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before. 

Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Harry Kupfer updates the action of Der Rosenkavalier to the early 20th century in an evocative production for the Salzburg Festival.

Deutsche Oper Berlin’s Billy Budd, although musically satisfying, suffers through an ambiguously set production. 

Christian Spuck's new La damnation de Faust for the Deutsche Oper Berlin is creepy and elegant. Its impact will stay with you long after the opera is finished.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

Richard Strauss and Hugo von Hofmannsthal’s Ariadne auf Naxos was first performed in 1912, in a production directed by Max Reinhardt. Unlike the version usually seen today, this first Ariadne was a long-winded play-opera-ballet hybrid, incorporating a full production of Molière’s Le bourgeois gentilhomme with dances to incidental music by Strauss followed by the short opera.