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

A haunting, musically compelling impression of a woman whose life was shaped by creation, loss, and unfulfilled thirst for personal expression.

Seattle Opera’s tiny Tagney Jones Hall hosts a new production of Gluck's opera, but without the happy ending he was forced to provide. 

A resounding success at its 1709 première, Handel’s Agrippina gripped the ear and dazzled the eye at the Grange Festival in a hugely entertaining and powerful performance.

In Siberian conditions more akin to The Winter's Tale, a revival of Robert Carsen's season setting of Britten's A Midsummer Night's Dream offered a warm glow at the Coliseum.

Auch wenn das Oratorium wohl bekannt ist, die Besetzungspraxis und schnelle Tempi weiß Gott nicht neu sind, so darf diese Wiedergabe von vier Teilen bisher ungehört gewesen sein.

Conway's decision to render Handel's epic in its entirety was let down by a static staging and unnecessary repeats that masked the hidden gem-like arias.

On a golden afternoon on the Wormsley estate, not everything on stage necessarily glittered, but there’s plenty of spirit in Annilese Miskimmon's production to entertain.

Salvation sweetness and light in DC's annual Messiah.

Ryan Wigglesworth conducts the Hallé in works by Bach, Stravinsky and Schumann.

Barrie Kosky's production, revived for the tour, turns Handel’s 1739 Old Testament oratorio Saul into a gripping psychodrama. 

Dans le cadre de son festival "Les Jardins mystérieux", l'Opéra de Lyon propose une lecture originale et unique d'Orfeo ed Euridice de Gluck. Un voyage dans l'inconscient, laissant donc parfois de côté la logique, mais dans lequel le talent des artistes se met au service d'une mise en scène qui ose.

Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar. 

Julian Anderson’s Thebans, a bold attempt at condensing Sophocles’ three Theban plays into a single opera. The result is a powerful piece of theatre which drags the audience into the story of Oedipus’s horrific downfall and death, with its ensuing civil war.

Thomas Zehetmair brings out all the ochestral detail of Bach's masterpiece, creating a beautifully approachable and engaging St Matthew Passion that goes straight to the heart of the story.

Richard Jones' new production of Rodelinda for ENO has some very good singing, but suffers from a production that refuses to take the opera seriously.

Opera North's Death in Venice is another winner for the company in Britten's centenary year, originally directed by Yoshi Oida. Alan Oke is a successful, anguished Aschenbach.

Describing its new production of Francesco Cavalli’s 1668 opera Eliogabalo, the Gotham Chamber Opera compares the exploits of titular depraved Roman emperor Heliogabalus to Salome. There’s an obvious mistake here: Salome is an opera; Heliogabalus was a historical figure.

Handel’s Messiah is a challenge to any conductor, particularly in the English-speaking world. It’s probably the best-loved piece in the classical repertoire, guaranteed to bring people out in great crowds. You can’t mess with Messiah, but at the same time, there’s a danger of sinking into tired tradition.

Where could be more appropriate to see the story of Caligula, Rome’s most notorious emperor/self-proclaimed God, than in the Coliseum! Its purple SPQR livery made the opening to this performance all the more striking as Caligula, dishevelled, unhinged and not a little scary, crept on stage through the curtain in dead silence.

Glyndebourne has a great track record with staging Handel’s works. In recent years, there have been great productions of Theodora, Rodelinda and Giulio Cesare, all of which have proved equally popular at subsequent revival and Glyndebourne on Tour (GTO) productions as well.