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

Die umjubelte Rückkehr der Berliner Philharmoniker nach Salzburg beginnt musikalisch eindrucksvoll. Das Regiekonzept von Kirill Serebrennikov wirft zahlreiche Fragen auf, beantwortet jedoch nur wenige davon. Christian Gerhaher debütiert als Wotan in bemerkenswert intellektueller Manier.

Director Dmitri Tcherniakov and a talented cast do everything to make Tchaikovsky’s opera work in Amsterdam, but problematic elements persist. 

Tobias Kratzer gives his third Strauss production in three seasons at Deutsche Oper Berlin another contemporary spin. 

Christof Loy and Carlo Rizzi score a great success in bringing Respighi’s rarely performed opera the Deutsche Oper Berlin. 

Andris Nelsons brings his Shostakovich project to a close in Boston with an incandescent performance of Lady Macbeth of Mtsensk. 

A strong revival cast, conducted by Dalia Stasevska, demonstrate why Sir Peter Hall's 1981 vintage staging of Britten’s A Midsummer Night's Dream is such a classic. 

Deutsche Oper Berlin’s new production of A Midsummer Night’s Dream is a delightful and whimsical homage to Britten’s masterpiece. The orchestra, soloists and children’s chorus performed with energy and charm under the baton of Donald Runnicles.

The Deutsche Oper revives once again Boleslaw Barlog’s old production, with two outstanding singers at their debut in the house.

Conductor Ivan Repušić leads a successful revival of Verdi’s playful masterpiece, with a solid cast.

Anna Netrebko triumphs at the Deutsche Oper in a concert performance of Cilea’s masterpiece, under the baton of Michelangelo Mazza.

The director's world-renowned 1991 conception of Benjamin Britten's 1960 operaA Midsummer Night's Dream finally makes it to America. 

Setting the opera in the backyard of a suburban house feels refreshingly honest: the ridiculous and simplistic tale of the evil witch, the prince and the maiden is rightfully returned to the arena of children's games, and adults look on indulgently, with a wink.

“Honour your masters!” Sachs instructs Walther in the final scene. Wagner's spirit was honoured well as Glyndebourne's festival opened, but did the song contest necessarily crown the right winner?  

Bravo to Opera Phila for presenting a startlingly beautiful contemporary operatic work by Osvaldo Golijov, one that's vital in the evolving landscape of 21st century opera.

“For some operas,” famed conductor Carlo Maria Giulini once said, “you can accept a voice of not absolute beauty – if it is well used and he is an artist and interpreter, it will work. But for Verdi you need all this plus the essential sound.

Never has the expression “A good time was had by all” been more accurate than at Tuesday night’s performance Il Barbiere di Siviglia at Centennial Hall in Haverford, Pennsylvania.

In his program notes for Pelléas et Mélisande, director K. James McDowell refers to the only opera Claude Debussy ever completed as "a towering masterpiece in the operatic repertoire.

Tucked away on Spruce Street, Philadelphia, many blocks off the glittering Avenue of the Arts is a stellar training academy with the mission of preparing world-class opera singers. It’s called the Academy of Vocal Arts (AVA), and it offers resident artists from throughout the United States and all over the world a chance to study and perform in its four-year program.