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

Bard’s always courageous Music Director, Leon Botstein, never one to shy away from a challenge, presents Strauss' comedy uncut.

At 78, Domingo rages against the ravages of time, and – certainly in this production – shows the next generation a thing or two about stagecraft.

Laurent Pelly’s darkly stylish production of Manon is revived with a strong cast of singers. In the title role, Lisette Oropesa demonstrated elegant and incisive singing, while Michael Fabiano was her virile and powerful partner.

Although Bard's production is only intermittently successful, the chance to hear this Korngold rarity live should be savored.

Tatiana Serjan sticht in einer ansonst soliden Macbeth-Inszenierug von Christian Räth hervor.

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.

Christian Räth präsentiert eine enttäuschende Inszenierung von Webers romantischer Oper voller übertriebener Klischees.

Genève propose le Baron Tzigane de Johann Strauss pour fêter la fin d’année. Malheureusement la fête est plombée par une mise en scène en berne et un plateau de solistes assez déséquilibré. Reste le plaisir de la musique servie par un Orchestre de la Suisse Romande qui brille sous l’impulsion de Stefan Blunier.

Bravo to the Haus am Ring for a bloody good night of music, drama and beauty – an excellent first première of the season.

Whether you call it Un giorno di regno or “King for a Day”, Giuseppe Verdi’s second opera and his first comedy is mostly unknown. That has not stopped the Glimmerglass Festival from mounting a spirited production for its 2013 season in the Alice Busch Opera Theatre on the shores of Otsego Lake in upstate New York.

The nationality of Gaetano Donizetti's La Fille du Régiment is as confused as that of its eponymous heroine. Written by a homesick Italian expatriate for that most Parisian of venues the Opéra-Comique, it both continued Donizetti's Italian colonisation of the Paris opera scene (much bemoaned by Berlioz) and showed him adapting his style to the conventions of French theatre.