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

Llega al Palau de les Arts una producción procedente del Teatro Mariinsky de la última ópera compuesta por Tchaikovsky, Iolanta.

El estreno de Iolanta y El castillo de Barbazul, retrasado a causa de la nieve, abrió con un poderoso canto y una escena muy efectiva. Los roles principales en Iolanta destacaron por una interprtación muy bella, mientras que en El castillo de Barbazul sobresalió la ejecución de la orquesta del Met.

The first new Forza at the Met for nearly 30 years is lustily sung, led by Norwegian soprano, Lise Davidsen, and Igor Golovatenko as her vengeful brother. 

Michael Volle und Wolfgang Koch führen eine triumphale Neuinszenierung von Keith Warner an.

The Royal Opera's revival of Keith Warner's staging feels underbaked, although interest is largely focused on the pit as the latest contender to take over from Antonio Pappano as Music Director is auditioned.

L'opéra de Korngold se dévoile à La Monnaie dans une mise en scène grandiose de Mariusz Treliński, mêlant le cauchemar et la perversion à la tendresse et à la rédemption.

The American must be one of the few tenors to tackle both Rossini and Verdi's Moor with success. 

The National Theater opens the season with Rodion Shchedrin's searing version of Lolita, with spectacularly disturbing results.

A colorful, light-hearted approach captures the spirit of Prokofiev's LʼAmour des trois oranges.

Elin Rombo shines in a co-production of King Roger with the Royal Swedish Opera and Teatr Wielki, in Warsaw

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

With a stunningly inventive and modern-sounding score, strong acting performances and a staging full of theatrical illusion and coherent in spite of general weirdness, Aix's Fiery Angel impresses.

A thought-provoking production and killer cast make San Francisco Opera's Elektra top-notch music drama.

After all the speculation, Jonas Kaufmann made his role debut as Otello at The Royal Opera – an impressive, if not unqualified, success. 

Mariusz Treliński's Traviata had nothing to do with Dumas, Piave or Verdi. It's as if he confused La Dame aux camélias with Lulu.

Director Mariusz Treliński’s previous work at the Met, in conjunction with Boris Kudlicka’s sets and Bartek Macias’ videos, was a double bill of Tchaikovsky’s Iolanta and Bartók’s Bluebeard’s Castle.

Željko Lučić als Gast zu Haus: Wieder singt er eine hinreißende Partie an der Oper Frankfurt.

The main problem with Keith Warner's staging is that the director’s dominating focus is on the Jungian ‘Elektra complex’ rather than Elektra the opera.

Requiring trained opera singers to focus primarily on acting and asking actors to sing in a renowned opera house puts everyone out of their comfort zone, which is not necessarily a bad thing.

The National Theater opens the new opera season with a gripping, thought-provoking production of Bellini's romantic tragedy.

Polish director Mariusz Treliński puts a contemporary spin on Salome by retelling the story from a victim's point of view. 

Treliński’s de-romanticizing of the plot of Puccini's Manon Lescaut makes for a compelling piece of theatre… it’s just not Manon. 

A great post-war classic by Henze in a strong new production from Welsh National Opera.