En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Pier Giorgio Morandi

So viel wird selten geküsst! Michael Fabiano, Sonya Yoncheva und George Petean singen einen umwerfenden Andrea Chénier.

Orchester und Inszenierung köcheln auf Sparflamme, aber immerhin liefern einige gesangliche Leistungen Grund für Euphorie an der Staatsoper. 

This revival of the company’s 2019 Weimar-inspired staging of Verdi’s heartbreaking masterpiece is distinguished by stylish singing. 

Exzellent besetzt und als mitreißender Thriller inszeniert wird bereits in der ersten Woche der neuen Saison im Haus am Ring ein Highlight geboten. 

Undeterred by the weather, an enthusiastic audience greeted an al fresco Tosca of international star quality.

Anthony Minghella's production remains a feast for the eyes, but this performance failed to gel into a dramatic whole. 

From stylised 16th-century dress to a 1970s sitcom ballet, Konwitschny's Staatsoper staging is full of brilliantly inventive touches, splendidly realised in this excellently sung revival. 

A trusty and convincing version of the masterpiece, with a cast of well-matched singers.

The remarkable performance of young soprano Christina Nilsson does not completely rescue a mixed-bag cast and a lack of Personenregie at the Stockholm Royal Opera.

Neither Sir Walter Scott nor Donizetti were well served by the farcical staging, but finally bellissimo bel canto prevailed over the production.

Leonardo Capalbo makes a successful debut in Tobias Theorell’s minimalistic production of Un ballo in maschera in Stockholm.

The gambling tables and neon lights of Las Vegas might not be the images which immediately enter your head when you think of Verdi’s Rigoletto, but bold art is often created and progressed by the pushing of boundaries and by challenging audiences to reimagine the familiar.

There’s something relentlessly dark about Verdi’s Don Carlo. King Philippe and his son, the eponymous Don Carlo, are both very troubling characters, the former power-hungry and vengeful, the latter plagued by desire for his stepmother.

In his whole career as an opera composer Puccini only wrote one pure comedy, Gianni Schicchi, and even that forms part of his trilogy Il Trittico, of which the other parts could hardly be more tragic. However, La bohème is also a comedy in its own way, a comedy cut short by tragedy.