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

El debut de Javier Camarena como Edgardo ha sido un nuevo y convincente paso en su carrera, lo que, unido a la carismática Lucia de Lisette Oropesa y a la potente puesta de David Alden, ha contribuido a una nochdebe triunfal en el Teatro Real.

Jamie Barton fue la gran triunfadora de la noche en una descafeinda gala por el 20º aniversario del Teatro Real.

Martina Serafin y Ambrogio Maestri, junto a la heterodoxa pero efectivísima versión de Daniel Oren, cumplieron con su cometido acompañados por un coro que supo afrontar el reto que supone esta ópera para cualquier conjunto.

Violetta Valéry was Armenian soprano Hrachuhí Bassénz, who made a strong impression on the audience, certainly by the end.

The French-Sicilian tenor shines in Sir David's McVicar's pristine take on Umberto Giordano's slice of verismo. 

A suggestive staging barely supported by the musical side

After its Christmas break, Cavalleria rusticana and Pagliacci return to the Royal Opera in Daminano Michieletto's arresting production. 

Even stronger than first time round, Michieletto's impressive staging is complemented by an outstanding double role debut from Hymel and a heartbreaking Santuzza from Elīna Garanča.

Gerald Finley's velvet baritone lights up this revival of David McVicar's production of Cilea's murder story

A piece of Italian verismo well worth being in the repertoire, beautifully staged and sung.

Loin de toute la monumentalité qui a pu rendre indigestes les belles mélopées et accents verdiens, souvent cantonnées aux grandes pompes et à un logos lourdement orientaliste, cet opéra à l’écriture pourtant raffinée, et à la profondeur mésestimée, méritait une telle relecture.

A new cast arrives for Katie Mitchell's gothic Lucia di Lammermoor – and, despite caveats about the staging, deliver some excellent performances. 

Visually this production fully rendered the opera's atmosphere. The director was good at encompassing the private stories and emotions of the three main characters into a broader context, dominated by Fate.

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

Fort d’un public acquis à l’œuvre de Verdi, le Théâtre du Capitole renoue une nouvelle fois avec le compositeur italien sous la baguette érudite de Daniel Oren, prédicateur du génie révolutionnaire désormais habitué à la scène toulousaine.

La nouvelle production de l’Opéra Bastille marque par la qualité du plateau vocal et la beauté des costumes

A traditional, reassuring production of Bizet's popular opera, without any odd staging ideas. 

À travers la nouvelle mise en scène de Pierre Audi, l'oeuvre de Puccini prend une dimension singulièrement symbolique. Le tout servi par une distribution remarquable.

Le monde musical toulousain poursuit sa rentrée avec le premier opéra de la saison du Théâtre du Capitole : Un ballo in maschera de Giuseppe Verdi.

Le cinéaste Benoît Jacquot, réalisateur des Adieux à la reine trois fois auréolé aux Césars 2013, s'invite à l'Opéra National de Paris et, en bon nostalgique du drame lyrique traditionnel, relève l'épineux défi de s'attaquer à un monument du répertoire opératique.

This unadorned staging of the doomed love story between Rodolfo and Mimì in Salerno doesn’t neglect the veracity and passion of Puccini’s beautiful music.

The ROH's revival of Carmen doesn't bring anything new to the opera, but a stellar cast and stylishly traditional production make it a very enjoyable evening.

Robert le diable’s 1831 opening was perhaps the most successful opera première of all time. Meyerbeer was lauded by luminaries like Chopin, Dumas, Balzac and Heinrich Heine, the opera was played in 69 cities in its first two years and spawned an entire genre of French Grand Opera.

​In each case, you know the murder is coming. In each case the music is explosive and closes the opera: there is nothing left to say except Canio's simple words: "La commedia è finita.

When you discover your bride-to-be in another man's bed on the eve of your wedding day, the excuse "Darling, I must have been sleepwalking" rates somewhere near the same level of credibility as "Sir, the dog ate my homework." But hey, this is opera, and bel canto opera at that. You didn't come to Bellini's La Sonnambula for the story and the drama: you came here for the singing.

Gounod's Roméo et Juliette isn't exactly a rarity, but it is no longer one of the stalwarts of the opera repertoire, a position which it certainly occupied during the Victorian era (there were 102 performances at the Théâtre-Lyrique in Paris in the first year of its life, followed by 291 performances at the Opéra-Comique in the next twenty).