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

Echt brechtig: Zum Ereignis wird es für all jene, die das Erlebnis vor den Hörgenuss stellen.

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

In seiner neuen Inszenierung schafft Sam Brown mit naturalistischem Bühnenbild einen librettotreuen Kostüm- und Kulissenschinken, der die Zeiten transzendiert. Dabei heraus sticht Doris Soffel mit extravaganter Bühnenpräsenz.

Deutsche Oper Berlin presents an uninspiring production by David Alden, with a solid cast led by Federica Lombardi. 

Benedikt von Peter's new staging of Bach's St Matthew Passion premieres at the Deutsche Oper Berlin, under Alessandro De Marchi. But despite the good synergy between director and conductor and a first-rate vocal ensemble, the production falls somewhat flat.

L'intendant du Theater Basel propose une mise en scène puissante de la Passion selon saint Matthieu, jouée par des enfants, à la façon d'une grande catéchèse menée par l’Évangéliste.

Deutsche Oper Berlin returns in rousing style with a pared-down, open-air Rheingold on its “Parkdeck”.

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.

Soirée d’exception à l’Auditorium de Lyon qui accueillait l’ensemble Les Arts Florissants et son chef William Christie, pour une œuvre phare du répertoire baroque : Le Messie de Haendel. 

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

Despite the excellent playing of the Britten Sinfonia, Anna Morrissey’s flawed production disappoints. 

A thoroughly satisfying, entertaining production of Mozart's Die Zauberflöte from Irish National Opera. Anna Devin delivers a delightful Pamina and Nick Pritchard a convincing Tamino. 

The biggest stigma associated with opera in Ireland is not that it is an elitist art form, but that it is not “Irish”, and that it doesn’t belong to Irish culture, more of a recent import, like pasta, or avocado.

Can classic opera reflect the political status of the society in which it is performed? Calixto Bieito's production of Turandot for Northern Ireland Opera raises some uncomfortable questions.