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

Una atmosfera oscura, opresiva y angustiosa domina la imprescindible producción de Robert Carsen que ahora presenta el Palau de les Arts.

Adding a prequel to Gianni Schicchi mostly proves that a prequel isn't necessary... 

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

Stephan Kimmig animiert mit seiner kritischen Inszenierung das Publikum zum Denken.

La production de l'année pour l'Opéra de Lyon ! Warlikowski livre une interprétation particulièrement efficace du chef-d'œuvre de Janáček, entre parabole poétique et réalisme cru.

At San Francisco Opera, conductor Donald Runnicles and a top-notch cast deliver a delicious Rheingold in Francesca Zambello's colorful production.

Johan Reuter is gripping in Krzysztof Warlikowski's powerful vision of the universal, timeless horrors of prison, but visual clutter distracts from Janáček’s music.

Invigorating in the pit, Britten’s Billy Budd never gets its sea legs on the National Theatre stage.

Créé il y a dix ans à Vienne, triomphe au Festival d’Aix qui a suivi, De la maison des morts, dans la mise en scène de Patrice Chéreau, est enfin donné sur la scène de Bastille, ici encore sous l’impulsion bienveillante de Stéphane Lissner.

Stéphane Lissner, en souhaitant honorer la musique chère à Boulez a eu raison de vouloir rappeler que le mésestimé Wozzeck demeure une œuvre musicale majeure de ce début de XXème siècle, ainsi qu’un mythe littéraire et politique vibrant d’actualité.

Originally conceived by Robert Carsen for the Vlaamse Opera, this production of Katia Kabanova is now at Teatro Regio, second chapter of a Janáček/Carsen project.

In spite of some questionable staging, Lyric Opera of Chicago opened its Ring cycle on a strong note with a stellar cast, notably featuring Eric Owens’ role debut as Wotan.

Making his operatic debut at Prague's National Theatre, director Daniel Špinar recasts Janáček’s From the House of the Dead as a schizophrenic prison comedy.

Quite simply, it’s the largest scale event in all of opera. With 18 hours of music in a 3,800 seat house, Wagner’s Ring Cycle at the Met is a giant, lavish undertaking – all starting with that famous E flat chord: starting from the quietest of pianissimo double bass notes and building for nearly four minutes before it explodes into the melody of the Rhinemaidens.