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

Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

Dvořák’s final opera gets a rare staging outside its Czech homeland, at Wexford – the festival where dead operas return to life.

Ted Huffmans Neuproduktion präsentiert ganz minimalistisch eine Zauberflöte zwischen Traum und Altersflucht.

It's taken two years for Jack Furness' new production of Dvořák's greatest opera to reach the Garsington stage, but it is entirely worth the wait, with a breathtaking performance from Natalya Romaniw in the title role.

Humperdincks Opernrarität wird in David Böschs gefeierter Inszenierung an der Oper Frankfurt wiederaufgenommen.

Ein Hauch von Nichts! Kein Kitsch, kein Orientalismus – Barrie Koskys Salome ist radikal reduziert!

Sylvain Cambreling dirigiert einen musikalisch beeindruckenden Król Roger an der Oper Frankfurt.

The new version of La bohème at the Komische Oper Berlin follows a hard Verismo-beat.

In a highly effective stage presentation, the Minnesota Opera tells Jules Massenet’s story of two personalities whose spiritual journeys are like two ships passing in the night.

Franco Alfano’s name is inextricably linked to that of Puccini, as he’s mostly remembered for completing the unfinished score of Turandot, and has overshadowed his own operas. 

Sung in English, a performance of Káťa Kabanová lacked the expressive power of the original, but exposed Juilliard Opera students to the marvels of Janáček’s musical style.

Leon Botstein and the American Symphony Orchestra revive Mascagni's Iris in a fully staged version in Frank Gehry's architecturally stunning Richard B Fisher Center at Bard College.

Sehensüchtig erwartet und groß gefeiert: Anna Netrebko und Plácido Domingo glänzen in der diesjährigen Produktion von Verids Il Trovatore bei den Salzburger Festspielen und erfüllen die Erwartungen des Publikums mit Dramatik und Glanz. Auch wenn manchmal der Sinnzusammenhang fehlt, hat diese Inszenierung einiges zu bieten.

A double bill of rare operas: it’s like Christmas has come early in London. The Guildhall School are pairing Debussy’s The Prodigal Son with Donizetti’s sparkling court comedy Francesca di Foix.

I’m sure before long I’ll see a production of Daisy Pulls It Off that opens with modern day soldiers charging onto the stage waving rifles about – it seems to be the first image directors reach for these days.