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

La mise en scène de l'ex-directeur du Komische Oper de Berlin s'appuie sur une foule multicolore qui ne suffit pas à transcender les limites de l'opéra-bouffe d'Offenbach.

Lydia Steier's new production of Candide is a kaleidoscopic celebration of Leonard Bernstein's varied musical idioms. 

Jossi Wieler und Sergio Morabito überraschen mit einer emotionsgeladenen und zeitgemäßen Inszenierung von Claudio Monteverdis Dramma per musica.

In the expert hands of both director Warlikowski and conductor Kent Nagano, the sequel to Bernstein's Trouble in Tahiti proves to be even darker and more dramatic.

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

Mit Roland Kluttig am Dirigierpult ist diese Produktion musikalisch ein reines Fest.

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

Robert Carsen's Eugene Onegin was binned by the Met but works wonderfully in its revival by the Canadian Opera Company COC with high class singing and acting from a young, engaging cast.

Kirill Petrenko’s second night at Carnegie Hall packed a punch as the orchestra of the Bayerische Staatsoper delved deep into Strauss’ score, supporting an impressive cast of singers.

Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.

Oper Stuttgart’s new production of The Queen of Spades (Pique-Dame) pushes a directorial tendency to update opera to a modern setting to an extreme.

There are several things wrong with the new Robert Carsen directed Der Rosenkavalier that just opened at the Met, but the singing is not among them.

Renée Fleming has decided the time is right to bow out gracefully from the operatic stage, choosing her signature role to bid the fondest of farewells to London.

I arrived at the Royal Opera House in the usual way, settled into my seat, and – could you believe it – the opera was gone!

Samuel Barber's Vanessa, with a libretto by Gian Carlo Menotti, is rarely staged, but Santa Fe makes a tremendous case for the opera. 

“Acting is the expression of a neurotic impulse. It’s a bum’s life,” stated the late, great Marlon Brando. Felix Breisach took this idea to heart when staging his modernized Figaro in a mental institution.

Niccolò Jommellis Oper Il Vologeso war vor ca. 250 Jahren am württembergischen Hoftheater in Ludwigsburg uraufgeführt worden und dann von den Bühnen verschwunden. Nun feiert sie in Stuttgart unter dem Titel Berenike, Königin von Armenien eine umjubelte Auferstehung.

A classical setting and a varying degree of vocal and dramatic success for Mozart's miraculous score to Le nozze di Figaro.

Glyndebourne’s annual away day from Lewes to the heaving metropolis is always a highlight of the Proms season, but this year’s visit was more hotly anticipated than usual. 

An internationally acclaimed singer with a career spanning well over 30 years should be granted almost whatever role he’d like to do. It would also be understandable if the singer chose a well-known, crowd-pleasing piece, but, as is quite evident by now, Ferruccio Furlanetto is not a typical singer.

What makes this otherwise routine revival of Patrice Caurier and Moshe Leiser’s eight year old production an absolute must-see is the sensational Royal Opera House debut of Kristine Opolais in the title role. She is a statuesque Latvian blonde, barely transformed by her dark wig and geisha makeup.