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

Christoph Loy's Oslo production of Wozzeck is a dramatic triumph, with gripping performances from a cast led by Audun Iversen's desperate title character.

In L’Invisible, which had its première last weekend at the Deutsche Oper Berlin, Aribert Reimann has condensed three plays by Maeterlinck into bite-size chunks that vanish before they can be savoured.

André Tchaikowsky's version of The Merchant of Venice combines his love of Shakespeare with his recollections of a harsh childhood as a Jew in the Warsaw Ghetto.

Musik und Szene kommen in Christof Loys Deutung von Alban Bergs Wozzeck in Frankfurt zu einer perfekten Übereinstimmung, wodurch die Aufführung große emotionale Ausstrahlung gewinnt.

Twenty-eight immobile cast members faced the audience from the long white bench which comprised the totality of Katrin Lea Tag’s bare set. Meanwhile, a floor-level, period instrument orchestra delivered the attention-grabbing, minor key Overture to Purcell's 1688 Dido and Aeneas.