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

Un Rigoletto desbalanceado entre lo musical y lo escénico fue lo que observamos el pasado martes en la función inaugural con la que se celabraron los cinco años de creación del Teatro Mayor Julio Mario Santo Domingo.

Carlo Rizzi leitet einen genussvollen Abend mit romantischen kleinen Gesten und großen Gefühlen.

Malgré l'absence du très attendu Jonas Kaufmann dans le rôle-titre, la production monégasque bénéficie d'une distribution de qualité, d'une direction musicale remarquable et d'une mise en scène efficace.

Pour cette dernière production de la saison lyrique monégasque, le duo propose une incarnation formidable des protagonistes de l'opéra puccinien.

What do you do when your planned season opener bites the dust? Fly in the stars and put on a concert performance of a verismo favourite. 

With their second open-air concert performance, Teatro di San Carlo scores another hit.

Jonas Kaufmann and Anja Harteros, the “Royal couple” of the Bayerische Staatsoper, enchant and melt hearts as the doomed lovers in Verdi’s late masterpiece.

A movie-like staging for Puccini's most original opera at the Teatro San Carlo.

Calixto Bieito's Tosca, despite an intriguingly modern setting, fails to make sparks fly.

This production at the San Carlo was an excellent, emotional Lucia di Lammermoor, welcomed with empathy by the audience, like an old companion. 

Kitsch and grand-opera in Hugo de Ana's production of Samson et Dalila in Turin.

La Scala might not have had all the right cards in its garter Tuesday night to prevent ending up holding aces and spaces, but it’s hard to play without a full deck in the first place.

The visual results are stunning, though an uneven cast made this a performance with clear weaknesses as well as strengths. Aquiles Machado's Cavaradossi, on the other hand, was an indubitable revelation.

A very good production of Luisa Miller by the Teatro San Carlo, set in Naples itself.

The aftermath of an unfortunate tug of war between love and lust entwined in a city gripped by enemy occupation, Tosca’s story digs deep into the human heart. 

In this anti-realistic, colourful and beautifully played production of Pagliacci, the director extends the concept expressed in the Prologue: clowns are real life people, but also real life people are clowns in a larger play.

Cirque du Soleil producer Franco Dragone's new Aida for the Teatro di San Carlo in Naples aimed to scrub off all the bombast from this triumphalistic work. The eccentricities of the production led to a poor-quality outcome, though there was some fine singing.

Otello is usually considered to be Verdi’s most mature opera. It was one of the last ones he wrote, the result of a plot by his publisher Riccordi and the conductor Franco Faccio to draw him out of early retirement. The result is a work which combines all the aspects of Verdi’s earlier operatic style with Wagner’s concept of Gesamtkunstwerk.