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

Soula Parassidis gives a fierce vocal and dramatic performance astutely calibrated to the unusual venue.

Is it possible to have a minor success on every level? Kevin Puts' The Hours underwhelms in its world premiere production at the Metropolitan Opera. 

Brett Dean’s Hamlet at the Met is a worthy addition to the operatic canon, and the production is a treat. 

Despite beautifully realized performances from Renée Fleming and Kelli O'Hara, Kevin Puts' opera is still finding its voice.

Unstaged performances of Stravinsky's Oedipus Rex and George Walker's Lilacs highlighted musical inadequacies and deprived audiences of the creative productions they've come to expect from this company.

In place of a full musical, this revue highlighted classic and contemporary songs that celebrate places and cultures, although some selections seemed questionable out of context.

Set in New Orleans during the Jazz Age, this riff on Offenbach's La Périchole captures the festive spirit of the summer, despite some tired jokes.

Yannick Nézet-Séguin and Kevin Newbury see Candide as a coming-of-age story, placing it in their own high-school years, specifically 1992, making Westphalia a USA knockoff.

A wonderfully realized production at San Francisco Opera of Jake Heggie's operatic version of a holiday classic. 

Candide is a witty satiric fable, intelligent, literary but not to a fault, and vastly entertaining. Created by a team of collaborators who fell out at different times in the work’s 52 year history – at one point or another, Lillian Hellman, Richard Wilbur, John Latouche, Dorothy Parker, Stephen Sondheim and, of course, composer Leonard Bernstein had a hand in it – it is unique in the operatic or

Resident soloist Jorge Federico Osorio continues his Beethoven Piano Concerto cycle with Guest Conductor Roberto Abbado and the Atlanta Symphony.

Despite its title, the victims dominate Julian Grant and Mark Campbell’s caustic one-act opera. 

Remarkable performances from Karita Mattila and Malin Byström head this strong production of Janáček’s Jenůfa at San Francisco Opera. 

Das Rheingold stages flawed American Ambitions in the first Ring Cycle in Washington DC. 

It is the fusion of textures and styles coming from the pit that gives Bel Canto a memorable musical profile.

Mozart himself might have pulled a few weeds from this early opera. Lovely voices and sprightly playing can't overcome an overgrown plot in Santa Fe. 

The child-woman Lulu is a reflective receptacle for desire in Dutch National Opera’s extraordinary filmic production.

Outstanding vocal performances and Oscar Wilde's own words don't save this new opera based on his incarceration at Reading Gaol. 

Late in the opera, in the calm that settles after a vaudeville of ballet dancers and Italian singers, Fleming’s poise pervades the Countess’s closing rumination over love and the nature of art. It’s a concert piece nestled in Capriccio’s narrative bustle, and to hear Fleming sing it is to be reminded of her talents as a communicator in music within and beyond the opera stage.

Michael Tilson Thomas leads the San Francisco Symphony and Chorus in Mason Bates’ explosive Liquid Interface and Beethoven’s Mass in C.

The bits of conversation I overheard during intermission and in the aisles after the world première of Mark Adamo’s The Gospel of Mary Magdalene at San Francisco Opera were assorted variations of “so, what did you think?” World premières are, indeed, auspicious occasions that privilege first-nighters to experience the work before anyone else has molded or influenced their thoughts about it.

A work crucial to the development and appreciation of opera as a relevant modern art form premièred on the East Coast to well-deserved acclaim at a legendary Philadelphia venue. From the first note out of the pit orchestra to the final strains of the last act, Silent Night, presented by Opera Philadelphia at the Academy of Music, was a tour de force – from conception to execution.

It’s pretty luxurious to be able to stumble out of your front door at ten to six, wander five minutes round the corner to your friendly local cinema, be greeted with a glass of sparkling wine, and then watch a high-definition live screening of a top contemporary opera production at the Met.

Read our review of Robert Lepage's production of The Tempest in its 2012 broadcast from the Met Opera in New York.

When I heard that Nathan Gunn was opening Washington National Opera’s 2012-13 season Celebrity Series, I could not be more excited. Indeed, this American baritone, known in the musical world as “the opera divo”, represents everything that today’s opera fans look for in a singer: a beautiful voice, first-class acting, an appealing physique and of course, a great sense of humor.

One great advantage of premiering an opera in the United States is that audiences can’t compare productions and casts of past performances and find you lacking. One major disadvantage is that the audience has little or no fluency with the work and may struggle to comprehend its meaning and significance. With the U.S.