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

A rare 17th-century English Baroque spectacular, designed to delight the Restoration crowd, is given a contemporary twist in Sydney. 

Handel's Giulio Cesare is heavily abridged in Sydney, but generally well-performed musically, albeit with a rather awkward staging by Neil Armfield. 

Pinchgut Opera presents magnificent music and a timeless ethical debate on faith versus sectarian difference. 

Although abbreviated, Pinchgut Opera's production of Handel's Rinaldo makes a powerful dramatic impact and exemplifies high musical values, with excellent orchestral playing and consistently fine singing.

Unseen since the 18th Century apart from one night in Germany, Legrenzi's Giustino deserves to re-enter the repertoire after its revival by Pinchgut Opera's Erin Helyard.

A wonderful night of late 17th-century music by the somewhat obscure German composer Dietrich Buxtehude is brought to radiant life by Erin Helyard and the Pinchgut Opera company.

Erin Helyard and his cast bring terrifically strong musical values to Charpentier's Médée, but Justin Way's production falters. 

Celebrated soprano Miriam Allan headlines this energetic program of music written for the female orphan musicians of Venice's famous Ospedale.

Ravishing music and performances, a crazy G&S plot, but physicality that tends to distract in Constantine Costi's production.

In arguably its best production to date, theatre luminary Neil Armfield combines with Pinchgut and Erin Helyard for the first time to deliver this electrifying production of Rameau's comic masterpiece, Platée.

Love comes in 57 varieties in Cavalli's Apollo and Dafne, and they're both enjoyed and suffered by a dynamic cast of six playing 20 characters.

Not quite ready for a full-blown opera, but Sydney's Pinchgut maintains its historically informed purity with a delicately expanded version of Charpentier's Messe de Minuit.

Vivaldi's Farnace is reconstructed by Pinchgut Opera in ways which might not do the composer full dramatic justice, but the production and high musical values provide an excellent night of operatic drama. 

Monteverdi’s Il ritorno d’Ulisse in patria is given the Pinchgut treatment, with an abstract staging complementing historically informed music-making under Erin Helyard.

Soprano Alexandra Oomens confirmed her star potential, but all soloists and players shone in this jubilant concert featuring Telemann's Thunder Ode and Bach's Easter Oratorio

Perhaps Pinchgut Opera's finest production to date, a brave presentation of a classic Baroque opera, little heard in Australia apart from Handel, benefits from the star presence of Vivca Genaux in splendid form.

Handel's Athalia is a wonderful English oratorio but this production, while musically wonderful, was marred by a problematic staging with infuriating surtitles.

Pinchgut Opera's L'incoronazione di Poppea is a glorious feast of singing, acting and playing but the production is brutal, taking Monteverdi's vision of corruption in high places to excessive lengths.

Historically informed rarities from Rameau and Vinci aim to recreate the world of 18th-century opera-going in Paris. But a misaligned production distracts from this specialised experience.

Handel's oratorio Theodora performed by Pinchgut Opera in Sydney was played and sung beautifully in a rather drab production. Kudos to the soloists especially countertenor Christopher Lowery and conductor Erin Helyard.

Confusion has such lovely music! Sydney's pioneering Baroque and early classical opera specialists, Pinchgut Opera offered Haydn's Armida as its 16th production. 

Another ancient hit revived and delivered with panache by Sydney-based Pinchgut Opera: Gretry's L'Amant jaloux (1778) proved it still could raise laughs, aided by a superb cast. 

A memorable production of Vivaldi's pasticcio opera Bajazet from Pinchgut Opera in Sydney. 

In the opening scene of Pinchgut Opera's latest production, Gluck's rarely performed Iphigénie en Tauride, a swirling musical, dramatic and visually strobe-enhanced tempest is belted out. 

It has been Salieri’s tragedy to have largely been overlooked by history, but The Chimney Sweep shows his mastery of musical stagecraft. It was given a spirited and musically satisfying performance by Pinchgut Opera.

Giasone was the most performed opera of the 17th century, but this was no dry, reverent exhumation. This was something much better from Pinchgut Opera: a joyous, animated resurrection.

For the past ten years, Pinchgut Opera has established a reputation for excellence through mounting one opera production annually in Sydney (the name derives from an island in Sydney’s harbour, established as a prison from the beginnings of settlement). Their focus has hitherto been on lesser-known Baroque works, with a few later 18th-century outliers.