En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Anja Vang Kragh

A committed cast struggles to lend a spark of life to Kasper Holten's static staging of Mozart's first mature opera.

Kasper Holten’s much travelled and spectacular Don Giovanni gets a fresh and lively remount at Toronto’s Four Seasons Centre from a young cast headed up by Gordon Bintner. 

Lucas Meachem’s portrayal suggests a paraphrase of what another Hollywood Don Juan, Errol Flynn in 1949, said to his Leporello in excusing his escapades. “My dear friend, there’s a little bit of Don Giovanni in every man, and since I am Don Giovanni, there must be more of it in me!” 

Unimpeachable voices and fine playing light up The Royal Opera's latest revival of Kasper Holten's dark staging.

Kasper Holten's psychological take on the louche lothario remains controversial, but in its third revival, Erwin Schrott's powerful assumption of the title role is a delight.

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

A terrific cast takes on the latest revival of Kasper Holten’s video-infused staging of Mozart’s opera buffa.

This summer’s production of Bizet’s Carmen on the Seebühne stage in Bregenz offers a great spectacle. 

A visually stunning production with a fine cast to match. 

Holten's masonic lodge setting of Meistersinger gets a lot right but is occasionally uneven; Terfel and Hughes Jones are constantly good to listen to.

Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.

At carnival time, Cavalli’s mission was to make his audience laugh, wow them with a bit of vocal gymnastics, butter up their romantic feelings with a few delicate cadences, and maybe leave a tear or two in their eye. It’s a potent formula, and it still works.

There is something pleasurably straining, for the big-hall, velvet-accustomed operagoer, about the experience of sitting for three hours on a very tiny bench in a charmingly chiselled, candlelit little theatre that invites contemplation in its own right – beyond the attractions, musical and other, set up within its frame.