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

La metteuse en scène allemande Karin Henkel présente le portrait d’une femme instrumentalisée par une société festive où seul l’argent et l’instrumentalisation des femmes règnent en maître.

Eine temporeiche Inszenierung und eine starke Besetzung – Gounods Faust war noch nie so kurzweilig. Chapeau! 

Opening the new opera season, Kent Nagano powerfully directs Mussorgsky's great psychodrama about a famous tsar, marred only by Frank Castorf's visually confusing and symbolically overweighted production. 

Adam Palka shines as the devil in this revival of Frank Castorf's multimedia staging that relocates the work to mid-20th century Paris, around the end of the Algerian War.

Faust and Méphistophélès pal around like buddies in Castorf's multi-media staging, the devil here less diabolical and more anarchistic party-boy. 

Frank Castorf zeigt mit Braunfels Die Vögel eine leuchtende Inszenierung an der Bayerischen Staatsoper.

The profusion of images and ideas in Frank Castorf's Bavarian Staatsoper production of From the House of the Dead threatens to rob Janáček's opera of its humanity.

A thrilling new staging of Gounod's opera from the team that brought Bayreuth its current Ring, with musical rewards to match.

Frank Castorf's controversial but supremely well-cast Ring cycle is provocative to the last.

Visual references both incongruous and perceptive abound in the third instalment of Bayreuth's musically triumphant Ring cycle.

Singing, orchestral playing and scenic portrayal all combine to make a highly memorable second instalment of Wagner's Ring.

Bayreuth's controversial Ring returns with a new conductor and a refreshed cast.

Die Bayerische Staatsoper hat Richard Wagners Die Meistersinger von Nürnberg unter großen Staraufgebot als Sängerfest inszeniert und auf eine ideenschwangere Inszenierung verzichtet

At the end, there was a profusion of boos and applause for the creative team: Castorf and co had given us a Ring cycle that was by turns infuriatingly indulgent, interestingly provocative, visually beautiful, puzzling and rewarding.

Castorf's anarchic take on Siegfried pushes well beyond his treatment of the earlier parts of the Ring, and not all the heroics from Stefan Vinke, Wolfgang Koch and Catherine Foster can rescue the evening.

Frank Castorf's Soviet-era farm-setting does not obtrude on the emotional core of Wagner's Die Walküre, with excellent performances from Johan Botha, Anja Kampe and Claudia Mahnke, with superlative playing from the Festival Orchestra.

The first installment of Frank Castorf's controversial Ring is applauded on its 2015 revival at Bayreuth, but arguably the incessant visual action detracts from the appreciation of the music. 

Attila Jun's outstanding Hagen and Catherine Foster's sublime Brünnhilde light up the last episode of Frank Castorf's puzzling Ring.

Catherine Foster's Brünnhilde bathes Bayreuth's Siegfried in a warm glow, while Wolfgang Koch sings a superb Wanderer. But director Frank Castorf does his best to subvert both.

Kirill Petrenko starts Die Walküre with a flourish as Frank Castorf’s staging takes us back to the Baku oilfields in late tsarist Russia.

In this second year of Bayreuth's bicentennial Der Ring, Oleg Bryjak shines as an outstanding Alberich. Frank Castorf's production is striking but as yet incomprehensible.