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

Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

The Staatsoper Berlin celebrate the arrival of Michael Volle, a splendid Wotan, aided by a strong ensemble of singers and Daniel Barenboim's leadership.

Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of  Die Walküre. 

Mit diesem Ring-Auftakter gelingt Janowski ein im Großen und Ganzen überzeugendes Plädoyer für Wagner konzertant.

The second evening of Staatsoper Berlin's Ring featured an exceptionally strong musical performance, both from the orchestra and the singers. 

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.

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.

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.