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

To outwit death and attain immortality is a dream as old as human history. But isn’t it precisely the finite nature of life that makes it so precious?

Engelbert Humperdinck’s Hänsel und Gretel has appeal for all ages, but Robert Carsen’s production is a different take on the beloved fairy tale.

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

Musically, a rewarding Forza, but Homoki's staging is best forgotten.

The backstory doesn’t bode well: three fugitive criminals decide to found a city that will pander to society’s most vital needs: food, sex, warfare, and alcohol.

Joseph Haydn’s opera Orlando Paladino was once cited as “a mixed salad of madness, mayhem and true love”. A recent revival in Zurich supports that assessment.

In Mozart’s marvellous Così fan tutte, what begins as a harmless wager around what women left alone will do suddenly balloons into a major calamity. 

Plongée dans cette nouvelle production nantaise, entre l'interphone et le réverbère, portée par de jeunes chanteurs convaincants. 

For the opening concert of the 2015-2016 season, the Musikkollegium Winterthur drew together an unusual mix of repertoire: Felix Mendelssohn and Fazil Say.

A rich showcase of bel canto Romantic tragedy, this renewal of the Giancarlo del Monaco production made a vehicle for insights into jealousy, conscience, and deviousness “on a Royal scale”.

Die Zauberflöte may well tell us something about the Human Condition, but its staging in Zurich serves more to distract from the music and the messages than it does to support them.

Giulio Cesare, an opera populated with manipulative characters that only interact with each other when shared interests are at stake, is a receptive vessel for a scornful indictment of imperialism and the dubious alliances it forges.