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

Este prosaico Anillo de Carsen vuelve oportunamente con un melancólico mensaje de decadencia.

À la tête d'un Orchestre philharmonique de Rotterdam d'une cohésion irréprochable et aux côtés d'une distribution de grande qualité, le chef québécois a proposé une très belle version de concert du deuxième volet du Ring.

The EIF’s cycle comes to a fabulous end with RSNO and Andrew Davis leading a luxury cast, Christine Goerke’s emotionally powerful Brünnhilde a highlight. 

The world is gloriously redeemed in the gripping final installment of San Francisco Opera's Ring cycle.

Both the technical effects and the singing impress in San Francisco Opera's dark Siegfried.

At San Francisco Opera, conductor Donald Runnicles and a top-notch cast deliver a delicious Rheingold in Francesca Zambello's colorful production.

Runnicles and his Deutsche Oper Berlin forces deliver where it counts in a rousing account of the 'Resurrection'.

In L’Invisible, which had its première last weekend at the Deutsche Oper Berlin, Aribert Reimann has condensed three plays by Maeterlinck into bite-size chunks that vanish before they can be savoured.

Powerful performances in Götz Friedrich's Deutsche Oper production. 

Simon Rattle leads the LSO and a fine chorus and cast of soloists in Ligeti's masterpiece: surreal, madcap but touching the sublime.

People who claim that opera is nothing more than a glorified pantomime would have their prejudices confirmed at Deutsche Oper Berlin's Un ballo in maschera. This is, however, high praise. It’s an evening of camp entertainment, not a philosophy lesson.

In James Conlon's final performance as music director of Ravinia, he presented a magnificent Flying Dutchman with a stellar cast.

Donald Runnicles leads the Deutsche Oper Berlin in Sasha Waltz's production of Berlioz's dramatic symphony.

Puccini's La fanciulla del West gets a modern update at the Deutsche Oper Berlin.

What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before. 

Richard Strauss' Ariadne auf Naxos amuses in a concert version put on by the Deutsche Oper at the Philharmonie in Berlin, with good performances from Meagan Miller (Ariadne) and Susanne Elmark (Zerbinetta).

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Elf junge Künstler zeigen an einem intensiven Musiktheaterabend neue Wege für das Musiktheater auf.

Le nozze di Figaro in Götz Friedrich’s vintage production at the Deutsche Oper Berlin provides an entertaining evening. 

While the term “Eurotrash” gets thrown around more often than it should, it is one that has unfortunately become synonymous with many of the Wagner opera productions that take a non-traditional approach. As opera-goers go, I tend to sympathize with the directors and find that this approach can work fantastically well in bringing Wagner’s logistically impossible scenarios to life.

After the success of Benjamin Britten’s opera The Rape of Lucretia, Britten and director/librettist Eric Crozier discussed future operatic projects. The composer wanted his next opera to be a comedy and insisted that it be set in England. When Crozier suggested adapting Guy de Maupassant’s La Rosier de Madame Husson, Britten knew he was on to something good. Indeed, it was an ideal choice.