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

La Pasión es ante todo una narración, que en su arcana lejanía, desciende sobre los receptores y se hace presente para ellos. Se trata de una emotividad alejada del entusiasmo que a veces buscamos en las salas de concierto.

Virginie Verrez acted not with fire and ice but with gallic insouciance.

Gaitanou’s direction of the singers is so exact that it becomes impossible to separate them from their characters.

Despite the entertainment value and striking imagery, Kramer's production is a surprisingly dull affair, with curiously little chemistry between the lead couple.

Conway's decision to render Handel's epic in its entirety was let down by a static staging and unnecessary repeats that masked the hidden gem-like arias.

A fresh, yet traditional Magic Flute at Longborough uses puppetry to bring an atmosphere of fairytale onto the stage, with fine singing from a strong cast. 

An even cast and a simple production makes Longborough Festival Opera's latest foray into aristocratic misdeeds a success.

Un voyage intérieur au cours duquel le temps suspend son vol pour offrir au spectateur une expérience musicale et théâtrale envoûtante.

With its latest incarnation of Die Zauberflöte, the Royal Opera ticks all the boxes in a strongly cast revival. 

Paul McMcreesh leads Royal Northern Sinfonia and their chorus in a Messiah that deliveres all the intoxicating excitement of Handel's operatic writing. 

How does Usher House stand up? Like the house, it doesn’t. Welsh National Opera's double bill based on The Fall of the House of Usher underwhelms.

Thomas Zehetmair brings out all the ochestral detail of Bach's masterpiece, creating a beautifully approachable and engaging St Matthew Passion that goes straight to the heart of the story.

A great post-war classic by Henze in a strong new production from Welsh National Opera. 

Of the various themes that make up Britten’s Gloriana, written to celebrate the coronation in 1953 and being given a rare outing at Covent Garden to mark the work’s 60th anniversary and Britten’s 100th, the most effective by far is a sort of operatic expansion of Shakespeare’s line “uneasy lies the head that wears the crown”.

A deep red hue lights the stage. It is St George’s day and King Arthur’s Britons are about to fight the invading Saxons. Centre stage, four soloists – Saxon priests – are gathered to perform sacred rites to ensure their victory. To the left of the stage a harpsichord plucks out a tune above a bass viol and theorbo, whilst to the right a spotlight falls on Merlin, who relates the story.