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

Les Musiciens du Louvre, agrupación dirigida por Minkowski, fue la auténtica protagonista de la Alcina del ciclo Universo Barroco.

Guest conductor Harry Bicket brings a sense of urgency to Mozart's Requiem and pulse-quickening energy to Symphony no. 40.

Faithful to the libretto’s dramaturgy, the staging unfolds in scenographic environments of strong impact -

John Adams’ Antony and Cleopatra puts the composer's propulsive music at the service of both moments of riveting human drama and less effective scenes of battle and politics. 

Si la mise en scène de Jeanne Desoubeaux transpose l'opéra de Haendel avec plus ou moins de bonheur, la distribution et la fosse réservent de belles émotions.

Asmik Grigorian's astonishing acting and subtle vocalism make for a promising Met debut in this revival of Anthony Minghella's lacquered staging. 

Great vocal performances from Amina Edris and Gerald Finley grace John Adams' new opera, which opens San Francisco Opera’s centennial season.

A great orchestral performance of an exciting score don't quite mask the dramatic weaknesses of Opera Rara's latest.

The Houston Symphony showed the many sides of Bach in a festive performance over the Easter weekend.

Anthony Minghella's production remains a feast for the eyes, but this performance failed to gel into a dramatic whole. 

A concert performance of Handel's not-quite-an-opera proves a hit on tour in New York. 

Any parallels between Rome in the first century under Emperor Titus and the United States two millennia later under Emperor Trump were lost in a Tinseltown graphic novel sweep.

Sir Antonio Pappano and his Santa Cecilia Orchestra display their collective strengths in first symphonies by Bernstein and Mahler.

After dipping its toe in the cherry blossom for Glyndebourne's Tour in 2016, Annilese Miskimmon's staging of Puccini's gut-wrencher hits the main festival.

Despite a great cast, the Metropolitan Opera's revival of Semiramide bores with tacky costumes and no direction.

Ermonela Jaho sure likes to put herself (and us) through the emotional wringer on Covent Garden's stage. This time, London finally got to see her as another tragic Puccini heroine: Madama Butterfly.

In the end, Newbury’s production leaves you with more questions than it answers. 

“Out of this wood do not desire to go!” Tytania orders Bottom. Glyndebourne's revival of Peter Hall's classic production of A Midsummer Night's Dream is eerily enchanting, weaving its spell right from the queasy double bass glissandos, which slither into Britten's score.

The Lyric Opera put together the best-sounding première of the year so far, in which singers, chorus and the orchestra all began with astonishing confidence and only improved from there.

A trip down memory lane sends our man in Aix into raptures as Robert Carsen's production of Britten's A Midsummer Night's Dream comes home to Provence. 

Edward Gardner and Edward Caswell offered the British choir tradition in the form of Elgar's The Kingdom as a refreshingly programmed alternative to the many Bach passions. The combined choirs excelled together with an impressive Edith Haller.

Director Trevore Ross emphasized the silly and the madcap in Beaumarchais’ hectic plot to The Barber of Seville. The audience loved it. 

Houston Symphony's Andrés Orozco-Estrada brings remarkable intention to Mozart's sacred masterpiece. 

The Canadian Opera Company's popular production of Puccini's beloved opera returns, its beauty intact and more beguiling than ever, with a powerful lead performance by soprano Patricia Racette.

Innovative programming from Manfred Honeck mingles readings, music, and chant in memory of Mozart.

This is the one Britten work scheduled by the Metropolitan Opera this year, in Tim Albery’s production from 1996, revived most recently in 2002. The psychological designs are infused with such colour that the staging in no way shows its age.

“Nibble, nibble, like a mouse – who is nibbling at my house?” As a preschooler, I used to giggle with glee when I would hear this quote from the wicked witch in Hansel and Gretel. No doubt the story was dark, yet Eloise Wilkin’s delightful illustrations and the touching message of brother/sister love enticed me to return frequently to this beloved tale during nightly story time.

The ENO's production of Donizetti's "melodrama in a prologue and two acts" Lucrezia Borgia is notable for two reasons. Firstly, it's a new production of an opera by a major bel canto composer, but one that isn't performed all that often. Secondly, it's the operatic debut of acclaimed film director Mike Figgis.