Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Margaret Plummer

Die Welturaufführung ist weder konfrontativ noch bringt sie neue Einsichten: überdrüber und doch irgendwie daneben.

Carlos Álvarez und Simon Keenlyside sind ein Duo Infernale: wer Falstaff mag, wird nicht so schnell einen besseren erleben.

Lise Lindstrom macht bei ihrem Rollendebüt an der Wiener Staatsoper nicht nur wortwörtlich eine gute Figur.

Klangliche Schönheit bei wenig emotionaler Aufregung in einer Inszenierung, die mehr Fragen aufwirft, als sie beantwortet.

Stephen Gould brilliert bei seinem Rollendebüt an der Wiener Staatsoper mit einem stupenden Peter Grimes.

In Vienna State Opera's new production of Rigoletto, director Pierre Audi brings us close to a Rigoletto less freakish, more identifiably everyday. 

Last night’s performance, the second after a serious casting face-lift held to that tradition, and was very well received despite its inherent flaws, thanks to some very fine singing.

In the opening scene of Pinchgut Opera's latest production, Gluck's rarely performed Iphigénie en Tauride, a swirling musical, dramatic and visually strobe-enhanced tempest is belted out. 

For the past ten years, Pinchgut Opera has established a reputation for excellence through mounting one opera production annually in Sydney (the name derives from an island in Sydney’s harbour, established as a prison from the beginnings of settlement). Their focus has hitherto been on lesser-known Baroque works, with a few later 18th-century outliers.

I could not have asked for a more magical setting in which to watch Verdi's La Traviata. In front of me was the floating stage, surrounded by gently rippling water glistening in the evening moonlight. On the left rose the buildings of Sydney's central business district, while on my right was the beautiful harbour bridge and opera house.