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

Oksana Lyniv se estrena en la dirección de la ópera wagneriana y ofrece una lectura solvente de Un holandés errante de resultados desiguales, tanto en la escena, como en las voces, de entre las que Dohmen fue de lo mejor de la noche.

La Oviedo Filarmonía, bajo la batuta de Marzio Conti, cosecha una buena acogida para su Iván El Terrible, op. 116 de Sergei Prokófiev.

Philippe Arlaud’s production for New National Theatre Tokyo may not be in its first youth, but it delivers on all counts. Leonardo Capalbo, Egils Siliņš and Yuka Kobayashi lead an excellent cast.

The Bayreuth Festival's new Ring gets off to a promising start with a tautly directed Rheingold, but will we find out what it all means?

An outstanding role debut from Davidsen, a star-studded vocal cast and a revelatory orchestral performance make a Beethoven anniversary performance to savour.

Mit Piotr Beczała in der Titelrolle und Linda Watson als Ortrud ist eben auch manchmal das Unperfekte großartig.

Yuval Sharon's production returns to Bayreuth in a musically compelling performance. 

Die Bayerische Staatsoper hat mit Richard Wagners Siegfried in der Inszenierung von Andreas Kriegenburg den Ring-Zyklus mit fabelhafter Besetzung fortgesetzt.

Emily Magee was in glowingly refulgent voice as the 'damsel in distress', Euryanthe, in this concert performance of Weber's rarity. 

Like most honest listeners I crave a taste of turpitude in Salome.

Philipp Stölzl's production of Der fliegende Holländer, which places the action within a giant frame in a library, arrives at The Liceu.

A festive air was palpable – the house was technically sold out – as the first of a set of three Ring cycles launched at the Wiener Staatsoper. 

Long climbs often provide the best views. The Adagio second movement of Anton Bruckner’s Seventh Symphony bears the tempo marking Sehr feierlich und sehr langsam… and it is very solemn and very slow indeed.

The third installment of Géza M. Tóth's staging of the Ring, this Siegfried is visually striking, but it's only a strong cast, and above all Egils Silins' Wanderer, that makes it worth attending.

Cinq ans après sa création au Teatro alla Scala, l’Opéra de Paris accueille pour dix représentations (avec une double distribution) la production de Lohengrin mise en scène par Claus Guth. Dire que ce Lohengrin était attendu relève de la litote. Ce spectacle marque le grand retour sur scène de Jonas Kaufmann, après quelque quatre mois d’absence et d’inquiétudes. L’effervescence en ce mercredi soir était donc à son comble.

En faisant le choix d’une modernité parfois triviale et brutale, cette nouvelle production déçoit quelque peu malgré la grande qualité du plateau vocal et musical.

A dark and minimalist staging doesn't quite fire Wagner's Flying Dutchman into life at the Royal Opera House, despite worthy performances from Bryn Terfel, Adrianne Pieczonka and others under the direction of Andris Nelsons.

Sometimes the star performer isn’t one of the big romantic headline roles, or even the baritone villain. In this Siegfried, the performance that left me gasping was Gerhard Siegel’s Mime.

An impressive Die Walküre with a trio of first act singers that would be hard to better. Throughout, clarity of diction is allied to clarity of the orchestral reading. 

This production came together brilliantly to illustrate the story of Das Rheingold. But the star of the show was MüPa’s Béla Bartók Hall, with its extraordinary acoustic.

For those who view Wagner’s Ring Cycle in symphonic terms, Siegfried is often described as the third movement Scherzo: an episode of comedy in between the existential musings of Die Walküre and the action-packed, apocalyptic Götterdämerung. Last night’s performance at the Opéra Bastille in Paris gave us plenty of high comedy and much more besides.

Few live events could offer a more intense, visceral, grotesque experience than witnessing a performance of Oscar Wilde’s play Salome translated and adapted for the opera stage by Hermann Lachmann and set to music by Richard Strauss.

As The Flying Dutchman nears its close, the crew of Daland's ship are celebrating their safe homecoming and yelling at the Dutchman's unseen crew to join them. To their horror, they realise that they have indeed woken the dead: the Dutchman's crew are ghosts who have wandered the oceans for centuries: the storms cannot burst their sails for they are protected by Satan.

The Hallé Orchestra, led by Sir Mark Elder, followed their award-winning 2009 Götterdämmerung with a concert performance of Die Walküre over two nights, prefaced by Gerard McBurney’s new work, The Madness of an Extraordinary Plan. With an array of famed soloists, Elder masterminded a triumph, with the magnificent Hallé showing their quality on the concert stage.

Wagner's Die Walküre was split into two concert performances over two days, the first on one evening and the second on an afternoon and an evening. This review is for both. A spot picks out a man in the Bridgewater Hall’s front row, who steps up to stand by a table in front of the Hallé Orchestra, which is ready to begin. He puts on a braided coat to become Richard Wagner.