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

La propuesta de Albert Boadella regresa a El Escorial, con un reparto sensiblemente inferior al de su estreno el pasado verano.

Joseph Calleja als Herzog von Mantua und Christoph Maltman in der Titelpartie: einen Abend wie diesen gibt es nicht alle Tage.

The father-daughter exchanges between Dmitri Platanias's jester and Sofia Fomina's Gilda prove the highlights of an evening which doesn't always catch fire.

A dream cast come true in Don Carlo at San Francisco Opera. Emilio Sagi's direction is the only weak link in this production.

Martin Kušej's production of La forza del destino is hard hitting and intelligent: an imperfect orchestral performance is more than compensated for by an outstanding cast of singers.

Great singing from veterans and some visually stunning effects light up the Met's revival of Hytner's 2010 production of Verdi's Don Carlo.

Strong playing and singing aren't enough to make the Bayerische Staatsoper's Rigoletto a compelling evening out.

Martin Kušej’s modern production of La forza del destino emphasizes that familial and religious oppressions can be one and the same, destroying the love of free spirits.      

To Camille Saint-Saëns, the operatic appeal of the biblical subject of Samson is perfectly understandable. Theoretically, the story contains the dramatic trappings of exciting grand opera: a romance, tragedy, larger-than-life setting, a ballet. But for current operatic audiences, it is easy for the subject to appear stale. With a lack of dramatic dynamism, staging this piece can be a challenge.