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

Hungarian State Opera's cut-down, dramatically inert Gioconda fails to ignite the stage in Budapest, despite a solid musical foundation. 

Attila Mókus's dramatic baritone was scornful at one moment, tender, distressed, vengeful, or broken in mourning at others, vocal signposts in Rigoletto’s descent into the hell of his own making.

András Almási-Toth production of the original version of Mussorgsky's historical epic underwhelms in Budapest. 

Hungarian State Opera revives their mostly period production of Strauss' Arabella with star turns by sopranos Polina Pasztircsák and Laura Topolánszky.

Calixto Bieito takes on Prokofiev's Tolstoy epic – and wins in the opera's Hungarian premiere. 

In András Almási-Toth's engaging new production, magnificent orchestral and choral performances let Wagner's music do the talking.

Monteverdi’s last opera, recomposed by Máté Bella for a modern orchestra and a jazz combo, is an over-the-top, glitzy romp with plenty of casual sex and even more casual violence.

In a sensational Hungarian double bill of taut psychological drama at Müpa, Péter Eötvös' Senza sangue proves a thrilling partner to Bartok’s Bluebeard’s Castle.

Hungarian critic Sandor Hevesy once declared that Bluebeard’s Castle was “far too dark”. Yet, Bartók’s Bluebeard’s Castle and Miraculous Mandarin are probably the summation of his orchestral journey. And what better experience then making it to Budapest, to hear it in its birthplace?