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

Mit ausgezeichneten sängerischen Leistungen und vorzüglichem Orchester der Staatsoper zeigte Strauss' heiter-rasantes Konversationsstück seinen musikalischen Esprit.

La saison bruxelloise s'ouvre sur un événement : la création de Macbeth Underworld de Pascal Dusapin. L'œuvre inégale est portée par la mise en scène de Thomas Jolly et la performance des solistes.

Both vocally and instrumentally the performance  was a high-class one

Iván Fischer's minimalist staging of Don Giovanni makes a triumphant return to Mupa, Budapest.

Strauss' 'conversation piece' of an opera is given a warmly sympathetic production with the musical rewards coming as much from the pit as the stage.

Roger Vontobels Operndebüt im neuen Hamburger Tell beweist Mut und Fingerspitzengefühl und erweist sich Schmähkritiken zum Trotz als durchaus sehenswert.

In James Conlon's final performance as music director of Ravinia, he presented a magnificent Flying Dutchman with a stellar cast.

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

A triumph for Los Angeles Opera's new production of John Corigliano's The Ghosts of Versailles.

What happens when the director develops in directions the company neither wanted or expected? For San Francisco Opera’s new Der Fliegende Holländer, this discovery led to decisive action: director Petrika Ionesco was sacked just before the opening.

Wagner’s Lohengrin was the last work the master completed before settling into a mid-career six-year slump. During this compositional hiatus, he wrote the poems for his Ring operas and ruminated in print on various topics, musical and otherwise, but work on the music dramas essentially ceased.

In keeping with its summer season of novelties, San Francisco Opera have produced a new English-language production of Mozart's The Magic Flute. Advertisements for the production showed baritone Nathan Gunn in a green, full-body leotard as a sort of frogman of a Papageno, leaping in the air and wearing a manic expression.

Librettist Lorenzo Da Ponte billed Don Giovanni a “dramma giocoso,” literally a “jocular drama,” and, unsurprisingly, finding the balance between comedy and drama is the key to any good production.

Read our review of Nathaniel Merrill's production of Der Rosenkavalier by Strauss, in its 2010 HD broadcast from the Metropolitan Opera in New York.