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

Neil Armfield's enchanting production of Britten's A Midsummer Night's Dream finally comes to Australia as the centrepiece of the 2021 Adelaide Festival, making a virtue of necessity with its astute casting of Australian talent.

Vivaldi's Farnace is reconstructed by Pinchgut Opera in ways which might not do the composer full dramatic justice, but the production and high musical values provide an excellent night of operatic drama. 

Historically informed rarities from Rameau and Vinci aim to recreate the world of 18th-century opera-going in Paris. But a misaligned production distracts from this specialised experience.

The stunning Glyndebourne production of Saul by Barrie Kosky also makes a big impact in the Adelaide Festival.

The final instalment of the Melbourne Ring is vividly brought to life by excellent singing, an adaptable set, and committed playing from the pit.

Not just a jolly romp through the inconstancies of the heart, Sir David McVicar takes Così fan tutte through a dark lesson for lovers while leaving the music ravishingly intact.

Julie Taymor's production maintains the magic of The Magic Flute at Sydney Opera House. 

The Gallipoli landings are etched indelibly into the Australian psyche. The Australian Chamber Orchestra offers an exploration of the campaigns which is enthralling and frustrating by turns. 

Opera Australia’s Falstaff in Melbourne brings freshness to this almost 20-year-old production. Contributing to its success is an outstanding Falstaff...

David McVicar's Don Giovanni for Opera Australia takes its cue from the brutally grim opening of the opera, yet remains true to Mozart’s own description of a “jocular” work (dramma giocoso). 

“I would ask what the management’s drama has in common with mine. The title? No. The poet? No. The period? No. The place? No. The characters? No.” This excerpt from Verdi’s legal proceedings against the management of San Carlo, who were trying to foist changes on Un Ballo in Maschera, came vividly to my mind last night at Sydney Opera House.

The Bartered Bride, premiered in 1866, is considered to be Smetana’s masterpiece in the operatic genre and is widely regarded as the national opera of the Czech Republic. Despite this, for their second and last production this year, New Zealand Opera elected to perform the opera in English translation rather than the original Czech, aiming to speak to their audiences in a more direct fashion.

From the opening bars of the Overture of Opera Australia’s production of Mozart’s The Marriage of Figaro it was clear that this was going to be a production with a difference. As the orchestra began, the curtain raised to reveal a room, painted in brilliant white, with clothes rails at either end containing maids’ costumes.

Much anticipated, ten years in the making, interrupted by some fairly momentous bumpy bits at Opera Australia such as the removal of Music Director Simone Young who comissionned the work in the first place, Bliss has finally arrived. And the good news is that audiences in Sydney received it warmly: the season of just five performances sold out.