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

Contrastó la soltura y la dramatización de la albanesa con lo demostrado por el tenor español, muy pegado a la partitura y sin grandes alardes, aunque sacando adelante el exigente desempeño demandado por la voz de Athanaël. 

In Prometheus, Krzysztof Pastor has created an epic full-length ballet for his company which serves to show-off a roster of powerful principal roles as well as a fine ensemble.

À l’Opéra Bastille, Damiano Michieletto signe une lecture de l'ouvrage de Massenet d’une grande intelligence et d’une rare force d’émotion. Christian Van Horn propose une incarnation exemplaire du Chevalier de la Longue-Figure.

Krzysztof Pastor's Dracula offers much in both dance and drama, as well as providing a visual feast.

Carè, Stundytė and Pursio all shine as singers and actors in an intense, exciting production at the Finnish National Opera.

The hometown Orquesta Filarmónica de Bogotá (OFB) proves big-league as they launch the Teatro Mayor Julio Mario Santo Domingo's Bogotá es la Rusia Romántica.

Younger generations have still a lot to learn from the 76-year old singer

Mit einer strahlend exotischen Vorstellung von Massenets Opernrarität sorgten die Salzburger Festspiele wieder einmal für eine musikalische Sternstunde.

L’étoile at the Dutch National Opera, directed by Laurent Pelly and conducted by Patrick Fournillier, is bubbly and light like a glass of sparkling wine, to be consumed without restraint. 

The return of Offenbach’s Les Contes d’Hoffmann to the stage of San Francisco Opera on Wednesday night was a welcome and long overdue event.

What do you get when you mix an old man with a penchant for younger women, a young woman, her equally young lover and a scheming doctor, and set it all sometime around the 1960s, although you wouldn’t really know it had it not been for the petticoats? A rather successful night at the opera, it would seem.

Those who like their opera off-kilter will revel in the Metropolitan Opera’s Les Contes d'Hoffmann, an opera in three acts (with prologue and epilogue) by Jacques Offenbach. The Met production was heavily operetta à la Offenbach—risqué, and at times, erotic.