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

Despite high quality singing, arresting video cannot replace real direction in Davide Livermore’s digital production.

This Requiem was a gift to Music Director Corrado Rovaris for the anniversary of his twenty years with the company.

The combination of a strong, spirited cast and a first-rate orchestral performance led by Daniele Callegari rendered the opera a moving experience in spite of drab staging and latent, unexplored tensions.

Mahler's Eighth was the composer’s “gift to the nation”; Dudamel’s performance was a gift to Los Angeles. 

Francesca Zambello's hip-hop graffiti staging of Aida comes to Seattle. 

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

Despite a strong vocal and orchestral performance, David Hockney's sets are still the main draw for San Francisco Opera's Turandot. 

The Glimmerglass Festival in Cooperstown, New York always does themed seasons. This year the season was about the idea of home. As such, the production directed by Francesca Zambello was updated from the Middle Ages to a modern-day refugee camp.

San Francisco Opera's Aida features exciting role debuts from Leah Crocetto and Brian Jagde and a visually striking production, but a lack of good direction keeps it from being great music drama.

In Ron Daniels' production of Mozart’s Don Giovanni at Santa Fe Opera, the specter of death and the possibility of judgment is always center stage. 

Franco Zeffirelli's admired 1987 Turandot honored Giacomo Puccini's chinoiserie fantasy about a cold-hearted princess thawed by love, but musically lacked conviction.

An exciting cast starring Michael Fabiano and Leah Crocetto makes up for a slow and static production at San Francisco Opera's opening night.

Some very fine singing and beautiful, if sometimes confusing, visual effects in Opera Philadelphia's Don Carlo.  

A safe performance of Poulenc's extraordinary opera in Washington, lacking in pity and terror.

“Beware, my Lord, of jealousy” warns Iago, planting the seed of doubt in Otello’s mind. Beware, too, the dangers of preconceptions. Keen anticipation of this new production of Verdi’s Otello was tempered by the prospect of David Alden as director.

L’Opéra Berlioz de Montpellier accueillait mardi 15 juillet le premier opéra de l’édition 2014 du Festival Radio France, en version concert : Zingari de Leoncavallo (1912), dirigé par Michele Mariotti. Une œuvre courte où les passions s’expriment avec ardeur, des interprètes pleins de l’énergie exigée par le vérisme : une réussite.

The greatest bass drum part ever written, the thundering Wrath of God, shook War Memorial Opera House in San Francisco Friday night in a thrilling performance of Verdi’s Requiem. Embracing the vivid extremes of Verdi’s great work, conductor Nicola Luisotti marshaled the wonderfully unruly forces of the largest ensemble ever assembled on the venue’s stage.