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

La notable ópera de Janáček cobra vida en un entorno industrial ideado por Katie Mitchell, mientras Gustavo Gimeno dirige meticulosamente desde el foso la Orquestra de la Comunitat Valenciana.

Superb singing from Joyce DiDonato and Jakub Józef Orliński lights up a curate's egg staging from Katie Mitchell.

The Royal Opera House responds to current global turmoil with a double bill by four women composers. Baritone Peter Brathwaite delivers a tour de force in The Knife of Dawn and A New Dark Age is a powerful emotional journey.

Katie Mitchells extreme Inszenierung bietet einen fesselnden Raum für Nina Stemme und John Lundgren.

Fine performances by Julia Bullock and Cédric Tiberghien can't make up for the confusion of a fragmented, allusive narrative.

Reprise mitigée de l'opéra de Richard Strauss au Théâtre des Champs-Elysées : Olga Pudova, Camilla Nylund et Kate Lindsey tiennent le haut du pavé ; Katie Mitchell échoue à divertir.

Katie Mitchell's second production of Jenůfa is a straightforward, effective reading of the libretto well supported by excellent singing actors.

Lise Davidsen and Sabine Devieilhe produce soprano heaven in their contrasting vocal styles. Katie Mitchell’s staging feels disappointingly familiar.

George Benjamins neue Oper beschreibt eindringlich einen durch Liebe hilflosen König – Hannigan und Degout füllen die tiefgründige Musik mit hingebungsvollem Emotionsspiel.

George Benjamin and Martin Crimp's second full scale opera is a refinement of the craft showed in Written on Skin – but the lessons are less in love and violince than in power, tension and beauty of the score.

Issues that cropped up in the first run of Mitchell's production have been ironed out. In the hands of a strong cast, a chilling interpretation of Donizetti's masterpiece.

Qu’on adhère ou non au propos de Katie Mitchell, on ne sort pas indemne de ce spectacle qui donne à entendre des pages sublimes, mais sort délibérément le spectateur de sa zone de confort.

Grange Park Opera scored a direct hit with a fine production of Janáček's masterpiece, led by a superb performances from Natalya Romaniw and Susan Bullock as Jenůfa and the Kostelnička.

The Royal Opera's first revival of George Benjamin's medieval shocker is characterised by stellar singing performances, notably from Barbara Hannigan and Iestyn Davies.

Surréaliste, psychanalytique, ce Pélléas et Mélisande l’est donc assurément. Mais c’est peut-être sa naïveté, sa tendresse presque enfantine, qui l’emporte.

A new cast arrives for Katie Mitchell's gothic Lucia di Lammermoor – and, despite caveats about the staging, deliver some excellent performances. 

“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way. 

First seen at the innovative, fearless Aix-en-Provence festival three summers ago, George Benjamin’s riveting, grisly Written on Skin has arrived in New York. 

The 67th Aix Festival got off to a hot, heady start with Katie Mitchell's witty and ingenious staging of Handel's 1735 sorcery opera Alcina. 

Portugese composer Vasco Mendonça presents in Luxembourg his new opera, based on the masterly tale by Julio Cortázar.

21st century opera is a broad church. There aren’t many of us, I suppose, who are intimately familiar with the biographical accounts of the lives of 13th century troubadours, popular at the time in Spain and south west France. But Martin Crimp and George Benjamin, librettist and composer of Written on skin, aren’t exactly run of the mill people.

Handel’s Jephtha is an oratorio, rather than an opera. However, the story is one of high drama and emotion, and thus the work lends itself easily to operatic adaptation.

For the third of their major operas this season, the English National Opera chose Mozart's Idomeneo, one of Mozart's earlier masterpieces telling the story of the Cretan King Idomeneus's homecoming after the Trojan War.