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

No es infrecuente tener la oportunidad de escuchar la Pasión según San Mateo en el transcurso de la Semana Santa, lo que incrementa el número y la intensidad de elementos diegéticos que operan en la representación. En esta ocasión, además, la fecha era señalada por la comparecencia de una pléyade instrumental y vocal: la Orchester und Chor der Klangverwaltung y el Münchner Knabenchor bajo la avezada batuta de Enoch zu Guttenberg.

Pierre Audi is remembered in words and music as the Festival d’Aix-en-Provence receives $1m – the richest prize in classical music – at Stockholm’s Konserthuset. 

La mise en scène de Michael Thalheimer, la direction musicale de Mark Elder, le décor, les lumières, la distribution : tout concourt ici à produire une soirée prodigieuse.

Compelling singers carry the day in the Glyndebourne Festival Opera's first staging of Wagner’s swansong. 

Den idealen Rahmen für Mozart und Beethoven bildet die Pfarrkirche Stainz; Orchester, Solisten und vor allem der Schönberg Chor sorgen für erhebende Momente. 

La mise en scène riche en hémoglobine de Michael Thalheimer est en partie compensée par une distribution globalement convaincante, Tareq Nazmi en tête dans le rôle-marathon de Gurnemanz.

Christof Loy unearths hidden treasure with an opera by Franz Schreker long since buried after taking Europe by storm in the 1920s.

Luftig weiche, herzaufgehende Wärme und freudige Überzeugungskraft ließen Bachs Pauken- und Trompetenjubel nicht einmal vermissen.

Manfred Trojahns Oper beginnt, wo Richard Strauss' endet: einmal noch wird Orest im Auftrag Elektras töten.

A semi-successful production with an interesting underlying idea and a solid cast brings Bizet’s masterpiece back to Stockholm.

Deutsche Oper Berlin staged an ambitious production by Laurence Pelly with mixed results. The performance included new discoveries and young singers brought fresh energy to the evening.

Domingo Hindoyan conducts a cast of Swedish performers in Verdi’s masterpiece, for the Baltic Sea Festival.

After her triumph at the Royal Opera House in London as Salome, Byström comes home to Sweden to great acclaim in Giordano’s opera.

Tatjana Gürbaca’s whole scale tampering with Wagner’s Siegfried had so many flashbacks and flashforwards there should have been a warning for photosensitive members of the audience.  

This summer’s production of Bizet’s Carmen on the Seebühne stage in Bregenz offers a great spectacle. 

Calixto Bieito's Tosca, despite an intriguingly modern setting, fails to make sparks fly.

Enoch zu Guttenberg conducts a concert of religious music that traverses a vast host of motley mass-related sentiments – but falls somewhat short of completing the course.

L’Orchestre KlangVerwaltung et le chef Enoch zu Guttenberg, en compagnie du chœur Chorgemeinschaft Neubeuern, proposaient vendredi dernier à la Maison symphonique de Montréal deux œuvres majeures du répertoire choral : le Magnificat de Bach et le Requiem de Mozart. Ce concert était présenté dans le cadre d’une tournée nord-américaine visant à souligner les 20 années d’existence de l’orchestre.

Steiner’s reading of the mildly disturbing but generally obsequiously presented story is decidedly edgy, especially considering the opera is staged inside the city church.

In his production of La traviata for the Swedish Royal Opera, Kasper Holten puts Violetta in a strip club and on the streets. Both the staging and the music are excellent, though the cast's acting is uneven.

Tatyana Gürbaca's new production of La traviata in Oslo may be on the heavy-handed side, but still offers fascinating new insights into Verdi's opera.

For his fourth production for the new Oslo opera house, Norwegian director Stefan Herheim turned his attention to Richard Strauss’ one-act opera Salome. This production is a co-production with the Salzburg Easter Festival (where this production premièred in 2011) and the Teatro Real in Madrid.