En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Eun Sun Kim

Aigul Akhmetshina y Eun Sun Kim destacan en una Carmen que reitera clichés sin alcanzar verdadera fuerza dramática.

Late-career works by Lyadov, Bartók and Rachmaninov dominated the program, which featured Inon Barnatan as piano soloist.

Led by Bryn Terfel's Scarpia and Natalya Romaniw's Tosca – not forgetting Aled Hall's scene-stealing Spoletta – this revival of Jonathan Kent's 2006 staging is urgently paced. 

An excellent cast and smart, engaged direction make for an auspicious season launch in San Francisco Opera’s production of one of Verdi’s most sophisticated creations.  

Dans la mise en scène bien connue de Robert Carsen, le ténor français crève l'écran dans le rôle-titre de l'opéra d'Offenbach, au sein d'une distribution très satisfaisante.

Great vocal performances from Amina Edris and Gerald Finley grace John Adams' new opera, which opens San Francisco Opera’s centennial season.

Dvořák's “New World” Symphony anchored a program that celebrated the diversity and sweep of the American sound world, alongside Barber's Violin Concerto and a Mason Bates world premiere.

Mezzo-soprano Jamie Barton seemed to have a lot of fun taking up the role of Julia Child once again. 

Angela Meade fills in for an indisposed soprano in Los Angeles Opera’s company debut of Donizetti’s Roberto Devereux.

Both vocally and instrumentally the performance  was a high-class one

Bergen National Opera’s new production allows the story to speak to itself, while strong performances from Eric Halfvarson and Elisabeth Teige gave the performance its edge.

A gripping performance of one of opera’s masterpieces in Berlin. 

The revival of Calixto Bieito's Carmen in Oslo proves a bumpy ride, with uneven singing and orchestral playing, saved by Katarina Bradić's captivating portrayal of the title heroine.

This autumn is Strauss and Freud season in London: while the Royal Opera are showing Charles Edwards’s searingly Freudian take on Richard Strauss’s Elektra, ENO have opted for the polar opposite mood with Johann Strauss’s Die Fledermaus: Christopher Alden’s production is just as Viennese, just as laden with dreams and sexuality, but filled to the brim with gags and frivolous decadence.