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

Die Bayerische Staatsoper legt bei der Neuinszenierung von Bedřich Smetanas komischer Oper den Fokus auf ein unterhaltsames Dorffest-Idyll.

A standout performance from Stephen Milling complements all-round excellence of cast to provide a satisfying end to the Covent Garden Ring.

Christian Thielemann and the Staatskapelle Dresden orchestra are let down by sub-optimal singers in Willy Deckers chair-laden production of  Die Walküre. 

It would be no exaggeration to say Franz Hawlata stole the show, an act of grand larceny made all the more remarkable by the strong cast which shared the stage.

Sous la baguette de Philippe Jordan, l’Orchestre ne fait pas un pli, accompagné de Chœurs et de chœurs d’enfants en très grande forme : on sait que ces pages, non contentes de sonner délicieusement à l’oreille des spectateurs, sont également un plaisir assez inégalé pour les musiciens.

Dutch National Opera have given themselves and their patrons a smashing 50th birthday present – a production of Der Rosenkavalier that is a winner on all fronts.

En cette fin d’année, l’Opéra de Paris nous offre un spectacle réjouissant, plein de magie.

Wagnerians who are unfamiliar with the subtle humour of German humourist Loriot might sneer at the mere thought of paying to hear a version of the tetralogy that is cut by about 80% of the total score, but this was not the case with the regular Viennese Ring-goers who filled this performance. And judging from the applause, it was a worthwhile experience for them as well as for Wagner rookies.

The pairing of Ravel’s L’Enfant et les Sortilèges (“The Child and the Spells”) with Zemlinsky’s Der Zwerg (“The Dwarf”) is an interesting juxtaposition.