En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | English | Jonas Kaufmann

Diana Damrau, Jonas Kaufmann and Helmut Deutsch's European tour reaches Berlin with a heart-on-sleeve programme of Lieder by Strauss and Mahler. 

The Royal Opera orchestra, chorus and a large cast bring their A game to Sir Antonio Pappano's last run as music director.

A traditional staging by Romain Gilbert is welcomed at the Teatro di San Carlo, with a glittering line-up of soloists. 

A revival of Adrian Noble’s abstract and dark production of Verdi’s Otello fields a strong cast led by Jonas Kaufmann, Ludovic Tézier and Rachel Willis-Sørensen. 

In New York's Park Avenue Armory, Claus Guth imagines Schubert's final song collection set in a military hospital, Jonas Kaufmann as one of its soldiers with a story to tell. 

The star tenor is clearly under the weather, but the young house-favourite mezzo shines in an impressive role debut in a revival of Benoît Jacquot's cinematic staging. 

Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

Star tenor Jonas Kaufmann sings the title role in Olivier Py's dour and symbolism-heavy Lohengrin, set in post-war Berlin.

In much anticipated role (Kaufmann) and stage (Davidsen) debuts, this revival of Peter Grimes at the Staatsoper was much anticipated, despite a production that should be put out to sea without a paddle.

The Bayerische Staatsoper's new Tristan und Isolde, featuring two stellar role debuts, is scenically disappointing but musically superb. 

After a six month gap, the Nationaltheater welcomes a limited audience to an opera-in-concert of extraordinary beauty of singing.

 Russian director Kirill Serebrennikov relives his own arrest in 2017 in his new production of Wagner's Bühnenweihfestspiel at the Wiener Staatsoper.

What do you do when your planned season opener bites the dust? Fly in the stars and put on a concert performance of a verismo favourite. 

A five-hour operatic marathon as the full, five-act French version of Verdi's epic Don Carlos returns to the Staatsoper after a seven-year hiatus. 

With their second open-air concert performance, Teatro di San Carlo scores another hit.

The Bayerische Staatsorchester saved the best for last with its season finale, a generous programme of Strauss, Schoenberg, Stravinsky and Mahler.

An outstanding role debut from Davidsen, a star-studded vocal cast and a revelatory orchestral performance make a Beethoven anniversary performance to savour.

With an unsurpassed cast, devoted conducting and a brilliantly imaginative staging, the Bavarian State Opera's new production of Korngold's Die tote Stadt is a triumph.

Jonas Kaufmann and Anja Harteros, the “Royal couple” of the Bayerische Staatsoper, enchant and melt hearts as the doomed lovers in Verdi’s late masterpiece.

A successful concert performance of Umberto Giordano's verismo hit in Sydney, with a trio of international stars. 

The hottest opera ticket in London this season sees Jonas Kaufmann and Anna Netrebko reunited on the Royal Opera House's stage for the first time since 2008. It was worth the wait. 

Instead of telling a story of spiritual enlightenment and ultimate redemption through faith, Pierre Audi's reading is bereft of mystery and magic.

Kaufmann’s magnificent instrument was not seen at its best in songs by Strauss, but there was pleasure from his clear artistry and the interesting orchestral pieces played by the BBCSO.

Jonas Kaufmann and Camilla Nylund tackle the roles of Tristan und Isolde for the first time in Andris Nelsons' all-Wagner concert. 

Krzysztof Warlikowski’s new Paris staging of Verdi's epic Don Carlos is cold and glassy, but the vocal performances at the Bastille more than compensate.

As clearly visible on all photos, the Sydney Opera House has two “sails”, interconnected major sections. One of them houses concerts, the other operas. Opera performances, however, are not exclusively taking place in the Opera Theatre.

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

After all the speculation, Jonas Kaufmann made his role debut as Otello at The Royal Opera – an impressive, if not unqualified, success. 

A stunning Sieglinde from Mattila eclipses Kaufmann's restrained Siegmund; Pappano conjures exceptional detail and drive from the LSO.

Flags, balloons and musical revelry bring the BBC Proms season to a close. 

Martin Kušej's production of La forza del destino is hard hitting and intelligent: an imperfect orchestral performance is more than compensated for by an outstanding cast of singers.

Neuenfels' production of Manon Lescaut for the Bayerische Staatsoper is strange but coherent. With a perfect cast and tight musical direction, this is about as good as Puccini opera gets.

Martin Kušej’s modern production of La forza del destino emphasizes that familial and religious oppressions can be one and the same, destroying the love of free spirits.      

Jonas Kaufmann, German singer extraordinaire, may not be fully human. His exquisite chocolatey tenor, coupled with his extraordinary command of diction, tone and emotion, lend him an other-worldly air, whether performing opera or singing lieder. This man can do no wrong, as was witnessed Tuesday night at his Berlin Philharmonic performance of Schubert’s intense song cycle Winterreise.

Puccini’s La fanciulla del West, in its new production by Marco Arturo Marelli, features excellent singing from top to bottom, tight orchestral playing, beautiful lighting, and a decisive lack of cowboys, saloons and other “Wild West” clichés. Set in a modern-day mining village in the middle of somewhere vast and gorgeous, the production focuses on the social interplay and struggles of the miners.

Those who attended Jonas Kaufmann’s Vienna Wagner debut and were wondering why his Parsifal was beautiful but rather underwhelming in volume, were given the answer on the stage of the Konzerthaus two days later, when he announced himself as “still ill after a severe cold”.

Before the music in the Metropolitan Opera’s new Parsifal starts, a black but reflective curtain drapes the front of the stage. It is dim enough not quite to show the audience, but it picks out the chandeliers.

The first opera of the season at La Scala is an event of huge cultural significance in Italy, so it raised some hackles when, for Giuseppe Verdi’s centenary year, the management passed over Verdi in favour of Wagner’s Lohengrin. But even Italians disappointed by the insult to their culture found it impossible to quarrel with the quality of the singing talent on show.

Faith and glamour have bookended this year’s Salzburg Festival, a move met with incredulity in certain quarters and yet one not entirely alien to Austrian customs, if one looks to the 20 or so most glittering events of the Viennese ball season, which is promptly curtailed by Ash Wednesday (still observed by much of the population here with high Catholic asceticism).

When Salzburg Festival director Alexander Pereira stepped onto the stage of the Großes Festspielhaus last night to announce that one of the cast members of La bohème was sick and unable to sing, he faced a chorus of hisses from the audience. Soprano Anna Netrebko, the festival’s biggest non-conductor star, was feeling fine (though as Mimì she would shortly die of consumption).

Richard Strauss and Hugo von Hofmannsthal’s Ariadne auf Naxos was first performed in 1912, in a production directed by Max Reinhardt. Unlike the version usually seen today, this first Ariadne was a long-winded play-opera-ballet hybrid, incorporating a full production of Molière’s Le bourgeois gentilhomme with dances to incidental music by Strauss followed by the short opera.

“I will return! I want to again be intoxicated by the triumphant smile of art!” proclaims the actress Adriana Lecouvreur in the extravagant opera of the same title. With this role, the soprano Angela Gheorghiu returned to New York in the first performance of the Opera Orchestra of New York’s Carnegie Hall season.

Read our review of Des McAnuff's production of Faust by Gounod, in its 2011 broadcast from the Met Opera in New York.

Ever since the Royal Opera House announced that two performances of its summer revival of Jonathan Kent's production of Tosca would feature an all-star cast, opera lovers all over the world have been desperately trying to get their hands on a golden ticket.

Read our review of Robert Lepage's production of Wagner's Die Walküre in its 2011 broadcast from the Met Opera in New York.

Giacomo Puccini comprehensively eclipsed the other Italian composers of his era. Three of them remain in the repertoire as one hit wonders: Mascagni, Leoncavallo and Francesco Cilea, whose four act Adriana Lecouvreur opened at Covent Garden last night.