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

Àlex Ollé ofrece un buen espectáculo visual para una producción que falla en construir el imprescindible nivel de tensión musical.  

Eine eingängige Bildersprache, wirksame Wechsel zwischen spektakulären und intimen Szenen sowie die hohe Qualität der musikalischen Realisierung machen die neue Traviata auf der Seebühne der Bregenzer Festspiele zu einem unvergesslichen Erlebnis.

The music of Glinka, Stravinsky, Rachmaninov and Tchaikovsky fills Manchester’s Bridgewater Hall with mystery, intrigue and jollity. 

Anja Bihlmaier conducts the BBC Philharmonic in a moving D'un soir triste and joyful Dances of Galánta. Bluebeard's Castle, despite some fine things. feels less satisfying.

Klára Kolonits's radiant Elsa proves the main attraction in the Hungarian State Opera's visually appealing but conceptually lacking new Lohengrin.

Before a searing performance of Shostakovich's Thirteenth from Ryan Bancroft and his Welsh forces, Benjamin Grosvenor delivers a terrific performance of Ravel's Piano Concerto in G major. 

Not a great day for the patriarchy: Ersan Mondtag's gripping new Salome emphasises grotesque caricatures and ends with a bloody, plot-twisting coup d’état. 

Leif Ove Andsnes brings out the singing line of Rachmaninov's Third Piano Concerto before vocal soloists Kristina Mkhitaryan, Dmytro Popov and Kostas Smoriginas join the London Philharmonic Choir and Orchestra for The Bells. 

Aigul Akhmetshina is outstanding in the title role, hearing Piotr Beczała is a privilege, but it's Damiano Michieletto's new staging that takes the honours.

The first instalment of Covent Garden's new Ring is excellent all round from orchestra and voices, with Barrie Kosky providing plenty of ideas to tease us as to how the cycle will continue. 

A strong cast carries this satisfying revival of Andreas Homoki's production of Salome at Opernhaus Zürich.

“Jealous lover kills local slut” might be the tabloid headline, but Bizet's Carmen is much more than that, especially in this visually stunning new production in Hamburg, directed by Herbert Fritsch.

“A Soviet artist's creative response to justified criticism” and Shostakovich's orchestration of music by Mussorgsky were at the heart of this BBC SO programme at the Barbican. 

Première production à bénéficier de la nouvelle plateforme « Normandie Lyrique et Symphonique », la Tosca de David Bobée vaut le détour pour sa mise en scène saisissante comme pour son trio vocal principal.

Here was the much-loved three-act opera Rigoletto, yes, but chances are, it was one far beyond Verdi’s wildest dreams.

David Alden’s new production for The Royal Opera, referencing fascist Germany, is drab, but there are musical compensations. 

Interesting ideas and a brilliant orchestral performance aren't enough to overcome a visually dull staging, predictable choreography and a lack of chemistry between the protagonists.

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

In Ron Daniels' production of Mozart’s Don Giovanni at Santa Fe Opera, the specter of death and the possibility of judgment is always center stage. 

Bryn Terfel and Sir Antonio Pappano brought their excellent interpretation of the 1869 version of Mussorgsky's seminal opera to the Royal Albert Hall for a one-off revival.

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

Full of melodic treasures hidden for ages, Anton Rubinstein's The Demon answers the most demanding expectations.

Traditionally at the Proms, Beethoven’s Ninth Symphony is reserved for the penultimate prom slot in September, but this year, they have made an exception and given it to the CBSO and Andris Nelsons.

The Welsh National Opera took to the Hippodrome stage for the Bristol leg of their UK tour ofCarmen. This was a revival of Welsh National Opera’s production in the late 1990s, co-produced with Scottish Opera.

The ROH's revival of Carmen doesn't bring anything new to the opera, but a stellar cast and stylishly traditional production make it a very enjoyable evening.

I don’t think Valery Gergiev has ever been out to claim that Brahms and Szymanowski were particularly similar composers. I certainly hope he hasn’t, at any rate, on the basis of his final LSO programme pairing the two of them.

The Tenth Anniversary of the Royal Opera House’s Jette Parker Young Artists Scheme is a landmark of no small size. This summer performance brought back some of the best singers it has produced for a semi-staged rendition of Rossini’s one-act 1825 opera Il Viaggio a Reims. It was a celebratory display of virtuoso held together with a generous dose of self-indulgence.

The story of Carmen is a tale of people at the bottom of the heap; factory workers, gypsies, bullfighters, ordinary soldiers, yet the romance of Spain and Bizet’s exuberant and unforgettable tunes have combined to give us a prettified, glamorous idea of Carmen, full of flamenco costumes, castanets, handsome toreadors and none of the rough edges.

The popularity of Bizet's 'Carmen' leaves many opera lovers knowing exactly what they want to hear and see before even entering the theatre.