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

La Orquesta y Coro Nacionales abre una prometedora temporada con una poderosa interpretación semiescenificada de Wozzeck, demostrando la madurez de una formación y un director que no se cansan de asumir nuevos retos.

Stefan Blunier lideró una poderosa versión de Elektra que, brillante en lo orquestal y lo vocal, puso en pie a un público infundido por la intensidad del drama.

David Afkham, lo mejor que le ha pasado a la escena musical madrileña en mucho tiempo, volvió a brillar en esta versión semiescenificada, acompañado de un elenco vocal memorable.

Richard Strauss and Hugo von Hofmannsthal's ode to humanity, returning after an eleven-year absence, suffers from generalized acting and inconsistent musical values.

An icy Götterdämmerung brings Opera Australia's Ring Cycle to a successful conclusion, with standout performances from Lise Lindstrom as Brünnhilde and Andrea Silvestrelli as Hagen.

The tireless Stefan Vinke wows in the title role of Opera Australia's Siegfried, in a production which harnesses technology to excellent effect.

The second part of Opera Australia's Ring Cycle sees digital effects employed with greater restraint, delivering a production that is by turns moving and thrilling. 

With a powerful but not world-beating team of soloists, Gardner and the LPO tackle Schoenberg's sprawling cantata with aplomb – except for one near-catastrophic misstep.

Graeme Murphy's legendary staging of Puccini's final opera remains a vital combination of strong storytelling and visual panache.

Orchestra and singers reached great heights in this highly lyrical and dramatically flowing Frau ohne Schatten conducted by Yannick Nézet-Séguin.

Retrouvant ses musiciens de Rotterdam, Yannick Nézet-Séguin triomphe de la redoutable Femme sans ombre de Strauss, aidé par un plateau de toute première classe.

Fine musical performances blend with staggering video artistry in Aleu's spectacular science-fiction setting.

Gale Edwards' Opera Australia staging of Richard Strauss' bloody opera is revived with Lise Lindstrom in the title role. 

Lise Lindstrom macht bei ihrem Rollendebüt an der Wiener Staatsoper nicht nur wortwörtlich eine gute Figur.

Without glitz, extravagance or the need to be expressly shocking, Robert Carsen's new production of Wozzeck at the Theater an der Wien is exceptional.

The final instalment of the Melbourne Ring is vividly brought to life by excellent singing, an adaptable set, and committed playing from the pit.

A combination of ingenious sets, truly heroic singing in the title role by Stefan Vinke, and excellence throughout the rest of the cast makes the Melbourne Siegfried an unmissible highlight of the Ring so far.

On a night of technical delays and extraordinary singing, Opera Australia's revival of Die Walküre is particularly memorable for Amber Wagner's Sieglinde and Lise Lindstrom's Brünnhilde.

Turandot, eklektisch: Gustavo Dudamel nuanciertes Dirigat verzaubert.

Carole Wilson’s Herodias almost upstages Lise Lindstrom’s sexy Salome in a fine revival of Boleslaw Barlog's 1972 production in Vienna.

Opéra de Montréal's belated première of Strauss' take on the Greek tragedy is worth the wait, as soprano Lise Lindstrom and wunderkind conductor Yannick Nézét-Séguin lead an exciting, music-driven production.

Franco Zeffirelli's admired 1987 Turandot honored Giacomo Puccini's chinoiserie fantasy about a cold-hearted princess thawed by love, but musically lacked conviction.

While the billboard advertisements focussed on the presence of the ‘hit aria “Nessun dorma”’, there was much else to enjoy in this Turandot revival in Sydney: a lively, rich production and a strong cast headed by Lise Lindstrom and Yonghoon Lee.

With an uncertainly looming, the San Diego community rallied behind its beloved opera company to rescue, resuscitate and revamp while celebrating 50 years of commitment to the arts.

What happens when the director develops in directions the company neither wanted or expected? For San Francisco Opera’s new Der Fliegende Holländer, this discovery led to decisive action: director Petrika Ionesco was sacked just before the opening.