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

80% less of Shakespeare's text adds up to more intensity in Brett Dean's Hamlet as Neil Armfield's staging is mounted by Opera Australia. 

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 opening Opera Australia's much-delayed Ring cycle contains wonderful visuals, and a standout performance from Warwick Fyfe as Alberich, but also moments of bafflement and excess.

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

Brett Dean's Hamlet is an extremely powerful theatrical experience, excelling in all aspects of production, singing and musical values, but is it an opera?

It's the libretto's equivocation that has denied King Roger the frequency of performance that its music deserves.

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

The revival of Neil Armfield's Melbourne Ring is relaunched with a successful Rheingold, sensitively conducted by Pietari Inkinen, with an especially fine performance from Warwick Fyfe as Alberich.

The ever-popular La bohème returns in Gale Edwards' adaptation which features a change to the final months of the 1930s Weimar Republic as featured in the musical Cabaret.

Plush costumes and lavish sets make up for shortfall in music and singing in Opera Australia’s La traviata. 

Tragedy seems to age better than comedy. The works of Aeschylus have been more influential than those of Aristophanes, and Shakespeare’s darker plays are far more popular than his pure comedies. This same propensity for gloomy subjects can also be seen in the opera world.

Another Mozart opera and another intriguing modern production from Opera Australia. The whole opera was presented as entertainment for a wedding reception, with a bride and bridegroom sitting at two corners of the stage, their sole purpose for the production to observe the unfolding comedy on stage.

The concert to open the Sydney Symphony Orchestra's 80th Anniversary Series was very much one of contrasts. With the promise of Beethoven's Ninth Symphony, the season seemed to be opening in celebratory style. However, the entire first half was devoted to Richard Strauss' Metamorphosen, a piece which is a far cry from the triumphant finale of the Beethoven.

Much anticipated, ten years in the making, interrupted by some fairly momentous bumpy bits at Opera Australia such as the removal of Music Director Simone Young who comissionned the work in the first place, Bliss has finally arrived. And the good news is that audiences in Sydney received it warmly: the season of just five performances sold out.