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

Sasha Cooke’s thoughtful role debut anchors Paul Curran’s visually and musically alert but dramatically uneven production.

William Kentridge's production of Berg’s Wozzeck has it all: wonderfully imaginative and disturbing designs, terrific acting and singing plus fabulous orchestral playing. 

Très attendue depuis son annulation pour cause de Covid-19, la Tétralogie selon Calixto Bieito déçoit grandement pour son premier épisode, et ni la fosse ni la distribution vocale ne compensent cet échec.

The Canadian Opera Company’s season opening production is musically excellent, but the dated, dull production adds little. 

Sir David McVicar's grim and creepy take on Verdi's Macbeth, backed up by brilliant conducting from Speranza Scappucci and a fine performance of the title role by Quinn Kelsey, is the best thing seen at the COC since lockdown.

The COC’s revival of The Magic Flute is mostly played for laughs and makes an enjoyable, if undemanding, evening.

Young Egyptian-New Zealand soprano Amina Edris makes a great impression in a revival of Arin Arbus’ strong 2015 production.