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

With superb singing, inspired orchestral playing and imaginative staging, Atlanta Opera crowns its monumental Wagner undertaking.

The 74th Wexford Opera Festival opens with the French revision of Il trovatore that Verdi reforged for the Paris Opera. 

The second installment in The Atlanta Opera's first-ever Ring Cycle benefits from the committed performances of veteran Wagnerians like Christine Goerke and Greer Grimsley.

Bard’s always courageous Music Director, Leon Botstein, never one to shy away from a challenge, presents Strauss' comedy uncut.

Any parallels between Rome in the first century under Emperor Titus and the United States two millennia later under Emperor Trump were lost in a Tinseltown graphic novel sweep.

Monstyrska dominates as Abigaille, Domingo brings his unique baritenor style to the title role, Thaddeus Strassberger creates a riot of colour and antiquarian style.

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

During Verdi’s bicentenary month and year, it’s fitting that Opera Philadelphia kicked off its 2013/14 season with the work that Verdi himself considers as having launched his own career – Nabucco. Written at a time when Italy longed to be free of foreign rule, Verdi’s name and the expression “Viva Verdi” became synonymous with Italian nationalism and unification.