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

El Liceu comienza su temporada con La flauta mágica, en una producción de inspiración cinematográfica que conforma un espectáculo audiovisual abierto a todos los públicos completado por una interpretación ágil de la partitura.

Arriesgada y deliciosa recreación humorística de la obra mozartiana en clave de cine mudo, lejos de cualquier simbología o pretensión de profundidad

Das reine Bebildern ist nicht Sache des Regisseurs Dmitri Tcherniakov. Bei seiner radikalen Lesart der Oper fahren das Gehörte und das Gesehene auf zwei Schienen. Musikalisch ist die Wiederaufnahme ein Hochgenuss.

L'orchestre et la cheffe se distinguent dans une version de concert où la distribution n'a pas été à la hauteur de l'événement.

Mit Die Nacht vor Weihnachten entführen Vladimir Jurowski und das Rundfunk-Sinfonieorchester Berlin in eine humorvolle Märchenwelt.

Tcherniakovs Holländer feiert die erste Wiederaufnahme – mit gestandenen Festspielgrößen und einer eindrucksvollen Debütantin.

The Salzburg Festival's production of Offenbach's Orpheus in the Underworld is another classic in the making from Barrie Kosky.

There’s no doubt that Mélisande endeavours to escape past troubles when she first appears in Barrie Kosky’s production of Debussy’s opera, yet Nadja Mchantaf is no reticent, wispy maiden. Every vocal and physical gesture – always precise and penetrating – displays an atypically forthright quest for vitality, something that Arkel’s chauvinistic world does not readily offer.

Introspected and atmospheric, this late romantic opera appeals to the psychotherapists within us.

Mit diesem Ring-Auftakter gelingt Janowski ein im Großen und Ganzen überzeugendes Plädoyer für Wagner konzertant.

A woman, mother and outcast needs to make life choices in a hostile environment.

Cette reprise de La Flûte dans la mise en scène de Robert Carsen nous dévoile un casting vocal à la hauteur des exigences de la partition, et nous démontre une fois de plus la capacité du metteur en scène à traduire avec poésie et grâce les sentiments les plus perfides qui bien souvent s'expriment dans les rapports les plus intenses entre les êtres.

Barrie Kosky's 2011 production confines the action of the opera to a stark white room. A fine ensemble of singers made for a successful evening.

Visual references both incongruous and perceptive abound in the third instalment of Bayreuth's musically triumphant Ring cycle.

Singing, orchestral playing and scenic portrayal all combine to make a highly memorable second instalment of Wagner's Ring.

Bayreuth's controversial Ring returns with a new conductor and a refreshed cast.

Castorf's anarchic take on Siegfried pushes well beyond his treatment of the earlier parts of the Ring, and not all the heroics from Stefan Vinke, Wolfgang Koch and Catherine Foster can rescue the evening.

Frank Castorf's Soviet-era farm-setting does not obtrude on the emotional core of Wagner's Die Walküre, with excellent performances from Johan Botha, Anja Kampe and Claudia Mahnke, with superlative playing from the Festival Orchestra.

The first installment of Frank Castorf's controversial Ring is applauded on its 2015 revival at Bayreuth, but arguably the incessant visual action detracts from the appreciation of the music. 

The Bayerische Staatsoper's Ring cycle has been full of ups and downs. It ended on an up, thanks to Petrenko's brilliant conducting, a strong cast, and a fun staging.

A perfect cast and great conducting make the Bayerische Staatsoper's Die Walküre thrilling and memorable.

Kriegenburg's staging of Wagner's Ring cycle begins with a visually appealing but intellectually empty Rheingold.

Catherine Foster's Brünnhilde bathes Bayreuth's Siegfried in a warm glow, while Wolfgang Koch sings a superb Wanderer. But director Frank Castorf does his best to subvert both.

Kirill Petrenko starts Die Walküre with a flourish as Frank Castorf’s staging takes us back to the Baku oilfields in late tsarist Russia.

In this second year of Bayreuth's bicentennial Der Ring, Oleg Bryjak shines as an outstanding Alberich. Frank Castorf's production is striking but as yet incomprehensible.