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

Simon McBurney sorprende al público de Les Arts con una innovadora producción de La flauta mágica. 

Mark-Anthony Turnage's operatic adaptation of Thomas Vinterberg's tale of abuse provides rich entertainment even as it shocks.

English National Opera brings back Simon McBurney's theatre of wonders for this Mozart classic. 

After its Met Opera debut earlier in the year, Simon McBurney's popular staging returns to Amsterdam. 

A potent rendering of Alban Berg's tale of the traumatised and impoverished war veteran.

Inspiration eludes the director as a new staging of Saint-Säens’ biblical epic falls flat but for some excellent musical performances led by outstanding mezzo Elīna Garanča. 

A title role performance full of depth from Terfel and a barnstorming comic interlude from Tomlinson provide some great moments, but much of this Boris fails to rise above the ordinary.

Christopher Purves bosses the show as Méphistophélès; Richard Jones' production is intelligent and carefully thought through but ultimately unconvincing.

Simon McBurney's production of The Magic Flute continues to delight and this revival benefits from a strong cast, led by the superb Lucy Crowe as Pamina.

In her anxiety to be ‘new’, Shaw slaps a sackload of semi-comprehensible ideas onto a sort-of present day update.

Back for its third run at Dutch National Opera, with a satisfying cast, McBurney's staging wins new converts. 

McBurney's brilliant stagecraft brings child-like wonderment to the most hardened adults; his interpretation and Raphaël Pichon's conducting exude Mozartian rightness.

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

The Royal Opera Orchestra produce a revelatory reading of Shostakovich’s eclectic score; a fine performance from Eva-Maria Westbroek and excellent acting from the whole cast light up the drama and farce.

In Richard Jones' production of Don Giovanni at Theater Basel, it was the singers alone who stole the limelight.

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

Richard Jones's production of Puccini’s Western opera La fanciulla del West is well sung, but fails to tap in to the Wild West atmosphere of the surroundings.

Richard Jones new production of Mussorgsky's episodic epic has plenty of strengths, but is marred by unappealing designs and rushed tempi.

A blistering performance of Suor Angelica is the highlight of this strongly performed revival of Richard Jones' 2011 production.

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

What makes this production of The Rape of Lucretia stand out is the singers’ acting. It’s immediate, it’s integrated into the singing, and it’s better than anything I’ve seen in any opera production before. 

Keri-Lynn Wilson produces an outstanding UK conducting debut in Richard Jones' faithful production of Puccini's Girl of the Golden West for ENO.

Royal Opera’s first rival of Anna Nicole opens to an enthusiastic student audience. Eva-Maria Westbroek dazzles, but second time round the work seems even more burned by its clumsy libretto.