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

La producción que triunfó con la English National Opera y la LA Opera llega felizmente a la ciudad condal, significando a la vez el estreno estatal de esta obra.

Drawing on her long history with the work as both singer and conductor, Nathalie Stutzmann conducts the Atlanta Symphony in a deeply felt account of Mahler’s Resurrection Symphony.

Alexander Shelley tackles Schumann’s sprawling Das Paradies und die Peri with conviction, shaping real momentum and drama, even if balance issues and Thomas Moore’s cloying libretto sometimes distract.

Lara Downes and Yannick Nézet-Séguin offer the subscription debut of Price's Piano Concerto in One Movement, followed by the ultimate crowd pleaser, Beethoven's Ninth.

 Michael Cavanagh's sleek new production, designed by Erhard Rom and conducted by James Conlon, transforms the 18th-century opera into a Broadway musical, score by Mozart.

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

Diane Paulus' staging is remarkably true to the original while making it feel like the work was written yesterday.

Carried by a strong cast and impressive stagecraft, Christian Jost's new opera addresses the refugee crisis with sensitivity and grace. 

L'opéra de Monteverdi bénéficie d'une distribution superlative et d'un ensemble instrumental stupéfiant. Un concert qui fera date.

Enea Scala and Rihab Chaieb impress in a concert performance of Massenet's Werther in Ghent. 

Das vorzüglich auf Barock getrimmte Orchester trägt nicht über den sehr durchwachsenen Chor und die rätselhafte Deplatzierung der Solisten hinweg.

As part of its Schubert Festival, the Orchestre Symphonique de Montréal wowed the audience with a concert that featured excerpts from Rossini operas as well as two Schubert symphonies.

Exceptional singing, an auspicious conducting debut and a staging that is both sophisticated and emotionally involving make this production an unequivocal winner.

À l'Opéra de Montpellier, le méconnu Fantasio d'Offenbach fait ses débuts dans la mise en scène sombre de Thomas Jolly. Un succès terni par le jeu et la diction perfectibles des chanteurs.

Zwei Verismo-Klassiker, die sich nach kurzfristigen Umbesetzungen auf unterschiedlichem Niveau präsentierten, wurden von Roberto Alagna in Höchstform zusammengehalten. 

David McVicar's uninspiring Cavalleria rusticana remains problematic, but a strong Pagliacci leaves the New York audience gasping. 

Glyndebourne's second Traviata cast of the summer saw the festival field three principals worthy of any major international opera house. 

Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.

A winning ensemble of singers led by James Levine makes the revival of Rossini’s early opera a success.

“The very incarnation of vice” was how one critic described Célestine Galli-Marié’s Carmen at the opera’s 1875 Opéra Comique première. That description could equally be applied to Stéphanie d’Oustrac in Glyndebourne’s revival of David McVicar’s terrific production.

What do you get when you have a woman being burnt on the stake and her daughter tosses a baby – the wrong baby – on the pyre? The correct answer is Giuseppe Verdi’s incredible melodrama Il Trovatore.The Canadian Opera Company’s production (borrowed from Opéra de Marseille) eschews melodramatic displays but does provide some thrills.