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

Este prosaico Anillo de Carsen vuelve oportunamente con un melancólico mensaje de decadencia.

In einer packenden konzertanten Aufführung war Wagners Rheingold unter Yannick Nézet-Séguin vom Rotterdam Philharmonic Orchestra außergewöhnlich expressiv und mit exzellenten Sängerdarstellern in Baden-Baden zu erleben.

Malgré les circonstances et un orchestre en effectif réduit, l'opéra de Wagner bénéficie d'une distribution de qualité dans laquelle Sophie Koch se distingue en Sieglinde.

Während die Musik unter der Leitung von François-Xavier Roth überzeugt, mag die Inszenierung Gounods Urfaust von nicht ganz zünden.

Die Neuinszenierung Wagners Musikdrama steht in Patrick Kinmonths Inszenierung ganz im Zeichen der Philosophie Schopenhauers.

The EIF’s cycle comes to a fabulous end with RSNO and Andrew Davis leading a luxury cast, Christine Goerke’s emotionally powerful Brünnhilde a highlight. 

Peter Seiffert can still impress as Tristan, but Graham Vick's staging is uncertain and unconvincing. 

Sir Mark Elder and The Hallé orchestra are the powerhouse in a memorable performance of Siegfried. Simon O’ Neill, Iain Paterson and Christine Goerke head up a universally strong cast.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Hagen, the first chapter in the Theater an der Wien's reimagining of The Ring, features music from Das Rhinegold and Götterdämmerung woven seamlessly together, telling the story from the perspective of Hagen, son of Nibelung dwarf, Alberich.

In a temporary home, Cologne Opera have mounted a remarkably joyful production of Beethoven’s single, wonderful opera.

Eric’s dream of a love story with no redemption in Christian Spuck's new production of Der fliegende Holländer at Deutsche Oper Berlin. 

In spite of some questionable staging, Lyric Opera of Chicago opened its Ring cycle on a strong note with a stellar cast, notably featuring Eric Owens’ role debut as Wotan.

Zur Eröffnung des diesjährigen Festivals gab der neue Leiter des Lucerne Festival Orchestra Riccardo Chailly seinen bejubelten Einstand mit einer grandiosen Aufführung von Mahlers Achter Symphonie.

Johan Reuter leads an all star cast in a revelatory performance of George Enescu's masterpiece, aided by spectacular La Fura dels Baus staging.

Sir Mark Elder led the Royal Concertgebouw Orchestra and an inspired team of soloists headed by Klaus Florian Vogt into a highly-charged performance of Lohengrin.

Wenn sich Marc Minkowski und Olivier Py den Fliegenden Holländer vornehmen, ist der Teufel los.

An updated but otherwise traditional Flying Dutchman directed by Jan Philipp Gloger offers plenty of enjoyment at Bayreuth, although it might not linger in the memory as long as the more controversial fare at the Festival

Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.

The music makes this an enchanting Die Frau ohne Schatten, even if Warlikowski’s fantastical production remains an unsolved puzzle.

A respectable performance by Deutsche Oper Berlin, raised to another level by Nina Stemme in the title role

Christian Thielemann and his orchestra were the stars of an excellent performance of Wagner's Der fliegende Holländer. 

Klaus Florian Vogt's astounding portrayal of the swan knight continues to evolve and deepen in the once infamous "Rat" Lohengrin in Bayreuth in a evening of sheer brilliance and near perfection.

Christian Spuck's new La damnation de Faust for the Deutsche Oper Berlin is creepy and elegant. Its impact will stay with you long after the opera is finished.

Mahler’s Symphony no. 8 had not been heard in Milan for 27 years. Tonight, Riccardo Chailly returned to perform the “Symphony of a Thousand” with his former band, the Orchestra Sinfonica di Milano Giuseppe Verdi.

For any opera lover, a first visit to Bayreuth is something of a pilgrimage to the holy land. Musically, I wasn’t disappointed, as the Dutchman’s leitmotif rose softly from the invisible orchestra, soon to be enveloped by the swirling storm brewed up by Wagner and conductor Christian Thielemann.