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

Una excelente representación basada en una cuidada dirección orquestal de Riccardo Frizza y un compacto y solvente elenco encabezado por Luca Pisaroni, Varduhi Abrahamyan y Maxim Mironov.

Una versión atrevida de Carlus Padrissa que interpreta la obra de Saint-Saëns en clave de conflicto religioso.

La italiana Anna Pirozzi se convirtió en la protagonista absoluta de un reparto por lo demás irregular

À la tête de son fidèle Cercle de l'Harmonie, d'une superbe Audi Jugendchorakademie et d'un quatuor de solistes en belle forme, le chef a magnifiquement servi l'œuvre monumentale de Beethoven.

The ROF presents a new, cheeky production of Adelaide, by Arnaud Bernard, based on a unoriginal but very well executed “meta-theatrical” take, with an exemplary cast.

Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

Lisette Oropesa leads strong vocal performances in Handel's madcap tale of love and sorcery. Richard Jones' production is visually all over the place, but in a good way.

A Verdi Festival account where the orchestral detail registers with true distinction and the singing impresses. 

Ailyn Pérez’ role debut as Tatiana in Eugene Onegin at the Metropolitan Opera is a joy, with Piotr Beczała's Lensky the evening’s other standout. 

Verdi's Rigoletto in Weimar Germany? A half-baked concept, but Bartlett Sher's new production is certainly dramatic and it is gorgeously sung. 

Mémorable concert Tchaikovski à l’Opéra Bastille, qui voit notamment le triomphe d’Asmik Grigorian, chanteuse incandescente au charisme rare.

Michele Mariotti triumphs in Rossini’s masterpiece with a good cast led by Salome Jicia and a new production, only partially successful.

Anja Harteros brille dans le rôle de Leonora et Brian Jagde convainc en Alvaro, dans une production où la mise en scène et la direction musicale montrent leurs limites.

À la Philharmonie de Paris, le chef d'orchestre gréco-russe dirige ses troupes de MusicAeterna dans un Requiem de Verdi extraordinaire de minutie et de fluidité mêlées.

Robert Carsen's Eugene Onegin was binned by the Met but works wonderfully in its revival by the Canadian Opera Company COC with high class singing and acting from a young, engaging cast.

Cecilia Bartoli sublime l'un des personnages haendeliens parmi les plus sombres et torturés.

Fallait-il condamner la simplicité de l’intrigue à tant de simplisme esthétique ? Retour sur Un bal masqué où l’expressivité, les nuances et l’ambiguïté seront à rechercher chez les interprètes. 

Cette reprise de Falstaff fait la part belle à l’esprit buffa et donne à Bryn Terfel une nouvelle occasion de briller dans un rôle qui lui sied à merveille.

In April, Peter Mattei and Anna Netrebko were starring together in Eugene Onegin at the Metropolitan Opera. Less than a month later and they are reunited in Paris in Willy Decker's staging.

This revival of Christof Loy's 2014 production of Alcina launched the New Year at Oper Zürich in magnificent fashion.

Triomphale Semiramide à l'Opéra de Marseille. Rossini servi par une distribution exceptionnelle qui honore l'art du « beau chant ». 

Un Stabat Mater de Dvorak puissant et noble servi par un choeur exceptionnel.

Du 7 au 30 juin, la scène du Palais Garnier accueille Le Couronnement de Poppée, opéra de Monteverdi (1642), dans une version établie par le chef Rinaldo Alessandrini, assortie d’une mise en scène très poétique de Robert Wilson. Une production raffinée et élégante, néanmoins susceptible de décevoir les spécialistes de Monteverdi.

An excellent cast headed by Franco Fagioli makes this concert version of Rinaldo at the Theater an der Wien unforgettable; Il Pomo d'Oro shine in the pit.

Of the seventeen operas Handel wrote to star the Italian castrato Senesino, Giulio Cesare in Egitto is the most popular, and the one performed most often. It is a dramma per musica filled with ironic hints, and based on power and sex intrigues in ancient Rome. The 38-year-old Handel wrote it in England when his imported Italian-style operas started to fall out of favour.

Written in 1819 and belonging to the opera seria chapter of Rossini’s career, the florid score of La donna del lago doesn’t so much respond to as resist its unabashedly romantic libretto.

London audiences had never seen anything quite like it. Fireworks, fountains and live sparrows were just a few of the special effects livening up the premiere of Handel's Rinaldo way back in 1711, prompting the Spectator's critic to compare it sniffily to a Punch and Judy show. Fast forward two hundred years, and you might wonder if there's been any progress.

To Glyndebourne, for the opening night of Handel's Rinaldo, the first of his operas to be staged in London in 1711, when he was just 26 years old.