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

A compelling if musically pared down *Tristan and Isolde* in Melbourne, with singing to die for.

Nicole Car makes her role debut as Dvořák's Rusalka in a production by Sarah Giles that proves a winner. 

An enjoyable performance of Die Fledermaus from the West Australian Symphony Orchestra and an excellent cast of singers is somewhat mitigated by the venue, as the celebrated Perth Concert Hall undergoes renovation.

After its Bendigo Ring, Melbourne Opera brings off another artistic coup with a fabulous performance of Die Meistersinger von Nürnberg in Melbourne's splendid Royal Exhibition Building. 

Can a perfect performance of the stupendous Gurrelieder be anything other than five stars?

An icy Götterdämmerung brings Opera Australia's Ring Cycle to a successful conclusion, with standout performances from Lise Lindstrom as Brünnhilde and Andrea Silvestrelli as Hagen.

The tireless Stefan Vinke wows in the title role of Opera Australia's Siegfried, in a production which harnesses technology to excellent effect.

The opening Opera Australia's much-delayed Ring cycle contains wonderful visuals, and a standout performance from Warwick Fyfe as Alberich, but also moments of bafflement and excess.

Despite high quality singing, arresting video cannot replace real direction in Davide Livermore’s digital production.

Melbourne Opera's Siegfried continues the dramatic excitement and first class singing of it predessors in the Bendigo Ring cycle, including a great performance of the title role by Bradley Daley. 

Melbourne Opera's Walküre outdoes expectations, with really splendid singing and all-round performances, led by Lee Abrahmsen's Sieglinde. 

A strong opener to Melbourne Opera's all-Australian complete Ring, the first to be performed outside a state capital, in the regional Victorian city of Bendigo.

Star tenor Jonas Kaufmann sings the title role in Olivier Py's dour and symbolism-heavy Lohengrin, set in post-war Berlin.

Neil Armfield's enchanting production of Britten's A Midsummer Night's Dream finally comes to Australia as the centrepiece of the 2021 Adelaide Festival, making a virtue of necessity with its astute casting of Australian talent.

Melbourne Opera has produced a critically and popularly successful Das Rheingold, which bodes well for the planned development of a full Ring cycle over the next four years.

Rossini's opera is all about art and art lovers in this production by Damiano Michieletto.

Having offered a strong feminist reading of Wagner's Ring, could Kasper Holten do the same again for Die Meistersinger? Opera Australia's co-production had moments of excellence, but ultimately left the viewer with more questions than answers

Turco inspired many a great opera director in the past; understandably, as it offers plenty of splendid comic situations. Simon Phillips' hilarious 2014 production is revived by Opera Australia.

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

Massanet’s Don Quichotte is mounted by Opera Australia, in a production which creaks but is held together by fine singing from Ferruccio Furlanetto and Warwick Fyfe.

As clearly visible on all photos, the Sydney Opera House has two “sails”, interconnected major sections. One of them houses concerts, the other operas. Opera performances, however, are not exclusively taking place in the Opera Theatre.

The final instalment of the Melbourne Ring is vividly brought to life by excellent singing, an adaptable set, and committed playing from the pit.

A combination of ingenious sets, truly heroic singing in the title role by Stefan Vinke, and excellence throughout the rest of the cast makes the Melbourne Siegfried an unmissible highlight of the Ring so far.

The revival of Neil Armfield's Melbourne Ring is relaunched with a successful Rheingold, sensitively conducted by Pietari Inkinen, with an especially fine performance from Warwick Fyfe as Alberich.

Verdi's most political opera feels particularly relevant in 2016, and the Opera Australia production convinces, thanks to the outstanding George Petean in the title role and an excellent supporting cast.

A well-worked revival of Elijah Moshinsky's production of Rossini's Barber of Seville offers gales of laughter and vocal delights at the Sydney Opera House, with starring roles for Paolo Bordogna, Anna Dowsley and Warwick Fyfe

Singapore’s amazing Orchestra of the Music Makers presents Mahler’s “Gift to the Entire Nation,” his massive Eighth Symphony, as part of the celebrations marking the country’s 50th anniversary as an independent state.

Wagner’s Flying Dutchman with high calibre singing, a magnificent orchestra and innovative 3D effects gets a short yet successful season in Melbourne.

Opera Australia’s Falstaff in Melbourne brings freshness to this almost 20-year-old production. Contributing to its success is an outstanding Falstaff...

A mixed evening, more notable for the efforts of the cast than for Brodie's modern Don Giovanni concept.

Destiny, Fate, Providence: different ways of describing the sense of an external agency shaping our ends. Verdi’s La Forza del Destino, based on a Spanish play by Angel de Saavedra, Duke of Rivas, is a sprawling tale in which the characters’ lives are irrevocably shaped by a fatal accident.

Tragedy seems to age better than comedy. The works of Aeschylus have been more influential than those of Aristophanes, and Shakespeare’s darker plays are far more popular than his pure comedies. This same propensity for gloomy subjects can also be seen in the opera world.

Virtually every reviewer of Aida mentions elephants, generally only to note their absence: the elephant not in the room, as it were. Like most others, the current Opera Australia production was lacking in pachyderms, but few of last night’s audience will have felt short-changed.

I could not have asked for a more magical setting in which to watch Verdi's La Traviata. In front of me was the floating stage, surrounded by gently rippling water glistening in the evening moonlight. On the left rose the buildings of Sydney's central business district, while on my right was the beautiful harbour bridge and opera house.