En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | The Rake's Progress

Stravinsky’s fable of desire and downfall receives a meticulously unified staging in Glimmerglass’s 50th season.

La production de 2008 donne lieu à une belle reprise sous la direction impeccable de Susanna Mälkki, avec une distribution dominée par Ben Bliss dans le rôle de Tom Rakewell.

Singing performances are excellent, the staging is well crafted and Stravinsky's eclectic score entertains from start to finish. But it's an evening's opera that doesn't touch the soul.

Erhellend, kurzweilig, großartig gespielt und gesungen kam Strawinskys Opernparodie auf die Freiburger Bühne.

It's been in the Glyndebourne rep for almost fifty years, but John Cox's production, complete with Hockney's iconic set, remains timeless. Robin Ticciati's superb conducting and an excellent cast made this latest revival a complete success.

Frederic Wake-Walker's realisation of the Hogarth-inspired opera is visually bracing and assuredly sung. 

Igor Strawinskys neobarocker moralistischer Bilderreigen wird in München als modernes Punk-Märchen erzählt.

Jonathan Miller's modish production returns to The Metropolitan Opera with three leads who are absolutely right. 

A memorable performance makes a worthy memorial to the late, great Bernard Haitink, who conducted the production's premiere. 

Despite some fine young voices, a concert staging of The Rake's Progress proves problematic in Hamburg.

Barbara Hannigan mène à la baguette cette production de The Rake's Progress à la Philharmonie, où brillent aussi bien les chanteurs du projet Equilibrium que les instrumentistes de l'Orchestre Ludwig.

Toby Spence, Matthew Rose and Andrew Watts shine in a fluent semi-staging at the Royal Festival Hall.

Fine performances from a confident cast brought some terrific singing as well as depth of characterisation in Stravinsky’s only full-length opera.

Virtuoso modern stagecraft and a fine cast combine in a very enjoyable, present-day Rake’s Progress.

A compelling and energetic debut production from a new opera company in the raddled surroundings of Wilton's Music Hall.

Simon McBurney's production of The Rake's Progress for Festival d'Aix-en-Provence begins with the equivalent of a blank page – a simple white paper box onto which he pours his inspiration.

A largely newly cast revival of The Rake's Progress takes a while to catch fire, but when it does the results are devilishly good.

A successful concert hall Rake's Progress at the Edinburgh International Festival with an impressively strong cast of singers, Scottish Chamber Orchestra and Royal Conservatoire Voices under Sir Andrew Davis.

A bearded lady and her taxidermied shark are just two eccentric characters livening up Stravinsky’s 1951 moral fable The Rake’s Progress, though the shark is unique to Jonathan Miller’s revived production. 

Does the devil get the best tunes? Nick Shadow steals the show in the Royal Academy's production of The Rake's Progress.

My mother always told me not to sit too close in the theatre, and after seeing this revival of Martin Kusej’s modern realization of Stravinksy’s The Rake’s Progress at the Theater an der Wien, I think I know what she was talking about.Act I begins innocuously enough in a sparse apartment, unfurnished apart from a mattress and a television.

The Auckland Philharmonia’s choice for their opera in concert this year, The Rake’s Progress is a curious beast indeed. Loosely based on a series of paintings by William Hogarth, the libretto was penned by the great Anglo-American poet W.H.

It’s not often that operas in English get performed in Germany, and so I was somewhat surprised to see such a large and important company as the Berliner Staatsoper taking on Stravinsky’s The Rake’s Progress.

Located on the picturesque Miraflores estate in sunny Santa Barbara, The Music Academy of the West must be one of the most attractive summer music training programs in the world.

Paradox is unsurprising in the works of a composer who said: "The more constraints one imposes, the more one frees one's self of the chains that shackle the spirit." The often distancing neoclassical idiom seemed unable to deny Stravinsky's The Rake's Progress (1951) emotionally engaging and affecting music.