En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | The Threepenny Opera (Die Dreigroschenoper)

Las dotes interpretativas de Bryn Terfel salvan un recital en el que la música no fue la protagonista.

Adam Benzwi conducts a punchy band and a strong theatre cast in the Berliner Ensemble's bold fresh, enjoyable version of Weill and Brecht's classic. 

Brecht and Weill’s political satire could hardly be more relevant, but Thomas Ostermeier and Maxime Balcon's new production fails to do it justice.

Muted portrayals dilute the danger of the work, but excellent singing saves the performance. 

Brecht and Weill's tirade against Big Money is exceptionally well acted throughout; vocal and musical performances are more mixed.

A revival of Bertolt Brecht and Kurt Weill's Die Dreigroschenoper at the Théâtre des Champs-Élysées is a remainder of director and visual artist Robert Wilson's greatest achievements.

HK Gruber's wit shines through this concert centred on Brecht and Weill's bitingly sarcastic songs from The Threepenny Opera; Håkan Hardenberger thrills with magical playing of trumpet and flugelhorn.

An engaging soloist, passionate conductor and fantastic orchestral playing made light work of a slightly lop-sided and overlong concert. 

Requiring trained opera singers to focus primarily on acting and asking actors to sing in a renowned opera house puts everyone out of their comfort zone, which is not necessarily a bad thing.

A handful of times in operatic history, a composer has thrown away the rule book and produced a work which defies categorisation because it simply isn't like anything else in the repertoire. Kurt Weill's Die Dreigroschenoper is one such work: musically and dramatically, neither Weill himself or anyone else has ever written anything remotely similar.