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

Peter Grimes vuelve a los escenarios, magníficamente encarnado por Gregory Kunde en la clásica producción de Willy Decker.

Brittens dramatisches Werk einer Hetzjagd auf einen ausgegrenzten Sonderling beeindruckt durch radikalen Regieansatz ebenso wie orchestrale Wucht und stimmliche Präsenz.

Benjamin Britten's Peter Grimes is a nuanced, gripping tale that should pack an emotional punch. Despite fine moments, Oper Köln's production didn't serve the work. 

Stuart Skelton’s visceral Peter Grimes is matched by a strong cast with thrilling playing and singing from the Bergen Philharmonic Orchestra under Edward Gardner.

This Peter Grimes was a tale of two talents: the conductor and the star.

The Comunale had teamed up with Bologna's basketball team Virtus to create a 50%-off ticket deal aimed at drawing new audiences. The subject matter of this opera might not seem the most immediately accessible, but this was playing to capture the imaginations of opera newbies.

Stephen Gould brilliert bei seinem Rollendebüt an der Wiener Staatsoper mit einem stupenden Peter Grimes.

Though certainly not the most heartwarming of tales this Christmas season, this is a production one shouldn’t miss.

Music Director Michael Tilson Thomas deserves credit for this excellent semi-staged version of Britten's Peter Grimes performed with the San Francisco Symphony at Davies Symphony Hall.

Bringing Peter Grimes to Grange Park a year after the Britten centenary is an enormous challenge. With ‘Grimes on the Beach’ still fresh in the memory, the task of recreating the Suffolk coast in Hampshire’s idyllic countryside might have seemed a step too far. 

In the revival of David Alden's Peter Grimes at English National Opera, the singing is excellent, the orchestral performance is out of the top drawer and the staging hardly puts a foot wrong.

Read our review of John Doyle's production of Britten's Peter Grimes in its 2008 broadcast from the Met Opera in New York.

The Canadian Opera Company has judiciously chosen a real chestnut (La bohème) and a more complex if less popular work, Benjamin Britten’s Peter Grimes, for its fall season. The latter is given a well-sung and directed production despite some faux pas in the set design and the characterization of Grimes by tenor Ben Heppner.

Peter Grimes may deserve the place it has gained in the operatic canon, but it’s not a work without problems.

A very welcome and triumphant revival of Peter Grimes begins Opera North’s Festival of Britten season, soon to be followed by A Midsummer Night’s Dream and Death in Venice. The work has often been described as Britten’s greatest, the paeans of praise beginning soon after its first performance just after the Second World War, often involving the word “enigma”.

Willy Decker’s production of Benjamin Britten’s Peter Grimes, which originated at La Monnaie in Brussels in 1994 and was revived at London’s Royal Opera House in 2004 and 2011, has now reached Tokyo. The work opened the new season of the New National Theatre Tokyo, the capital’s main opera house, currently celebrating its 15th anniversary.

With most of the original cast of English National Opera's critically acclaimed production returning to the Royal Albert Hall to perform Britten's Peter Grimes for the BBC Proms, this was a performance of which much of the audience had high expectations. For the most part, these were met and, on occasion, exceeded.

English classical music is often associated with the countryside, the landscape and its villages, and Britten's opera Peter Grimes is no exception.