En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Médée/Medea

Un segundo reparto vocal digno, aunque no siempre cómodo, ofreció Médée en el Teatro Real en una producción arrriesgada en lo escénico con una orquesta y dirección muy esmerados y de muy buen sonido y empaste.

El Teatro Real estrena la producción de Médée de Paco Azorín con el francés y los recitativos de Alan Curtis como novedad.

To rebuild Maria Callas’s 1961 Medea is to invite the cruellest comparisons in opera. For most of a single night at Epidaurus, Greek National Opera withstands it, but then comes the final act...

A new Medea at the Teatro di San Carlo presents three distinct visions – neoclassical in the pit, expressionistic on stage and conceptual in the direction – that never fully merge.

The challenges of Cherubini’s version of the Greek tragedy prove too much for the National Theatre to overcome.

In the title role of Canadian Opera Company's Medea, soprano Sondra Radvanovsky offers the vocal and dramatic goods required by this flawed masterpiece. 

The punishing role of Medea is forever associated with Maria Callas. To celebrate the diva’s centenary, Greek National Opera presents a new production by Sir David McVicar, starring Italian soprano Anna Pirozzi.

Sir David McVicar's new production opens the Met season with house's first ever staging of Cherubini's Medea.

Dans cette production berlinoise décevante et faussement actuelle, seuls l'orchestre et la superstar Sonya Yoncheva parviennent à convaincre.

Fine musical performances meet Andrea Breth's dreary new production in a dramatically unsatisfying evening at the Staatsoper.

Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.

A fascinating modern production of Cherubini's masterpiece Medea. Lise Davidsen is especially noteworthy while the rest of the cast give luminous performances. 

La Médée genevoise, entre le mythe et la femme outragée. Accourez voir le feu couver puis incendier le Grand Théâtre ! 

Prague’s classical music community is walking a little taller and prouder this week. Collegium 1704 stepped up on Saturday night with an 18th century opera program that offered an inspirational reminder of how period music can and should be played.

Hell hath no fury like a woman scorned. Scorned womanhood has no better archetype than Euripides's Medea. And you're unlikely to see a more powerful or affecting Medea than Nadja Michael's performance in Cherubini's opera Médée, in the first production of the new season at La Monnaie in Brussels (De Munt, if you're a Flemish speaker.)Like all good Greek tragedy, we all know the story.

The opera is way too dark. It runs far too long. It’s requires a soprano with vocal cords of amalgamated steel to sing the title role. No wonder Cherubini’s Medea is rarely performed. According to OPERA America records, the opera hasn’t been performed in the United States in nearly 20 years.