Live, Video: Find classical music concert, opera, ballet and dance reviews | William Kentridge

Despite theatrical drawbacks, this Wozzeck is heartily recommend due to Yannick Nézet-Séguin's staggering understanding of all facets of Berg's score.

Kentridge’s use of video technology creates another, highly complex, visual score next to Berg’s sonic one.

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

William Kentridge's Lulu for ENO is easier to admire than it is to love. But if you want to be challenged dramatically, this is the opera to do it.

In addition to incorporating twelve-tone rows for each character and within larger musical units like canons and chorales, the entirety of the opera itself is palindromic in structure, with performers whose characters died gruesome deaths during the first act returning as new characters in the third.

William Kentridge’s chamber opera Refuse the Hour emerged amid a hurricane of clashing out-of-sync metronomes, frenetic choreography, African drumming, brass glissandi, and sound-making contraptions. 

A memorable Winterreise at the Chigiana International Festival, Siena. 

The child-woman Lulu is a reflective receptacle for desire in Dutch National Opera’s extraordinary filmic production.

Pianist Markus Hinterhäuser’s brilliantly curated Winterreise juxtaposes the devastating interpretative powers of baritone Matthias Goerne with captivating animated images by William Kentridge.

Shostakovich's strange opera was reprised at the Met for the 2013 season and makes for excellent excitement. Somehow, the absurdities of the story, music, and production unite to create an experience that is just absurd enough to work.

Le très grand Wozzeck de Bastille ne se contente pas de faire écho à l'actualité : il brille surtout par une esthétique glaçante et une équipe mémorable.

L'Opéra Royal de Versailles donne Il ritorno d'Ulisse in patria de Monteverdi, dans la production créée en 1998 par William Kentridge. Les marionnettes font toujours leur effet mais la vidéo laisse parfois dubitatif.

Si le Teatro all’Opera de Rome a souvent fait preuve de conformisme par le passé, l’audace des productions de la saison 2016/2017 lui redonne un nouveau souffle. Après une Maria Stuarda magnifique c’est au tour de Lulu, chef-d’œuvre d’Alban Berg qui n’avait pas été donné à Rome depuis 1968, d’occuper la scène du Teatro dell’Opera.