Find classical music concert, opera, ballet and dance reviews | Alain Altinoglu

A questionable performance of Schumann's Violin Concerto was redeemed by lively interpretations of Beethoven's Third Symphony and Tchaikovsky's 1812 Overture.

Celebrating its 60th anniversary, the Chicago Symphony Chorus made this evening truly distinctive.

The riotous energy of carnival dazzled Symphony Hall as Alain Altinoglu debuted with the Boston Symphony in a program he assembled as a personal homage to Charles Munch.

Alain Altinoglu, conducting with a mixture of histrionic flourishes and balletic flair, leads a fiery account of Ravel's ballet. 

Beczała's "Pourquoi me réveiller" stops the show in Willy Decker's thoughtful Werther at the Liceu, expertly conducted by Alain Altinoglu.

Laurent Pelly exploits the satirical side of Rimsky-Korsakov's The Golden Cockerel at La Monnaie in a darkly humorous but colourfully performed production.

Colorful works by Mussorgsky, Dutilleux, and Ravel surround Shostakovich’s gray Soviet-era Violin Concerto no. 2.

According to director Sven-Eric Bechtolf,  Don Giovanni’s divine retribution for a life of pure evil and insatiable fornication is just more of the same.

Anyone expecting a wishing well, castle and healthy portion of pomp in Dmitri Tcherniakov’s new production of Pélleas et Mélisande is in for a big surprise.

In Paris, Russian enfant terrible reunites Iolanta with The Nutcracker... with wildly mixed results. 

Bravo to the Haus am Ring for a bloody good night of music, drama and beauty – an excellent first première of the season.

Hans Neuenfels' setting of Lohengrin as scientific experiment with a chorus of rats affords thought-provoking pleasures, with star turns from Klaus Florian Vogt in the title role and Petra Lang as Ortrud.

Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.

Neuenfels' production of Manon Lescaut for the Bayerische Staatsoper is strange but coherent. With a perfect cast and tight musical direction, this is about as good as Puccini opera gets.

Fellow Frenchmen Alain Altinoglu and Renaud Capuçon make for fine partners in a rare outing for Berlioz's Harold in Italy. 

I can say with confidence that in the many years I have seen the CBSO in concert, tonight’s performance was undoubtedly their best.

Opera being a strongly visual art form as well as a musical one, the idea of a pure concert performance seems a little strange to those unfamiliar with the form.

Everybody’s favorite bad girl in the world of opera is back again for a spectacular romp of delights, mischief, seduction, and tragic culmination in the Lyric Opera of Chicago’s 2010 revival of its 1999 production of Bizet’s Carmen.

Alain Altinoglu et Christophe Coppens signent un Château de Barbe-Bleue d'anthologie à La Monnaie.

Si la nouvelle mise en scène d'Olivier Py s'appuie sur des postulats discutables, la réalistion est néanmoins très convaincante. 

Que ce soit pour sa mise en scène, sa distribution ou sa direction musicale, cette production des Dialogues de Carmélites au Théâtre de la Monnaie est un franc succès. 

Den glanzvollen Schlusspunkt setzte dann Bartóks virtuoses, rhythmisch komplexes Finale: ein orchestrales Schaustück, welches die Elemente der vorangegangenen Sätze, deren Spielfreude, das Volkstümliche in sich vereinigt.

Bei ihrem philharmonischen Abonnementkonzert lieferten die Berliner Philharmoniker leider meistenteils nur Dienst nach Vorschrift ab, auch wenn dies immer noch Musizieren auf allerhöchstem Niveau ist.

Marco Arturo Marelli hat für diese Inszenierung wie immer solide Arbeit geleistet, was Personenführung und psychologische Charakterisierung der Charaktere betrifft, doch muss einschränkend gesagt werden, dass ihm vieles schon viel besser gelungen ist. 

Triomphe conjoint de Viktoria Mullova et Alain Atinlogu, réunis pour une soirée chatoyante avec Pärt, Sibelius et Brahms. 

Trotz starker musikalischer Leistungen geht Claus Guths Salome-Konzept an der Deutschen Oper nicht auf.

Mercredi soir au Victoria Hall, la flûte d'Emmanuel Pahud a fait merveille, comblant le public dans un programme hispanisant, sous la baguette d'Alain Altinoglu.

Mercredi 16 juillet à 20h, Alain Altinoglu dirigeait l'Orchestre National de France dans un programme intitulé « Autour de 1914 ». A l’opéra Berlioz de Montpellier, Wagner, Stephan, Schubert et Brahms étaient interprétés dans le cadre du festival de Radio France. Un programme d’une grande intensité donnant lieu à un moment de mémoire.