Rechercher des critiques de musique classique, opéra et ballet | Ivor Bolton

Auf dieser historischen Reise erfreut Martin Helmchen mit lyrischem und triumphalem Wasserballett, das Dresdner Festspielorchester unter Ivor Bolton mit genüsslichem dolce vita.

Ivor Bolton bescherte dem Publikum in seiner Lesart der musikalischen Zwitterwesen Cäcilienode und Alexanderfest mit den Ensembles und Solisten einen Einstand nach Maß.

Dutch National Opera's superbly sang Così fan tutte is transposed into a teenager summer crush story.

Beklemmend, aber auch komisch zeigt Kosky, wie wirkungsvoll Betrug doch ist; Ähnlichkeiten mit lebenden Personen sind dabei nicht beabsichtigt, aber unvermeidlich.

After nearly two decades away from the Covent Garden stage, it was time Britten's Billy Budd came home, in a new production from Madrid by Deborah Warner. 

Depravación, lujuria y extravagancia se imponen en el Teatro Real de la mano de David Alden para mostrarnos la hermosa música de Cavalli.

Bolton, la Orquesta Sinfónica de Madrid, el Coro Intermezzo y el reparto solista evidencian durante muchos de los coros y arias el esplendor que la innovación del lenguaje melódico y armónico alcanza en esta pieza, probablemente la ópera de Mozart más injustamente relegada a una posición secundaria dentro de su propio canon.

Kaija Saariaho's delightful but unchallenging fourth opera comes to Madrid with the same crew of the world première and Davone Tines, Philippe Jaroussky and Nora Kimball-Mentzos in the leading roles

Axel Ranisch's production makes heavy use of film to tell a comic story of a medieval knight in love.

Ivor Bolton and David McVicar have teamed up to create an unapologetically Brittenian Gloriana, with Anna Caterina Antonacci at the top of a great cast

Virtuoso modern stagecraft and a fine cast combine in a very enjoyable, present-day Rake’s Progress.

The Teatro Real opened its 200th anniversary season with a revival of Claus Guth's brilliant production and a great cast, led by Kurt Streit and Silvia Tro Santafé.

Mit Carl Maria von Webers Spätwerk Oberon, König der Elfen hat die Bayerische Staatsoper zum Abschluss der Opernfestspiele 2017 eine eklektische Bühnen- und Klangwelt mutig inszeniert.

Se representa en el Teatro Real El gallo de oro, un trabajo insólitamente crítico para su época, en una produccion que, gracias a la conjunción de elementos, destila magia, calidad artística y un toque ácido de presente.

Un equipo artístico totalmente inspirado ha engendrado una de las mejores producciones de la temporada en el Teatro Real

Billy Budd triumphs in Madrid thanks to an inspired orchestra, a solid cast and a dream team of stage magicians.

Wahrscheinlich eine der besten Don Giovanni-Inszenierungen aller Zeiten; mit Sicherheit die lustigste.

Concerto Köln, honed to perfection, and an accomplished cast star in Claus Guth's tense, dark staging of Handel's Jephtha. 

The singing is the main attraction in Dutch National Opera’s Le nozze di Figaro, but this new production is also entertaining and looks good enough to eat.

Kasper Holten's new production fails to convince about the alleged virtues of Wagner's outcast comic opera.

Arriesgada y deliciosa recreación humorística de la obra mozartiana en clave de cine mudo, lejos de cualquier simbología o pretensión de profundidad

Leah Hausman's revival of David McVicar's production allows the comedy to stem from the situations set up by Mozart and da Ponte... aided by Erwin Schrott's witty Figaro.

With the help of a star-studded cast, Barrie Kosky's imaginative staging delivers a production of Handel's Saul which has just about everything going for it: choreography, voices, acting. A must-see.

Als turbulenter Faschingsspaß ist die frühbarocke Oper L’Orontea 1656 uraufgeführt worden. An der Frankfurter Oper erlebte sie jetzt als moderner Operngag eine rasante Neuinterpretation.

In this minimalist period production of Figaro, the singing and acting are the centre of attention. A very talented cast carries the show, delivering beautiful singing and engaging comedy.

Claus Guth gives the Staatsoper Berlin a Turn of the Screw unlike any other.

The cast performs on flying, technicolor sofas in this colorful rendition of Mozart's Die Entführung aus dem Serail. In an unusual revision of the text, we are guided through the opera by a narrator and backdrop artist.

Une conception classique et des réussites vocales et dramatiques variées pour la partition miraculeuse des Noces de Figaro de Mozart.

Fahle Geistergesichter, Blüten, die in den Himmel wachsen und ein fesselnder Christian Gerhaher: München zelebriert Monteverdis Orfeo

Was man nicht haben kann, begehrt man stets am meisten. Mit viel Humor und Liebe zum Detail lässt Dieter Dorn Figaro und die gesamte Bewohnerschaft des gräflichen Schlosses einen „tollen Tag“ durchlaufen. Ein toller Abend mit stimmlicher und schauspielerischer Glanzleistung aller Beteiligten bei den Opernfestspielen in München. 

Alisa Weilerstein und das Mozarteumorchester Salzburg gewähren unter der Leitung von Ivor Bolton Einblick in die Vielfalt der Gedanken von Schumann und Mendelssohn.

With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.

After Cavalli’s Ercole Amante in 2009 and Handel’s Deidamia in 2011, De Nederlandse Opera is continuing its exploration of obscure Baroque operas with Gluck’s Armide, until 27 October.I always wondered why Armide was Gluck’s own favourite work.

Arnold Schoenberg’s Gurre-Lieder are not performed often, and one reason involves simple logistics. Not only is a professional orchestra of gigantic proportions required, but also five soloists with Wagnerian voices, a narrator, an eight-part mixed chorus, three four-part male choirs, and a conductor crazy enough to try to keep some 400 musicians from going off the rails.

Entering a standing-room-only hall on Tuesday evening in the Grosser Saal of the Musikverein, Leonidas Kavakos calmly made his way to center stage, hugged the concert master, smiled at the orchestra and then cued the beginning of Mozart’s Violin Concerto no. 3 in G major, which he both played and conducted.

The great jazz composer Bob Brookmeyer used to instruct his students that they should never write a solo section in their composition until it was absolutely inevitable that a solo should take place.

Alceste is the short and sombre story of a wife who gives her life to save that of her husband, King Admète of Thessaly, a deed which ultimately convinces the gods to reprieve both of them. Gluck, hoping to avoid the over-decorated vocal style then in vogue, set this plot to unadorned vocal lines to give depth to the underlying emotions.

The Wiener Symphoniker has suffered recently from more late conductor cancellations than most orchestras, and things reached a peak last season when their chief conductor Fabio Luisi pulled out of a string of engagements in order to substitute for James Levine at the Met.

The last production I saw of L’Orfeo explored the idea of music as a manipulative force, suggesting disturbing consequences to the docility it can engender. Director Claus Guth is less concerned with Orfeo the musician, and makes minimal acknowledgement of the work’s pastoral and mythic elements.