Rechercher des critiques de musique classique, opéra et ballet | Klaus Bruns

Barrie Kosky's makes a limited impact in his debut at Opéra de Paris, apart from an hallucinogenic Polovtsian Dances.

An over-directed, but vivid staging demonstrating political rise and fall in Ancient Rome transported to the present day.

Kosky’s production manages to maintain all hallmarks of a 16th-century fairy tale, while juxtaposing them with questions of deep human, political and artistic problems. Regietheater at its best.

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

Esta Capriccio es moderna porque se mantiene escrupulosamente fiel a los códigos de los salones intelectuales del siglo XVIII. Y también es realista porque detecta con irreverente precisión y astuta elegancia el interrogante filosófico que atraviesa el testamento operístico straussiano y la época en que se inscribe.

Serious farce, warm-hearted sarcasm, operatic Broadway: Barrie Kosky and Komische Oper turn Bernstein's problem child into a show that thrills from start to finish.

Barrie Kosky’s production of Franz Schreker’s Die Gezeichneten (The Branded) is in keeping with what was long considered one of the early 20th century’s most scandalous works. 

Mit einer verwunschenen Inszenierung zieht Damiano Michielettos das Publikum im Theater an der Wien einmal mehr in seinen Bann.

Tchaikovsky's opera packs a powerful emotional punch in the Komische Oper's concentrated and dreamlike production.

Heinz Holliger’s Lunea, which recently premiered at the Zurich Opera House, is “not an opera”, or so the ground-breaking Swiss composer contends.

In einer nüchternen Inszenierung hat Christof Loy versucht, in Mozarts Le nozze di Figaro vor allem musikalisch neue Akzente zu setzen.

Barrie Kosky’s atypically conservative production of the Russian classic was marked by musical direction and vocal performances of the highest order.

The label “most opera directors” does *not* apply to Barrie Kosky, who makes his Bayreuth debut with a Meistersinger that pulls no punches.

Barrie Kosky's 2011 production confines the action of the opera to a stark white room. A fine ensemble of singers made for a successful evening.

Barrie Kosky’s new Macbeth is devoid of riff-raff, shrill costumes and anything trivial. Instead, it’s a feast for the imagination, a case for modern opera at its very best. 

Roger Vontobels Operndebüt im neuen Hamburger Tell beweist Mut und Fingerspitzengefühl und erweist sich Schmähkritiken zum Trotz als durchaus sehenswert.

Barrie Kosky's new production of Eugene Onegin at the Komische Oper Berlin is delicious for the eyes, ears and emotions. 

Die Münchner Erstaufführung von Prokofjiews Der Feurige Engel inszeniert Barrie Kosky als überbordende Show zwischen Wahnsinn und Erotik.

Barrie Kosky's production of Schoenberg's unfinished masterpiece is brought to musical life by Vladimir Jurowski's intense and compelling interpretation.