En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Marita Sølberg

Le RSNO a clôt sa saison samedi soir avec un programme Beethoven/Strauss. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

Bei dieser Passions-Alternative überzeugten die Ensembles, allerdings fehlte solistische Balance, um aus teils unbekannterem Kleinen nachhaltig etwas ganz Großes zu machen.

The revival of Calixto Bieito's Carmen in Oslo proves a bumpy ride, with uneven singing and orchestral playing, saved by Katarina Bradić's captivating portrayal of the title heroine.

Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.

When an enormous black gondola creaks and shudders its way across the stage in the “Giulietta' act of the Royal Opera's Tales of Hoffmann, it acts as a metaphor for John Schlesinger's venerable production.

Andreas Homoki's 2004 Turandot makes its way to Oslo, but fails to impress with less-than-halfbaked concepts and underwhelming singing.

Juha Hemánus' terrific semi-staging of Peer Gynt, using Grieg's incidental music, is the impresses at the Royal Festival Hall. 

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

Jüri Reinvere's new operatic adaptation of Ibsen's immortal drama is a decidedly uneven experience, but not without potential.

Calixto Bieito's production of Offenbach's The Tales of Hoffmann is astoundingly sung, but suffers from excessive cuts and occasionally odd direction.

I find it difficult to remember the last time I attended a concert in which I was met with just about everything that I wanted to hear, settled alongside facets of performance that I hadn’t yet encountered. Perhaps tonight was, indeed, my first such experience.Thomas Søndergård’s rendition of Poulenc’s Gloria realised everything that I find I intuitively hope to hear from it.

Entering the Norwegian National Opera for their season opener of Mozart’s Le nozze di Figaro, I imagined it would be a pretty conventional production and was hoping for some good singing. Turns out, I was only partly right.

Nothing says “Happy Easter” like a bit of alcohol-fuelled murder on the church steps, right? With their new double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, the Norwegian National Opera certainly seems to think so!The two productions were done on practically the same sets, albeit with a few differences, which did create a rather wonderful sense of continuity from the fir

Britten’s opera The Rape of Lucretia is, as the title implies, not an easy opera subject-wise. It is based on André Obey’s play Le viol de Lucrèce, which in turn is partially based on Shakespeare’s poem The Rape of Lucrece. This was Britten’s third opera, and the first of his so-called chamber operas, operas with small orchestras and small casts.

Vincenzo Bellini’s operas are not among those that are played most often in Norway. This Saturday’s concert performance of I Capuleti e i Montecchi at the Norwegian Opera in Oslo was the second ever to take place in Norway, the first being a concert performance in the Oslo Concert House back in 2001.