Rechercher des critiques de musique classique, opéra et ballet | Claus Guth

Avec Bérénice, donnée en création à l’Opéra Garnier, le compositeur Michael Jarrell revisite la tragédie épurée de Racine, avec les voix inspirées de Barbara Hannigan et Bo Skovhus.

Difficile de comprendre réellement comment a pu naître, dans l’esprit du metteur en scène allemand, un rapprochement aussi saugrenu. C’est pourtant dans un vaisseau spatial, puis sur la terre lunaire, que l’action de La bohème se déroule.

Mise en abyme du drame qui conduira Rigoletto à vivre errant comme un défunt, cette production mise en scène par Claus Guth et portée par une distribution vocale très juste s'avère tout aussi saissisante qu'étonnantament lumineuse dans ce qu'elle révèle pourtant de plus sombre des affects humains.

Cinq ans après sa création au Teatro alla Scala, l’Opéra de Paris accueille pour dix représentations (avec une double distribution) la production de Lohengrin mise en scène par Claus Guth. Dire que ce Lohengrin était attendu relève de la litote. Ce spectacle marque le grand retour sur scène de Jonas Kaufmann, après quelque quatre mois d’absence et d’inquiétudes. L’effervescence en ce mercredi soir était donc à son comble.

Lumineuse et sensible, la Gilda d’Olga Peretyatko est la combinaison parfaite de la virtuosité belcantiste et du lyrisme verdien.

A veritable Baroque bonanza featuring a top-tier cast and orchestra in an emotionally incisive and handsomely crafted production.

Heart Chamber explores how small outer events often correspond to tectonic inner changes.

Mit dieser Inszenierung feiert Claus Guth nach Messiah und Saul einen erfolgreichen Händel-Hattrick.

Guth's incisive staging of Strauss and Hofmannsthal's grandest opera proves a moving and detailed experience at its transfer to the reopened Staatsoper. 

Claus Guth’s grandiose production of Parsifal made major headlines in Zurich in 2011. With its new cast of principals, this revival is no less a sensation.

Regisseur Claus Guth und Laurence Cummings am Pult formen Händels Saul zu einem berührenden Gesamtkunstwerk.

Deutsche Oper Berlin's Salome was a mixed blessing: a magnificent Catherine Naglestad as the heroine, with good ensemble of singers and orchestra, but a thoughtful but far-fetched psychological interpretation.

Claus Guth's production of Handel's last oratorio lands in Paris, where William Christie leads Les Arts Florissants and a stellar cast. 

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

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.

A grimly dark setting for Mozart's final opera, Sesto and Tito haunted by childhood memories. 

Zubin Mehta's conducting is a disappointment, but Guth's remarkable production makes powerful sense of Strauss and Hofmannsthal's rich fairy tale. 

Debussy's Pelléas et Mélisande is beautifully realised in Claus Guth's now classic production, revived with a new cast of principals at Oper Frankfurt.

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

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

An outstanding premiere of Bohuslav Martinů's Juliette at the Schiller Theater in Berlin has a delighted public jumping to their feet with applause.

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.

Una deslumbrante actuación orquestal a manos de Semyon Bychkov en una producción que no logra aprovechar las posibilidades de la obra de Wagner.

In Frankfurt war er mit Puccinis Il trittico dank einer musikalisch ausgefeilten und szenisch-psychologisch stimmigen Präsentation garantiert.

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

In der Inszenierung von Claus Guth bestechen der Blick in menschliche Abgründe und Komik gleichermaßen. Jean-Christophe Spinosi dirigiert eine exzellente Besetzung und „Elektronik meets Originalklang“.

Nina Stemme's domination of the heaviest dramatic soprano repertoire continues with an outstanding Isolde at the Zurich Opera House, ably assisted by Stephen Gould, Matti Salminen, and other notable performers under John Fiore.

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

Guth's production is beautiful to look at, but fails to bring out the best in Mozart's drama.

The Stepford wife, the doubting priest, the guilt-ridden adulteress, the family black sheep and the outsted, suicidal CEO:  staples in television dramas but surprising finds in Handel oratorio.

Semyon Bychkov gave a reading of such clarity and quality that everything seemed obvious. In his hands, the orchestra was a precision instrument, and for Strauss fans, whether or not you like Claus Guth's staging, this production is a must-see.

Schubert's unfinished oratorio Lazarus joined with other interesting works by both Schubert and Charles Ives in a staged performance at the Theater an der Wien, directed by Claus Guth. Strongly cast, the musical juxtaposition works better than the oratorio itself, and the rather cold dramaturgy.

The first opera of the season at La Scala is an event of huge cultural significance in Italy, so it raised some hackles when, for Giuseppe Verdi’s centenary year, the management passed over Verdi in favour of Wagner’s Lohengrin. But even Italians disappointed by the insult to their culture found it impossible to quarrel with the quality of the singing talent on show.

Productions of Monteverdi’s Il ritorno d’Ulisse in patria which make the title character a returning war veteran, preferably one returning from a juicy topical war, are nothing new, and director Claus Guth doesn’t stretch the well-worn conceit much further in this listlessly vague staging for the Theater an der Wien.

Richard Strauss’ outstanding catalogue of operas is part of the staple diet of opera houses around the world. From the musically and dramatically intense scores of Salome and Elektra to the romantically lush, emotional sweepings of Der Rosenkavalier, there is something in his canon for all manner of opera enthusiasts.

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.