En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Atala Schöck

Hungarian State Opera's cut-down, dramatically inert Gioconda fails to ignite the stage in Budapest, despite a solid musical foundation. 

The pure magic of Ádám Fischer and the Hungarian Radio Symphony Orchestra delights with two brilliant leads, but others disappoint on the second day of Müpa's Ring.

Balázs Kovalik’s interpretation of Elektra is revived in Budapest, impressing until the B-movie cliché finale. 

Roberto Paternostro and the Dohnányi Orchestra Budafok give plenty of spirit to Mahler's vocal symphony... sometimes to a fault.

Six excellent singers bring out the best in Wagner's dramatic narrative, marred only by a Ride of the Valkyries that fails to convince.

Hartmut Schörghofer's updated concert staging receives strong singing from everyone and a thrilling orchestral performance.

Performing arts duo Ricci/Forte throw what feels like the entire directorial arsenal at this production.

As part of the annual Wagner festival in the Hungarian capital, Peter Seiffert and Allison Oakes star as the doomed lovers.

A new production of Humperdinck's charming opera fails to enchant at the Erkel Theatre. 

Polish opera director Michał Znaniecki created a new version of Zoltán Kodály’s 1927 The Spinning Room, a short one-act which is basically a collection of 21 Hungarian folksongs that Kodály had selected from the Székely region.

Mit einer musikalisch gradiosen Aufführung der Walküre und prägnant-wirkungsvollen Projektionen wurde in Budapest der Ring-Zyklus von Adam Fischer fortgesetzt.

Das Wagner-Festival in Budapest startete mit einer fulminanten Aufführung des Rheingold in einer geschickten Synthese aus Gesang, Aktion und Videoprojektionen in musikalischer Topform.

Vittorio Borrelli’s production of Hänsel und Gretel in Turin offers a refined mise-en-scène focusing on the tiny, playful and colourful aspects of the plot. 

This concert saw the Budapest Festival Orchestra reduced to a period ensemble of fewer than ten musicians plus soloists for Bach’s cantata ‘Herr, gehe nicht ins Gericht mit deinem Knecht’, and after the interval packed closely together as they filled the large stage of the Konzerthaus with forces well in excess of the not-insignificant minimum required for a big Bruckner symphony.