En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | National Theatre (Národní divadlo)

An ambitious effort to honor hometown hero Otakar Ostrčil sags under its own weight at the Prague National Theatre. 

The director drains the life out of an impassioned opera with a staging devoid of authenticity and ideas.

Czech National Ballet present an outstanding programme of intriguing new dance, enveloping a late twentieth century gem.

A modern twist on an ancient tale, Mauro Bigonzetti's new Scheherazade brings challenging and innovative choreography to make this a highly enjoyable production.

A chilly reception for director Kay Link's fresh take on a mythical Czech heroine mars an otherwise superb performance.

Directors Martin Kukučka and Lukáš Trpišovský, who work together as SKUTR, take on Dvořák’s Rusalka with a surfeit of ideas. 

Superb singing and brilliant work in the pit can't quite rescue Jiří Nekvasil's overambitious production.

Aided by spirited singers and enthusiastic musicians, director Ondřej Havelka brings an imaginative, ironic touch to a lesser-known Smetana opera.

Youri Vámos’s mash up of The Nutcracker and A Christmas Carol makes for a devilishly Victorian take on Tchaikovsky’s holiday classic.

Adding a prequel to Gianni Schicchi mostly proves that a prequel isn't necessary... 

 In a fascinating and challenging triple bill, Czech National Ballet deliver first rate performances.

Armida offers a compelling story, resonant issues and the spectacle of dueling wizards – but unfortunately, not in this production.

Powerful performances by the four leading dancers brought dramatic weight to this tremendous revival of John Cranko's Onegin by Czech National Ballet.

The National Theater revives Jaromír Weinberger opera Schwanda the Bagpiper with energy, affection and overly active imagination.

Powerful visuals can't compensate for an otherwise empty production of Janáček’s gripping tragedy.

All the energy is in the pit in this flat production of a time-honored favorite.

Lively singing saves Magdalena Švecová's listless production of Il barbiere di Siviglia at the Národní divadlo.

Slovak director Zuzana Gilhuus' serendipitous production could hardly be more timely.

Magdalena Švecová's staging for Prague National Theatre wins hearts with ensemble work full of verve and costumes that are pure eye candy.

A colorful, light-hearted approach captures the spirit of Prokofiev's LʼAmour des trois oranges.

A rare revival of Ernst Krenek's breakout opera hits all the wrong notes.

Smetana's Libuše makes a timely reappearance in Prague.

Willy Decker's enduring production gets smart treatment in a handsome revival.

Invigorating in the pit, Britten’s Billy Budd never gets its sea legs on the National Theatre stage.

The National Theatre opens its new season with a Verdi favorite short on substance but lovely to hear.

Clad in sulphurous yellow with beaded jet shoulder pads she looked well able to vanquish Lohengrin in single combat with the swish of her cloak.

Krakatit, an opera composed in the shadow of the Cold War, remains frighteningly relevant.

A political makeover of Puccini's verismo classic backfires.

In a delirious opening to the new opera season, Prague's National Theatre puts a contemporary spin on Carl Orff and the Brothers Grimm.

Despite some strong performances onstage and in the pit, the National Theater's Andrea Chénier never catches fire.

Bang on a Can's Lost Objects adds satisfying spice to the National Theater's traditional holiday fare.

A twin bill of fairy tales in Prague delights and disappoints.

 A Slovak opera import brings brilliant music weighed down by dreary staging to the Prague Spring Festival. 

Making his operatic debut at Prague's National Theatre, director Daniel Špinar recasts Janáček’s From the House of the Dead as a schizophrenic prison comedy.

Baffling staging muddles a politically charged period piece that still has the power to perturb.

Despite some staging problems, a Czech rarity gives the National Theater's new opera season a rousing start, with a vibrant score beautifully realized by conductor John Fiore.

The Czech national Ballet's Swan Lake might not be the most memorable, but the company used what they have as effectively as possible, resulting in a very respectable and steady performance.

Toufar, a chamber opera by Czech composer Aleš Březina, tells the true story of a Bohemian priest arrested and tortured to beat out a false confession of faking a miracle. It mkaes a powerful impression at Prague's National Theater. 

Is it opera, or operetta? Actually, Pucciniʼs La rondine looked more like 1930s Hollywood - men in tuxes, women in glamorous gowns, socialites with endless leisure time, people who barely know each other falling passionately in love – the only thing missing was Greta Garbo.

The National Theatre in Prague should be the second-best place in the world to see Leoš Janáček's charming opera The Cunning Little Vixen. But its current production, new in the repertoire this season, is such a disappointment.

With a production in a style with which I was not at all familiar and which I found very true to the work's spirit, this Rusalka at the Czech National Theatre in Prague was a memorable evening's opera.

Tenor Daniel Frank impressed in the title role in the Prague State Opera's new Tannhäuser, directed by Andrejs Žagars – but the production itself suffered from a lack of interpretation and inventiveness.