Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Kate Lindsey

Jossi Wieler und Sergio Morabito überraschen mit einer emotionsgeladenen und zeitgemäßen Inszenierung von Claudio Monteverdis Dramma per musica.

Die Welturaufführung ist weder konfrontativ noch bringt sie neue Einsichten: überdrüber und doch irgendwie daneben.

Stoyanova’s extraordinary performance as the Feldmarschallin made 394th revival of Otto Schenk’s 1968 production of Der Rosenkavalier an occasion to savor.

A luxuriously-cast revival takes a staid production of Mozart's Idomeneo to new, exciting heights. 

An energized cast delivers in a visually eye-popping production as Monteverdi's opera appears at the Haus am Ring for the very first time. 

 Poul Ruders’ The Handmaid’s Tale comes home to English National Opera after 20 years in a powerful new production by Annilese Miskimmon.

Frozen lava rock extends from the proscenium to the backcloth, an apt image to depict the harm Don Giovanni inflicts upon the other characters in Mozart's darkest opera.

Sven-Eric Bechtolf's staging holds a balance between philosophy and humour, but Adam Fischer's vivacious conducting is the real star of the evening.

Kate Lindsey’s voice is luminous, effortlessly regulated in every register, and intertwined magically with the gleaming soprano of Slávka Zámečníková, a very special new jewel in the Staatsoper ensemble who is every inch a star.

Faust and Méphistophélès pal around like buddies in Castorf's multi-media staging, the devil here less diabolical and more anarchistic party-boy. 

Weill and Brecht's excoriating satire is brilliantly executed; after such an intense opener, Mahagonny-Songspiel is less convincing.

Glyndebourne welcome audiences back into the house with a one hour Offenbach operetta whose comedy and plot lines are thin but which still delights.

Daniel Harding conducts a handsome, moving account of Berlioz' Symphonie dramatique with the Berliner Philharmoniker. 

Cinderella undergoes psychoanalysis on the Sussex Downs as Fiona Shaw's production is revived for the Glyndebourne Festival. 

Reprise mitigée de l'opéra de Richard Strauss au Théâtre des Champs-Elysées : Olga Pudova, Camilla Nylund et Kate Lindsey tiennent le haut du pavé ; Katie Mitchell échoue à divertir.

Tamara Wilson was a top-notch Ariadne, supported by a strong cast, including Kate Lindsey as a passionate Composer, a thrilling Zerbinetta by Daniela Fally, and an unbeatable Bacchus in Andreas Schager.

A wonderful cast conducted by William Christie in a new production of L’incoronazione di Poppea at the Salzburg Festival. 

Strauss' mix of bedroom farce, comedy of manners and bittersweet musing about aging is acted and sung superbly in this revival of Richard Jones' production.

William Christie and Les Arts Florissants show true Baroque musicianship in Madrid, in an Ariodante with a solid cast.

Une interprétation grandiose du plus « brittanique » des opera seria de Händel, grâce à une distribution d'une grande qualité associée à une direction étincelante.

Qu’on adhère ou non au propos de Katie Mitchell, on ne sort pas indemne de ce spectacle qui donne à entendre des pages sublimes, mais sort délibérément le spectateur de sa zone de confort.

Canteloube's Chants d'Auvergne provide the highlight of a programme including Ravel's Daphnis et Chloé and his orchestration of Mussorgsky's Pictures at an Exhibition. 

Los Angeles Opera's Tales of Hoffmann survives multiple cast changes to look and sound fabulous, but it drags dramatically.

American composer Jake Heggie's early opera performed by Washington National Opera was one of those rare experiences of an opera full of raw power and wrenching emotion with superb performers that one is not likely to forget soon.

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.

The controversial Aix-en-Provence Così fan tutte reaches the Edinburgh Festival with a thrilling first-rate international cast and the excellent Freiburger Barockorchester.

On nous avait certes garanti une production exempte de têtes emperruquées et de décors à dorures, mais pas grand-chose ne nous avait préparé à une telle radicalité de mise en scène. 

Poor intelligibility and lack of pace in the music or acting make L'Étoile into a disappointingly flat evening.

At Dutch National Opera, director Lotte de Beer’s reminds us who the Hänsels and Gretels of the 21st century are, juggling between harsh reality and heartening fairy tale in a spectacle that both delights and unsettles.

Leah Hausman's revival of David McVicar's production allows the comedy to stem from the situations set up by Mozart and da Ponte... aided by Erwin Schrott's witty Figaro.

In Mozart's The Marriage of Figaro, Figaro and his bride-to-(maybe)-be Susannah share their ups and downs, but in San Francisco Opera's revival production directed by Robin Guarino, it was evident they would be a veritable match made in heaven.

Seattle Opera closes its season with an Ariadne auf Naxos that highlights the comedy but only fitfully comes to life in the opera within the opera.  

Great singing and acting from the Met's Tales of Hoffmann second cast. 

Le 12 décembre 2014, La Clémence de Titus est représentée au Théâtre des Champs-Élysées : la suite du cycle Mozart débuté par l'excellent Jérémie Rhorer depuis quelques années. Une production qui rassemble beaucoup de beau monde… 

Ariadne auf Naxos is the ideal Viennese opera: an entertainment by Richard Strauss and Hugo von Hofmannsthal that satirises the relationship between composer and patron.

Read our review of Jean-Pierre Ponnelle's production of Mozart's La Clemenza di Tito in its 2012 broadcast from the Met Opera in New York.

The 2012 Festival d’Aix-en-Provence began its four-week feast of opera and music with Mozart’s Marriage of Figaro—and could there be better a way? Nothing can beat the sublime company of Mozart, Da Ponte and Beaumarchais on a summer evening in the open-air Théâtre de l'Archevêché.

It's the most spectacular entrance in opera: the giant stone statue bursts in to join Don Giovanni at the dinner table; a pair of sweeping downward octave swoops in D minor fills the audience (and the hapless Leporello) with terror at the rake's imminent descent into hell.OK, that was a spoiler, but then we all know the story: a production of Don Giovanni is all about how you tell it.

Those who like their opera off-kilter will revel in the Metropolitan Opera’s Les Contes d'Hoffmann, an opera in three acts (with prologue and epilogue) by Jacques Offenbach. The Met production was heavily operetta à la Offenbach—risqué, and at times, erotic.