Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Dmitry Korchak

Nach fünf Jahren Pause im Repertoire ist dieser Hoffmann Werbung für das Werk und die Inszenierung.

Die Bayerische Staatsoper zeigt erneut die umstrittene Don Giovanni-Inszenierung von Stephan Kimmig aus dem Jahr 2009. 

Oper? Reality Show? Lotte de Beer inszeniert Bizets Perlenfischer als herrliche Dschungelcamp-Satire. Diana Damrau, Dmitry Korchak und Nathan Gunn beeindrucken unter der Leitung von Jean-Christophe Spinosi. 

Rossini's Otello is rarely performed, mainly due to its three demanding tenor roles, but the Rossini Opera Festival delivers a knockout, both vocally and emotionally. 

El Teatro Real inicia la temporada 21-22 con una agitada producción de La Cenerentola de Rossini con dirección musical de Riccardo Frizza y esscénica de Stefan Herheim.

El Teatro Real abre su centésima temporada con una atrevida Cenerentola de Stefan Herheim.

Tenor Dmitry Korchak was the pick of the soloists in this concert performance by Novaya Opera. 

El estreno de este Il pirata prometía ser el evento vocal de la temporada y, tan solo en cierta medida, ha colmado las esperanzas de disfrutar de otra noche para la historia.

Noche de segundo reparto en el que la soprano Olga Kulchynska fue el eje de atención y reclamo en una producción de reality televisivo se implantó en el escenario desterrando la imagen genuina de la Ceilán de Bizet.

El Liceu vuelve a presentar Les pêcheurs de perles 55 años después con una innovadora pero arriesgada puesta en escena de Lotte de Beer.

La presentación de La flauta mágica de Vick en Les Arts prometía una intensidad subversiva que resultó tan solo una sucesión de clichés trasnochados.

The inventiveness of Ruth Berghaus' classic staging is a clear as ever, even if this revival occasionally loses focus.

At its 2015 inauguration at the Royal Opera House, a controversial rape scene in Act 3 drew outrage from the audience and critics alike. Now the Teatro Massimo is presenting the production once again.

The King of Opera leads an inspired performance commemorating the 230th anniversary of Don Giovanni.

Dance takes center stage in Lyric Opera of Chicago's bold season-opening co-production of Gluck's Orphée et Eurydice.

Mario Martone's 2006 production captures both the aesthetic and the spirit of the age.

A visually stunning production with a fine cast to match. 

Suggesting that Otello was a migrant, like modern refugees, was not a great staging idea for a production which could count on an high-rate vocal cast.

On comprend, dès les premières notes – un fa dièse disséminé sans affèteries de part et d’autres des pupitres, gonflant au fil de chromatismes descendants – que Tomáš Netopil partage avec Dvořák ce doux mélange de colère saine et de pudeur, que l’on ne saurait imputer à leur seule parenté tchèque. 

This new production of Massenet’s Werther in Tokyo suffered multiple personnel changes even before it opened... 

Tchaikovsky’s passionate drama is put into the deep-freeze by chilly stage designs.

Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues. 

The opening of the Teatro Real’s season in Madrid has been anything but uneventful. However, Rossini’s Il Barbiere di Siviglia, the ever-pleasing opera chosen to welcome back an expectant audience, had very little to do with it.

What has made Rossini and his librettist Jacopo Ferretti’s take on Cinderella survive on the opera stage for almost 200 years now is not only the universal archetype of the downtrodden girl who is redeemed by Prince Charming, nor its enchanting music: the absence of fairy-tale symbols like the pumpkin carriage and the glass shoe (barefoot ladies would have been too outrageous a sight on an Italian