Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Claus Guth

Claus Guth inszeniert Strauss' Oper als tiefenpsychologisches Rachespiel, bleibt jedoch mit seiner Deutung an der Oberfläche.

Poulencs bekannteste Oper wird zum ersten Mal an der Oper Frankfurt aufgeführt.

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

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

Debussys Pelléas et Mélisande wird wunderschön umgesetzt in Claus Guths Produktion, jetzt ein Klassiker undwiederaufgenommen mit neu besetzten Hauptrollen an der Oper Frankfurt.

Eine herausragende Premiere von Bohuslav Martinůs Julietta am Berliner Schiller Theater erntet stehende Ovationen.

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“.

The COC revival of its 2016 production of Le nozze di Figaro is still rooted in Claus Guth’s gloomy Scandinavia but it’s lightened up to become much sexier and funnier.

A delayed season opening at the Teatro di San Carlo, but a night of epic grand opera as Claus Guth and Juraj Valčuha deliver a weighty Don Carlo.

En création mondiale au Festival d'Aix-en-Provence, Il viaggio, Dante du compositeur français échoue à transmettre la dimension poétique de l'œuvre originelle et bascule dans des ressorts psychologiques dignes d'une série TV.

La legendaria y perspicaz producción de Claus Guth para Salzburgo visita Madrid lastrada por un reparto insuficiente.

La escena de Claus Guth acompaña la psicología de los personajes y da salida a las tensiones, bien sustentadas, a su vez, por una dirección musical vivaz de sonoridad articulada a cargo de Ivor Bolton.

Director Claus Guth's new production for the Staatsoper Berlin is a bit of a mixed bag but the evening succeeds more on its musical merits, with a splendid ensemble of singers and orchestra conducted by Sir Simon Rattle.

Claus Guth’s Don Giovanni returns to Amsterdam with an almost entirely new cast with strong leads by Seth Carico and Adrian Sâmpetrean. 

Guth's intelligent production comes with a Karita Mattila masterclass and an outstanding cast, intense to the point of pain. 

“How Excellent.”  The first words sung in Handel’s Saul are in praise of God and were first uttered in a performance nearly three centuries ago. But they apply equally to Claus Guth’s interpretation of the work staged by Theater an der Wien.

Ivor Bolton en la batuta y Claus Guth en la escena mostraron el universo lacerante de un Don Giovanni agotado.

Claus Guth nos traslada a un entorno sombrío y lúgubre para narrar las horas finales de un Don Giovanni herido de muerte.

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.

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.

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.

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. 

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.

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. 

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.

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

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

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.

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

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.

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

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

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.