Find articles | Fernando Remiro

Sir David McVicar's unassuming production fails to engage with the political side of Verdi's masterpiece, despite good conducting by Nicola Luisotti and some good singing by a solid cast. 

Comedy fails to spark in Laurent Pelly's new production of Falstaff at the Teatro Real. 

Raquel García-Tomás's new chamber opera is a mild comedy about narcissism, brought to life by a clever production and a strong cast.

Carsen's scaled-down Ring makes a timely comeback with a melancholy message of decay.

Kaija Saariaho's delightful but unchallenging fourth opera comes to Madrid with the same crew of the world première and Davone Tines, Philippe Jaroussky and Nora Kimball-Mentzos in the leading roles

Despite a great cast led by Marina Rebeka, La Fura dels Baus's unambitious approach to the myth of Faust and Dan Ettinger's noisy conducting prevent a brighter season opening at the Teatro Real.

Javier Camarena’s debut as Edgardo contributed to a triumphal night at the Teatro Real together with Lisette Oropesa’s charismatic Lucia and David Alden’s powerful staging.

Ivor Bolton and David McVicar have teamed up to create an unapologetically Brittenian Gloriana, with Anna Caterina Antonacci at the top of a great cast

In a disappointing revival of Hugo de Ana's clichéd and clumsy production, Liudmyla Monastyrska and Violeta Urmana confronted each other with their superb vocal techniques and diverging styles.

Weill's neglected "American Opera" opens in Madrid with a refurbished production by John Fulljames and a strong cast led by Patricia Racette.

Jake Heggie's story of redemption captivated the Teatro Real audience thanks to a solid cast and an effective production

Jamie Barton stole the show in a lacklustre concert performance in Madrid.

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.

Spanish composer Elena Mendoza presents a hermetic piece of contemporary theatre that is at the same time a disappointing opera and a worthy musical exploration of literary universe of Juan Carlos Onetti

Billy Budd triumphs in Madrid thanks to an inspired orchestra, a solid cast and a dream team of stage magicians.

Livermore turns Norma into a dubious tribute to fantasy B-movies but Gregory Kunde and Karine Deshayes come to the rescue.

A lacklustre season opening at Teatro Real proves once again the elusive nature of Verdi's masterpiece.

Romeo Castellucci's captivating Moses und Aron was a major success, a bold reminder of the boundless power of opera.

Kasper Holten's new production fails to convince about the alleged virtues of Wagner's outcast comic opera.

The latest concert by the Spanish National Orchestra was a fascinating opportunity to explore the contrast between Wagner and Stravinsky.

Fundación Excelentia has developed a self­sustaining project, supported by more than 700 subscribers and featuring more than 60 concerts per season. Here are some pointers as to why this young endeavour has achieved a respected status in Madrid’s crowded orchestral season.

In the opening night of Teatro Real's new season, Mariella Devia proved why she is one of the best bel canto singers of the last decades.

A series of cancellations resulted in an unusual triple bill: a rare Spanish opera, an impromptu concert by Plácido Domingo and Woody Allen's brilliant Gianni Schicchi.

Adrianne Pieczonka and Anett Fritsch shone in an otherwise disappointing opening night, impaired by poor conducting and unimpressive staging.

Routine took hold of the Teatro Real in its production of La traviata, despite baritone Juan Jesús Rodríguez's best efforts.

The Teatro Real crowns his Britten cycle with a canonic War Requiem conducted by Pablo Heras-Casado and superbly sung by John Mark Aisnley and Jacques Imbrailo. 

Mauricio Sotelo's world première based on El Público, a fascinating surrealist play by Federico García Lorca, mixed flamenco and tragedy to achieve a great night of opera. 

Interesting rediscovery of Veracini's first opera, composed for mythical castrati Senesino and Farinelly, and brought to life again by Fabio Biondi and Europa Galante.

Death in Venice makes its première in Madrid with a rational and symbolic production by Willy Decker. 

The opening night of Paolo Pinamonti's second season as director of the Teatro de la Zarzuela had, in principle, its fair share of artistic incentives but unfortunately turned out to be a dismal season start.

Almost 40 years after its première, Pina Bausch's daring reinterpretation of the myth of Orpheus still captivates audiences worldwide. This tanzoper is one of the most accomplished attempts to create a contemporary tragedy, an enthralling reflection on human boundaries and the acceptance of death.

With this mesmerising version of Les contes d'Hoffmann, Marthaler has proved (as Offenbach did more than one century ago) that it is possible to love Romanticism through its satire. 

An attractive double bill of opera and zarzuela paves the way to a new way of performing this fascinating Spanish genre. 

With this new production of Gluck's Alceste in Madrid, Krzysztof Warlikowski uses a well known popular icon to drag the audience into a two-way process of dramatic exploration.

Portugese composer Vasco Mendonça presents in Luxembourg his new opera, based on the masterly tale by Julio Cortázar.

Francesco Cavalli's Egisto is a true feast for the senses in director Benjamin Lazar's conception, realised with conductor Vincent Dumestre at the Grand Théâtre de Luxembourg.

La OCNE dirigida brillantemente por Nagano y con Sean Panikkar encabezando un sólido reparto vuelven a traer a Madrid The Bassarids la obra maestra de Henze veinte años después.

Tras décadas de olvido en Europa, la obra maestra de Ginastera llega al Teatro Real con una nueva producción de Pierre Audi y la enérgica batuta de David Afkham

La fascinante producción de los Hermann sigue viva 30 años después de su estreno

Un Domingo en asombroso estado de gracia puso una vez más al teatro en pie

El tenor mexicano Javier Camarena dio una lección de belcanto ante un elenco discutible y un foso rutinario

El Holandés errante sirve a la OCNE para desplegar todo su poderío sonoro en una noche en la que la Senta de Ricarda Merbeth robó el protagonismo a un desigual Terfel.

Karina Gauvin y Christine Rice lideran el estreno escénico en Madrid de la obra maestra de Händel

Operadhoy ha presentado tres nuevas obras de compositores españoles jóvenes, cuyo nexo común, bajo el título de Sinergias, ha sido la subversión de los límites entre las distintas disciplinas escénicas.

El Teatro Real recupera la brillante partitura de Humperdinck en una sólida función que no oculta la oscuridad de esta ópera infantil para adultos