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Classical music, opera, ballet and dance in Italy

Use Bachtrack's search facility to find concerts, opera and dance events not only in this country but right around the world. Bachtrack has the largest number of upcoming events of any website, and if you want to read reviews of events which have taken place here, or in another country, you can search here for exactly the reviews which interest you.

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RomeVíkingur Ólafsson

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Bach, Beethoven, Schubert
Víkingur Ólafsson, Piano

RomeDaniel Harding / Daniil Trifonov

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Brahms, Dvořák
Orchestra dell'Accademia Nazionale di Santa Cecilia; Daniel Harding; Daniil Trifonov

MilanMartha Argerich

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Ravel, Beethoven, Mendelssohn
Orchestra della Svizzera italiana; Charles Dutoit; Martha Argerich

VenicePresentation of the festival

Palazzetto Bru Zane
Prudent, Farrenc, Gounod, David, Lefébure-Wély
Nicolas Giacomelli, Piano

RomeJohn Eliot Gardiner / Alessandro Taverna

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Schumann, Prokofiev, Sibelius
Orchestra dell'Accademia Nazionale di Santa Cecilia; Sir John Eliot Gardiner; Alessandro Taverna
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Ariadne in Rome: David Hermann’s Strauss staging highlights contrasts

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In an opera rarely staged in Italy, David Hermann skilfully masters the metatheatrical challenges posed by the libretto to Ariadne auf Naxos
****1
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Abandon all hope: Lucia Ronchetti's Inferno receives Italian premiere

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The Italian premiere of Lucia Ronchetti’s Inferno at the Teatro dell’Opera di Roma uses Dante’s original verses, but her score fails to match their beauty. 
***11
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Laurent Pelly’s Falstaff passes the Naples test with flying colours

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The French director’s much-travelled production arrives at the Teatro di San Carlo, displaying a precise balance between word, gesture and voice. 
*****
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The Ring returns to the Rhine: Götterdämmerung at La Scala

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Under Alexander Soddy’s powerful conducting and Sir David McVicar’s dark, evocative staging, the Ring finds a searing conclusion, anchored by a powerful Brünnhilde from Camilla Nylund, as the world burns.
*****
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Ludovic Tézier delivers a noble Nabucco in Naples

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Andreas Homoki’s staging at the Teatro di San Carlo, setting aside a few inconsistencies with the libretto, does not indulge in redundant symbolism. 
***11
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