Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Anita Rachvelishvili

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Wien

21. Feb. 2021

Zeitlos und kitschfrei: Calixto Bieitos Carmen in Wien

Von Isabella Steppan

Amsterdam

Loys minimalistische Inszenierung verdeutlicht Chowanschtschina in Amsterdam

Von Nicolas Nguyen, 27. Februar 2016

Christof Loys minimalistische Inszenierung von Chowanschtschina für die Nederlandse Opera hat den Vorteil, dass sie eine berüchtigt fragmentierte Handlung klarstellt.

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Amsterdam

27. Feb. 2016

Loys minimalistische Inszenierung verdeutlicht Chowanschtschina in Amsterdam

Von Nicolas Nguyen

Laurent Pelly’s Falstaff passes the Naples test with flying colours

Von Lorenzo Fiorito, 15. Februar 2026

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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*****

Naples

15. Feb. 2026

Laurent Pelly’s Falstaff passes the Naples test with flying colours

Von Lorenzo Fiorito

Sondra Radvanovsky (Medea) © Luciano Romano

Cherubini’s Medea in Naples: a clash of worlds in a neoclassical framework

Von Lorenzo Fiorito, 10. Dezember 2025

A new Medea at the Teatro di San Carlo presents three distinct visions – neoclassical in the pit, expressionistic on stage and conceptual in the direction – that never fully merge.

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Naples

10. Dez. 2025

San Carlo’s Medea a clash of worlds in a neoclassical framework

Von Lorenzo Fiorito

La Gioconda à l'Opéra national de Grèce © A. Simopoulos

Athens

Héroïque Gioconda à l’Opéra national de Grèce

Von Arnaud Saura-Ziegelmeyer, 1. November 2025

L'opéra d’Amilcare Ponchielli ouvre de fort belle manière la saison athénienne, avec une mise en scène audacieuse et convaincante d'Oliver Mears et un beau plateau vocal.

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Athens

1. Nov. 2025

Héroïque Gioconda à l’Opéra national de Grèce

Von Arnaud Saura-Ziegelmeyer

Asmik Grigorian (Rusalka) and Gábor Bretz (Vodník) © Luciano Romano

Tcherniakov’s starkly modern reading of Rusalka opens the Teatro San Carlo season

Von Lorenzo Fiorito, 20. November 2024

Dmitri Tcherniakov’s staging of Rusalka in Naples has a starkly modern visual style which occasionally dilutes the story’s emotional impact.

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Naples

20. Nov. 2024

Tcherniakov’s bold reading of Rusalka opens the season in Naples

Von Lorenzo Fiorito

Michelle Bradley (Aida) © Ken Howard | Met Opera

Tomb Raider: Sonja Frisell’s Aida exhumed one last time at the Met

Von Kevin W Ng, 13. Dezember 2022

A loud, unsubtle performance of a loud, unsubtle production – the Met really deserves a new Aida.

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New York City

13. Dez. 2022

Tomb Raider: Sonja Frisell’s Aida exhumed one last time at the Met

Von Kevin W Ng

Samson et Dalila catches fire at the Teatro di San Carlo

Von Lorenzo Fiorito, 29. September 2022

Argentinian film director Damián Szifron's production is lauded in Naples, as are star soloists Anita Rachvelishvili and Brian Jagde.

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Naples

29. Sept. 2022

Samson et Dalila catches fire at the Teatro di San Carlo

Von Lorenzo Fiorito

La Khovantchina : Khovansky et ses troupes à l'assaut de la Bastille

Von Stéphane Lelièvre, 9. Februar 2022

Belle reprise de La Khovantchina à l'Opéra Bastille, où triomphent les forces de la maison, mais aussi Anita Rachvelishvili !

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Paris

9. Feb. 2022

La Khovantchina : Khovansky et ses troupes à l'assaut de la Bastille

Von Stéphane Lelièvre

Mailand

A triumphant Aida in concert at La Scala to defy the pandemic

Von Laura Servidei, 9. Oktober 2020

Riccardo Chailly leads a splendid cast in Verdi’s masterpiece as La Scala leads the way in these troubled times, when the opera world is so volatile and fragile, by focusing on the music, holding onto artistic values.

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Mailand

9. Okt. 2020

A triumphant Aida in concert at La Scala to defy the pandemic

Von Laura Servidei

Everyone returns victorious in San Carlo's Aida

Von Lorenzo Fiorito, 28. Juli 2020

With their second open-air concert performance, Teatro di San Carlo scores another hit.

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Naples

28. Juli 2020

Everyone returns victorious in San Carlo's Aida

Von Lorenzo Fiorito

A long road to nowhere for Igor at the Bastille

Von Mark Pullinger, 1. Dezember 2019

Barrie Kosky's makes a limited impact in his debut at Opéra de Paris, apart from an hallucinogenic Polovtsian Dances.

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Paris

1. Dez. 2019

A long road to nowhere for Igor at the Bastille

Von Mark Pullinger

La première de Don Carlo à Bastille laisse sans voix

Von Georgiana Hatara, 25. Oktober 2019

Dans la mise en scène de Warlikowski créée en 2017, Don Carlo est de retour à Bastille, cette fois-ci dans sa version italienne. Une franche réussite malgré l'état grippal de Roberto Alagna.

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Paris

25. Okt. 2019

La première de Don Carlo à Bastille laisse sans voix

Von Georgiana Hatara

Amsterdam

Season opener Pagliacci/Cavalleria Rusticana sets the bar high at Dutch National Opera

Von Jenny Camilleri, 5. September 2019

Exceptional singing, an auspicious conducting debut and a staging that is both sophisticated and emotionally involving make this production an unequivocal winner.

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Amsterdam

5. Sept. 2019

Pagliacci/Cavalleria Rusticana sets the bar high at DNO

Von Jenny Camilleri

Salzburg

In memoriam: Verdi's Requiem in Salzburg

Von Matthew Rye, 15. August 2019

Riccardo Muti conducted a stirring performance of Verdi's Requiem to mark the 30th anniversary of Karajan's death.

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Salzburg

15. Aug. 2019

In memoriam: Verdi's Requiem in Salzburg

Von Matthew Rye

Hamburg

Barenboim and the Staatskapelle Berlin spice up their repertoire

Von Alexander Hall, 15. Mai 2019

A concerto was the sandwich, and a very fine one too, but no overture and no symphony: who else would have married Skalkottas and Prokofiev with Mozart's last piano concerto?

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Hamburg

15. Mai 2019

Barenboim and the Staatskapelle Berlin spice up their repertoire

Von Alexander Hall

Aux bonheurs du drame : Carmen à l'Opéra Bastille

Von Tristan Labouret, 11. April 2019

Le duo constitué par Jean-François Borras et Anita Rachvelishvili signe une performance de choix dans l'opéra de Bizet. Mise en scène et direction musicale laissent plus de motifs de satisfaction que de regrets.

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Paris

11. Apr. 2019

Aux bonheurs du drame : Carmen à l'Opéra Bastille

Von Tristan Labouret

London

In the limelight: the ROH Orchestra gets to shine on stage

Von Matthew Rye, 8. Februar 2019

Georgian mezzo Anita Rachvelishvili’s sequence of Rachmaninov songs were a highlight of an all-Russian programme conducted by Antonio Pappano.

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London

8. Feb. 2019

In the limelight: the ROH Orchestra gets to shine on stage

Von Matthew Rye

Stars light up Cilea's humid potboiler at the Met

Von Robert Levine, 8. Januar 2019

Although Adriana Lecouvreur could never be referred to as one of the world’s greatest operas, Anna Netrebko, Anita Rachvelishvili and Piotr Beczała give it the star treatment at the Metropolitan Opera.

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New York City

8. Jan. 2019

Stars light up Cilea's humid potboiler at the Met

Von Robert Levine

At The Met, Netrebko triumphs as Aida, with Rachvelishvili a powerful rival

Von Ako Imamura, 26. September 2018

Netrebko met the audience’s high expectations, as she does every time, conquering the challenges with her remarkable artistry.

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New York City

26. Sept. 2018

Netrebko triumphs as Aida at The Met

Von Ako Imamura

À Bastille, Le Trouvère donne de la voix

Von Tristan Labouret, 23. Juni 2018

Cantatrices en tête, un casting vocal prestigieux (Radvanovsky, Rachvelishvili, Alvarez, Lucic) assure le succès du célèbre opéra de Giuseppe Verdi. La mise en scène d'Alex Ollé déçoit.

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Paris

23. Juni 2018

À Bastille, Le Trouvère donne de la voix

Von Tristan Labouret

Mirga Gražinytė-Tyla: A charming yet forceful first appearance on the Carnegie Hall rostrum

Von Edward Sava-Segal, 18. Mai 2018

Gražinytė-Tyla conveyed the impression of allowing her players a certain freedom to express themselves while commanding the overall forces towards a preset goal.

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New York City

18. Mai 2018

Mirga Gražinytė-Tyla's Carnegie Hall debut

Von Edward Sava-Segal

Berlin

Rachvelishvili triumphs as Azucena in Berlin

Von Laura Servidei, 12. Mai 2018

In a dated production by Hans Neuenfels, conductor Giacomo Sagripanti leads a musically successful Trovatore, where Angela Meade and Anita Rachvelishvili show their vocal brilliance.

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Berlin

12. Mai 2018

Rachvelishvili triumphs as Azucena in Berlin

Von Laura Servidei

Rome

Opera as circus: a controversial Cav & Pag double bill in Rome

Von Mark Pullinger, 5. April 2018

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

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Rome

5. Apr. 2018

Opera as circus: a controversial Cav & Pag in Rome

Von Mark Pullinger

Exquisite musicianship in Met's revival of Il trovatore

Von Edward Sava-Segal, 22. Januar 2018

Towering above all the other meritorious singers in this performance, was the phenomenal Georgian mezzo-soprano Anita Rachvelishvili

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New York City

22. Jan. 2018

Exquisite musicianship in Met's revival of Il trovatore

Von Edward Sava-Segal

London

Anita Rachvelishvili takes the honours in Covent Garden's Il trovatore

Von David Karlin, 31. Januar 2017

An outstanding Azucena and solid vocal and orchestral performances more than make up for David Bösch's unappealing staging.

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London

31. Jan. 2017

Anita Rachvelishvili takes the honours in ROH Trovatore

Von David Karlin

London

Comic strip Trovatore a damp squib at the Royal Opera

Von Mark Pullinger, 4. Dezember 2016

The Marx Brothers famously sent up Verdi's middle period masterpiece in A Night at the Opera and if Bösch doesn't exactly send up Trovatore's corrosive cocktail of infanticide, jealousy and vengeance, he undermines it with his staging.

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London

4. Dez. 2016

Comic strip Trovatore a damp squib at the Royal Opera

Von Mark Pullinger

Samson et Dalila à l’Opéra Bastille : une transposition moderne et brutale controversée

Von Anne-Laure Faubert, 4. Oktober 2016

En faisant le choix d’une modernité parfois triviale et brutale, cette nouvelle production déçoit quelque peu malgré la grande qualité du plateau vocal et musical.

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Paris

4. Okt. 2016

Samson et Dalila à Bastille : moderne, brutale

Von Anne-Laure Faubert

Houleuse Aïda à Bastille : sous les huées, la rage

Von Suzanne Lay-Canessa, 13. Juni 2016

Loin de toute la monumentalité qui a pu rendre indigestes les belles mélopées et accents verdiens, souvent cantonnées aux grandes pompes et à un logos lourdement orientaliste, cet opéra à l’écriture pourtant raffinée, et à la profondeur mésestimée, méritait une telle relecture.

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Paris

13. Juni 2016

Houleuse Aïda à Bastille : sous les huées, la rage

Von Suzanne Lay-Canessa

Mailand

A Verdian feast from Peter Stein and Zubin Mehta in La Scala's full fat Aida

Von James Imam, 21. Februar 2015

With elegant sets and superlative musicianship, Verdi came to life in the House where he is revered most. This musical feast will have us licking our lips for some time yet.

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Mailand

21. Feb. 2015

A Verdian feast in La Scala's full fat Aida

Von James Imam

Fire and ice: Rachvelishvili and Antonenko lead a successful Carmen revival at The Met

Von Ako Imamura, 30. September 2014

The Met's revival of Carmen, with its rotating set, has a successful opening night with a strong cast, an insightful conductor, a superb orchestra and chorus, all working well as a team.

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New York City

30. Sept. 2014

Fire and ice: Carmen at The Met

Von Ako Imamura

Toronto

Don Quichotte enchants with luscious singing and whimsical design

Von Catherine Kustanczy, 9. Mai 2014

Don Quichotte makes its Canadian Opera Company debut in triumphant fashion, offering an elegant visual feast in addition to a trio of magnificent, magnetic performances.

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Toronto

9. Mai 2014

Don Quichotte enchants with luscious singing and whimsical design

Von Catherine Kustanczy

An heroic and harrowing Prince Igor at the Met Opera

Von Rebecca Lentjes, 6. Februar 2014

Even the best opera glasses would be no match for the intensity of this close-up introspection: a new production of Borodin's Prince Igor is playing at the Met.

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New York City

6. Feb. 2014

Metropolitan Opera: Prince Igor

Von Rebecca Lentjes

Gheorghiu and Kaufmann bring romance to Carnegie Hall in Adriana Lecouvreur

Von Zerbinetta, 8. November 2011

“I will return! I want to again be intoxicated by the triumphant smile of art!” proclaims the actress Adriana Lecouvreur in the extravagant opera of the same title. With this role, the soprano Angela Gheorghiu returned to New York in the first performance of the Opera Orchestra of New York’s Carnegie Hall season.

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