Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Il trovatore

Orchester und Inszenierung köcheln auf Sparflamme, aber immerhin liefern einige gesangliche Leistungen Grund für Euphorie an der Staatsoper. 

Eine Besetzung, die keinerlei Wünsche offen lässt in einer bildgewaltigen Inszenierung – Opernherz was willst du mehr? 

Yusif Eyvazov und Monika Bohinec bringen nur wenige Glanzpunkte in eine ansonsten staubtrockene Inszenierung.

Es war der Abend der Nora Sourouzian: Die Mezzosopranistin legte eine Glanzleistung hin und dominierte einen ansonsten nicht durchwegs spannungsreichen Abend zur Saisoneröffnung in der Oper Graz.

Zwei kurzfristige Umbesetzungen und ein blasses Regiekonzept: Statt feuriger Saisoneröffnung mit Glamourfaktor loderte lediglich ein guter Repertoireabend. 

Wien inszeniert eine neue Starproduktion von Verdis Klassiker mit überragendem Gesang in Daniele Abbados Szenario des Spanischen Bürgerkriegs.

Salzburger Wiederaufnahme mit starker Leistung von Anna Netrebko und Ekaterina Semenchuk zu Recht ausverkauft.

Nichts wird die Handlung von Il trovatore weniger irrwitzig machen. Aber ein Regisseur, der diesen Zug bewusst annimmt, zusammen mit hervorragendem Spiel und Gesang, sorgen für eine großartige Show.

Sehensüchtig erwartet und groß gefeiert: Anna Netrebko und Plácido Domingo glänzen in der diesjährigen Produktion von Verids Il Trovatore bei den Salzburger Festspielen und erfüllen die Erwartungen des Publikums mit Dramatik und Glanz. Auch wenn manchmal der Sinnzusammenhang fehlt, hat diese Inszenierung einiges zu bieten.

El final de curso nos ha traído una producción redonda, jubolisa y honesta, con un reparto vocal de primera que nos quedará como el mejor recuerdo de esta temporada del Real. 

The 74th Wexford Opera Festival opens with the French revision of Il trovatore that Verdi reforged for the Paris Opera. 

Giacomo Sagripanti’s live wire dynamics and keenly judged tempo choices keep this revival of Verdi's Il trovatore buoyant at Covent Garden. 

Àlex Ollé disecciona Il trovatore con pericia cinematográfica, bien acompañado por un experimentado Maurizio Benini y un formidable elenco.  

Four superstars deliver dramatic moments in this revival of Sir David McVicar’s Goya-inspired staging of Verdi’s melodrama. 

Venus pour une soirée qui compilait divers extraits d'opéras de Verdi, l'orchestre et le chœur de la Scala et leur directeur musical, Riccardo Chailly, ont proposé un beau concert bien que peu théâtral.

Adele Thomas’ Royal Opera staging channels the Marx Brothers in playing it for laughs, but the musical compensations are many under Sir Antonio Pappano.

Malgré la révélation Judit Kutasi dans le rôle d'Azucena, la reprise de la (décevante) mise en scène d'Àlex Ollé à Bastille ne fait pas du Trouvère une production marquante.

All you need to stage Trovatore, according to Enrico Caruso, are “the four greatest singers in the world”. The Verdi Festival may have found the four loudest...

Gianandrea Noseda takes his post as general music director at the Opernhaus Zurich leading a great cast in Adele Thomas' successful new production. 

Francisco Negrín gives his singers little help in a dark, boxy new staging, put together at frantic, last minute speed. 

Rising mezzo-soprano Raehann Bryce-Davis offers a gorgeously sung and grippingly acted portrait of Verdi's gypsy. 

In a reduced concert performance of Il trovatore the drama unfolds with the force of music alone.

Un escenario con una austeridad fingida y grandes voces cierran la temporada del Teatro Real con Il trovatore de Verdi.

Un propuesta clásica de Il trovatore en la que los auténticos protagonistas fueron los cantantes entre los que destacaron Angela Meade y Agnieszka Rehlis con una actuación ejemplar.

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

When they asked Wilson to stage an opera by Verdi, the Texan director replied "I'll never do it!". Now he is at his fourth Verdi's production.

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.

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.

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

El Gran Teatre del Liceu cierra la temporada con Il trovatore, de Verdi. Las grandes voces de Ruciński y Cornetti dirigidos por Callegari y junto a la Orquesta del Liceu son el centro de una producción que conecta la historia de Manrico con la figura de Goya.

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

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.

Francesco Meli asserts his credentials as one of the top tenors singing Manrico; David Bösch's staging lacks attention to detail.

Inadequate production and mixed performances characterize the Hungarian State Opera's new Trovatore.

A spirited performance of Verdi's beloved work highlighted the virtues of opera in concert.

Despite the sombre staging, it’s the vocal fire that blazes in this impressive Trovatore in Paris.

At the Dutch National Opera, director Àlex Ollé from La Fura dels Baus stages a dark and monochromatic Trovatore, in which the four stars shine.

David McVicar's six-year old production of Il trovatore returns to the Met with a starry cast:a model of clarity and mood compared with the Met’s previous staging.

Les Chorégies d'Orange présentent une nouvelle production de l'opéra de Verdi Il Trovatore. Succès en demi-teinte. 

Scottish Opera's Il trovatore has a uniformly strong cast and shorus who sing finely, conducted by Tobias Ringwood producing spectacular sounds from the orchestra.  A wonderful end to the season. 

Director Michal Znaniecki sets the action of Verdi's popular Il trovatore in an indeterminate 20th century wartime, undecidedly trying to mix up visual suggestions and primeval anguish

The Il trovatore on offer at the Lyric this month would make a fine CD, its vocal strengths to be found equally among the leading foursome, but its weaknesses are visual and dramaturgical, and these are plenty too.

First presented in Perth in 2002, West Australian Opera’s Il trovatore (a co-production with Opera Queensland and State Opera of South Australia) is dedicated to the memory of director Elke Neidhardt, and here the stage becomes hers.

Since 2013 marks a Verdi anniversary, the Viennese have been treated to two new productions of Il trovatore: Philipp Stölzl’s pacey, offbeat deconstruction that will open in Berlin next week, and this Volksoper co-production with the Theater Bonn where the curtain goes down after every scene.

Il Trovatore has doggedly survived in opera’s hit charts despite dispensing generous quantities of hair-raising as well as eyebrow-raising content. Verdi’s music is intoxicating, of course, but there is something to this work that makes it accessible beyond reasoning.

Simultaneously one of the most loved and most mocked operas in the canon, Il trovatore has some of Verdi’s catchiest melodies set to one of his silliest plots. Against the backdrop of a 15th-century Spanish war, a cast of nobles, gypsies, nuns and soldiers enact a drama which hinges on that hoariest of dramatic clichés: children swapped at birth.

What do you get when you have a woman being burnt on the stake and her daughter tosses a baby – the wrong baby – on the pyre? The correct answer is Giuseppe Verdi’s incredible melodrama Il Trovatore.The Canadian Opera Company’s production (borrowed from Opéra de Marseille) eschews melodramatic displays but does provide some thrills.

Chamber opera - or, more often, pub opera - seems to be flourishing in London at the moment, with half a dozen companies actively putting on reduced productions. The latest of these to take place at my local theatre is Opera London's version of Il Trovatore, somewhat reduced down to two hours and performed with just a piano.