En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Roma

Ballo del Teatro dell’Opera di Roma gives an exemplary account of John Cranko’s masterpiece Romeo and Juliet, with convincing characterisations and technical prowess.

After singing the role of Violetta over 300 times, Ermonela Jaho announces this Rome run of La traviata will be her last. 

Clever direction by Emma Dante matches an impressive cast, led by countertenor Carlo Vistoli taking the title role. 

With its 1940s setting, Luca Del Fusco’s direction alienates in a new production of Gounod's Shakespeare-inspired opera. 

Robert Carsen’s staging of Handel's oratorio arrives, via Salzburg, in the city where Handel composed it in 1707. 

In an opera rarely staged in Italy, David Hermann skilfully masters the metatheatrical challenges posed by the libretto to Ariadne auf Naxos. 

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. 

Originally staged at the Caracalla Baths in 2014, Davide Livermore’s production comes in from the cold. 

Damiano Michieletto is entrusted with the first staging of Lohengrin in Rome for 50 years, but his distracting staging is redeemed by the musical side of things. 

Now Director Emeritus of the Orchestra dell'Accademia Nazionale di Santa Cecilia, Sir Antonio Pappano conducts the rarely heard Mass in F minor by Anton Bruckner. 

This co-production, previously seen in San Francisco, is more of a semi-staging, convinces thanks to committed performances from a cast led by Fleur Barron.  

Following her Billy Budd and Peter Grimes, Deborah Warner directs a third Britten opera at the Teatro Costanzi. 

Despite an early misadventure, Teatro dell'Opera di Roma launches Maurizio Scaparro's staging of Rossini's comic opera with panache. 

Cecilia Ligorio directs the first new production of Mozart's early opera at the Opera di Roma since 1988. 

An unusual double bill pairing of Puccini’s Suor Angelica and Dallapiccola’s Il prigioniero opens at the Teatro dell'Opera di Roma. 

Illusion – theatrical illusion – is the theme of Pierre Audi's staging of Alcina, Handel’s beloved opera which finally makes its debut in Rome. 

Valentina Carrasco's contemporary staging, with impressive sets and singing, makes for a remarkable show at the Teatro dell'Opera. 

The Swiss conductor returns to the Accademia Nazionale di Santa Cecilia, presenting a triptych of pieces by Schumann, Debussy and Zemlinsky inspired by the season of renewal.

A historical staging with well sung arias doesn't really bring Puccini's opera alive as Rome marks its 125th anniversary. 

La Lira di Orfeo and Raffaele Pe bring Handel's opera in a concert performance to the Parco della Musica. 

The pianist enchants the audience with Mozart's Piano Concerto no. 20 in D minor, conducted by Leonidas Kavakos. 

Levit offers impeccable Beethoven, while Pappano enchants the Rome audience with Cherubini and Sibelius. 

French pianist Alexandre Kantorow and conductor Jérémie Rhorer make successful debuts with the Accademia Nazionale di Santa Cecilia. 

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

The pianist enchants with her Tchaikovsky, while the Orchestra dell'Accademia Nazionale di Santa Cecilia tackles an unfamiliar Weinberg symphony.

Michele Mariotti and Johannes Erath lead us into the caverns of Il tabarro and Bluebeard’s Castle with two stories of violence against women 

For the first time in Italy the opera that brings together the spiritual music of the Estonian composer and the minimalist direction of Robert Wilson.

Thomas Adès takes the audience in Rome into paradise, or the ascension into Dante's heavens, as his Paradiso makes its first appearance in Italy in a programme dedicated to the celestial world. 

The conductor directs the Accademia Nazionale di Santa Cecilia and Theatres of Voices in contrasting symphonies by Berio and Stravinsky.

The Russian pianist returns to the stage of the Accademia Nazionale di Santa Cecilia with a very unusual programme, from a Bach fantasia to Rachmaninov's romances.   

Masabane Cecilia Rangwanasha is the pick of the soloists in a weighty reading of Mendelssohn's Lobgesang under Kazuki Yamada. But can Schubert's Fifth withstand the same approach? 

Santa Cecilia's newly-appointed Principal Guest Conductor Jakub Hrůša leads an all-Czech concert, promising a bright future in Rome.

The Dutch conductor makes his debut at Santa Cecilia with a popular, fully symphonic programme.

Back on stage after stopping for the lockdown, Le Corsaire by José Carlos Martinez for Rome Opera Ballet creates a narrative ballet for our time, with an ancient flavour but a contemporary attack.

A new, musically convincing production of Bellini's last opera marks a welcome return to the Teatro dell'Opera di Roma, but Andrea De Rosa's staging lacks inspiration.

The controversial artist stages his first opera in Rome, with strong musical performances under dynamic Ukrainian conductor Oksana Lyniv. 

Some last-minute changes in the programme undermine the success of a promising evening at Santa Cecilia.

Challenged with a demanding programme of Beethoven, Franck and Rachmaninov, the Russian pianist gave proof of his personal, telluric approach to intense repertoire.

Richard Jones' setting is superb in its bare minimalism, but he pays great attention to all the psychological nuances in Janáček's opera. 

Gardiner's vivacious conducting of the Orchestra dell'Accademia Nazionale di Santa Cecilia made this performance one to remember.

After a bumpy first half, Pappano turns the evening into a memorable one by delivering an outstanding rendition of the Finn's First Symphony.

The Teatro dell'Opera opens its season with the world premiere of Giorgio Battistelli and Ian Burton's new Shakespearean work, under the baton of Daniele Gatti and the direction of Robert Carsen.

After a fifty-year absence from Roman stages, Verdi's opera about the Maid of Orléans makes an appearance at Teatro dell'Opera under the conduction of Daniele Gatti.

Kirill Petrenko's remarkable artistry and Boris Giltburg's vibrant piano-playing are the highlights of the Santa Cecilia's performance.

A performance meant to celebrate Stravinsky’s heritage proposed several works brimming with energy and wit that should be present in the concert life not only during anniversary seasons.

A marriage of Greek Mythology and American minimalism in Simone Valastro's new creation for the Ballo del Teatro dell'Opera di Roma. 

New works by Michele Merola, Benjamin Pech and Eleonora Abbagnato at La Nuvola as the Ballo del Teatro dell'Opera di Roma dances on. 

After their "military" theme last week, Daniele Gatti and Markus Werba turned towards nature for their second programme with the Orchestra dell'Accademia Nazionale di Santa Cecilia.

Baritone Markus Werba shines in six military songs from Mahler's Des Knaben Wunderhorn.