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

Tosca is back for another run, more dimly lit than ever, but illuminated by French baritone Ludovic Tézier as a Scarpia oozing with sinister charm and ironic humour. 

Adela Zaharia is cast as a Violetta for whom the party never stops in this revival of Tatjana Gürbaca's busy staging at Dutch National Opera. 

Wegen Warnstreiks innerhalb weniger Stunden auf der Münchner Bühne eingerichtet: Verdis hier halbszenischer Macbeth beeindruckte durch hochklassiges orchestrales und sängerisches Niveau.

Andrea Battistoni conducts the Tokyo Philharmonic in Tchaikovsky's three Shakespeare-inspired works in a single programme. In between, cellist Haruma Sato excels in the original version of the Rococo Variations.

Splendid performances by Yonghoon Lee and Karah Son breathe life into Harry Kupfer’s 20-year-old production.

John Bell's reworking brings Tosca to 1943 Nazi-ruled Rome, featuring gorgeous sets and Carmen Giannatassio's striking Opera Australia debut in the title role.

Davide Livermore's digital set for Opera Australia's new production of Aida ushers in a new type of staging to the Sydney Opera House, and backs up a stellar performance from Amber Wagner in the title role.

Remarkable singers and magnificent sets successfully transpose Puccini’s Tosca to Nazi-occupied Rome, bringing home the horror of tyranny and how possible it is to occur.

Gifted conductor Andrea Battistoni and a vocally seductive cast made this revival of Benedict Andrews’s flawed La bohème a musical triumph.

Bei einer Inszenierung, die nicht für jeden aufgeht, bietet diese Produktion viel Freude für die Ohren.

Nabucco opened the season at the Deutsche Oper Berlin, marking the first time in the company’s 100-year history that Verdi’s opera has been performed. Directed by Keith Warner, known for his often flamboyant productions, and conducted by Andrea Battistoni, the opera was warmly received by a delighted audience.

Thursday evening at Renzo Piano’s modern Sala Santa Cecilia in Rome, a program given of Sergei Vasilievich Rachmaninov’s music was marked by grace, musical distinction, and infectious excitement. The excitement was brought by the pianism of the young Daniil Trifonov, who astounded with profound and agreeable musicality in the Piano Concerto no. 3 in D minor.