Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Ambrogio Maestri

En una decpecionante reposición de la producción de Hugo de Ana, torpe y llena de clichés vacíos, Liudmyla Monastyrska y Violeta Urmana enfrentaron su magnífica técnica vocal y estilos opuestos.

Martina Serafin y Ambrogio Maestri, junto a la heterodoxa pero efectivísima versión de Daniel Oren, cumplieron con su cometido acompañados por un coro que supo afrontar el reto que supone esta ópera para cualquier conjunto.

La italiana Anna Pirozzi se convirtió en la protagonista absoluta de un reparto por lo demás irregular

A welcome revival at the Met of Robert Carsen's witty production of Verdi's final opera. 

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. 

Petrenko's Puccini is bracingly alert, filled with colour and has a romantic sweep that is utterly transporting.

The Philadelphia Orchestra's superb semi-staged production of Tosca. 

Director Davide Livermore sets the story at the time of the Dolce Vita, including the motorbike from the film Roman Holiday and the roadster from The Easy Life.

Unter der Leitung von Kiril Petrenko überzeugt die Bayerische Staatsoper in der gelungenen Neuinszenierung von Puccinis Il trittico mit meisterlichen Klängen und exzellenter Besetzung.

A production which did not make a strong impression in Naples, despite a first rate cast. 

With superb singing from Harteros, Salsi and Kaufmann, this production makes a strong case for Andrea Chénier’s continued presence in the repertoire.

Bei den Münchner Opernfestspielen begeistert Diana Damrau in einer musikalisch hochklassigen Interpretation von Lucia di Lammermoor und einer Inszenierung, die eher unspäktakulär bleibt.

The 2013 Salzburg production of Damiano Michieletto's Falstaff finally arrives in Milan where the director sets the opera in “Casa Verdi”, the Milanese residence for elderly singers and musicians.

The Staatsoper's new Falstaff is a production that is attractive not only visually, but also in terms of the varied musical color.

Laughter is indeed the best medicine. As we try and make sense of the continuing political fallout post EU referendum, the CBSO offered the perfect prescription in the ample form of Verdi's Falstaff.

The big man in the fat suit rules the show, briging vigour and joie de vivre to Hungarian State Opera's Falstaff.

Die Tosca der Bayerischen Staatsoper lässt durch ihre simple Inszenierung den Sängern viel Raum für Gestaltung, der gut genutzt wurde.

The Chicago Symphony and Riccardo Muti celebrate Shakespeare's Anniversary.

Led by phenomenal performances by tenor Javier Camarena and his superb colleagues, Met's Don Pasquale was a joyous occasion to celebrate Donizetti's late Opera Buffa.

The Met’s revival of David McVicar’s year-old take on the perennial Verismo twins strikes out emotionally in Cavalleria rusticana but scores high in Pagliacci. Working on the same set by Rae Smith, flanked by the forbidding stone walls of the town church, Cavalleria is dark, dark, dark – the very picture of a poor, unhappy Sicilian hill town.

Le pétillant opera buffa de Donizetti revient à l'Opéra de Paris dans une savoureuse mise en scène de Laurent Pelly, porté par une distribution de rêve. On y était. 

If “all the world’s a jest”, as Sir John Falstaff claims at the end of Verdi’s final operatic masterpiece, then we need players – and directors – with a sense of frivolity. Robert Carsen truly delivers. 

Martin Kušej's production of La forza del destino is hard hitting and intelligent: an imperfect orchestral performance is more than compensated for by an outstanding cast of singers.

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.

The Merry Wives of Windsor – relocated to Scotland – sing beautifully, as does their wooer, Falstaff. But it's not clear why they're in Scotland in the first place, or how the rest of the staging fits the opera.

If you let yourself be transported to director David Bösch’s strange world, you'll find an Elisir d'amore that is heartbreaking and uplifting by turns.

in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score. 

The magnificent Teatro Colón in Buenos Aires welcomed a full house to the production of Falstaff starring Ambrogio Maestri, the world’s primary portrayer of the pompous knight. Unfortunately, one singer does not an opera make.

Ambrogio Maestri reprises his star turn as a vocally and theatrically complete Falstaff in Robert Carsen’s lavish, food-fuelled situational comedy at the Holland Festival.

Like Falstaff, I found myself attempting to gobble up as much as I could: the amusing story, Robert Carsen's resourceful directing, and the brilliant music. In addition to the strong instrumental performing, the singing was, on the whole, delightful.

“Of all my works, the one that pleases me most is the Casa I’ve had built in Milan to accommodate old singers who have not been favoured by fortune or who did not possess the virtue of thrift in their youth”. This is how Verdi described the retirement home for elderly musicians he founded at the time of the composition of this opera Falstaff.

Take one hapless but lovable hero, one capricious but ultimately vulnerable heroine, a doctor and an army officer straight out of commedia dell’arte, a couple of basso buffo patter songs, at least one memorable romantic ballad, and stir the lot into a good lashing of boisterous Italian music with a sprinkling of furtive tears.

In the end, the big man gets the last laugh. Come to think of it, he also gets the first laugh, but for different reasons: you sense that Verdi steadily grew to love Falstaff in the course of writing the opera, as he turns from a coarse buffoon into a maligned old man and, eventually, into the spirit of laughter itself.

“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.