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

Un Otello, en el Liceu, en la producción de Kriegenburg, con algunos claroscuros y en la que destacó Desdemona con una acertada interpretación.

Tenor-turned-director José Cura transplants the action from southern Italy to Buenos Aires. 

José Cura shines as a designer but brings surprisingly little staging expertise to his latest directorial effort.

Cura's powerful spinto tenor impressed from his opening “Esultate!” and left no doubt as to the Moor's authority.

Tannhäuser qui chante en français ? Il n’en fallait pas plus pour attiser notre curiosité et nous précipiter à l’Opéra de Monte-Carlo qui présentait pour la toute première fois depuis 1861 cette singulière version créée à cette date pour Paris.

Strindberg, Munch, Grieg, and Kierkegaard eke out a living in a loft in Stockholm among the joys and sorrows of love and loss.

Minimalistisch im Bühnenbild aber groß im Klang: Die Salzburger Osterfestspiele wurden mit einem gemischt aufgenommem Otello begonnen, wobei Röschmann als Desdemona durchweg überzeugte. 

José Cura's new Bohème in Stockholm features Kierkegaard, Munch, Strindberg, and even Julbocken – but it's Daniele Callegari that proves the main draw.

On a balmy evening in Milan, there was anticipation in the air as queues stretched way back for a sold out performance of Carmen. But a flat atmosphere soon fell in the auditorium itself, with lacklustre singing and confused staging to blame.

There were some not-to-be-missed performances last evening in Verdi’s Otello at the Staatsoper.Dmitri Hvorostovsky is a god amongst men whose interpretation of Iago, Otello’s villainous ensign, was completely on the mark. Resplendent in his white ponytail, black leather and tattoos, he completely embodied the treacherous scoundrel bent on Otello’s destruction.

Love and death are the two basic ingredients of the standard opera plot, and the more tragedy involved from the first to the last, the more likely it is to spur composers to set it to magnificent music. Andrea Chénier is a textbook example of this although it is not anywhere near as popular as La traviata, Carmen or La bohème, and explicably so.