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

Las sopranos Anna Pirozzi, Ketevan Kemoklidze y la mezzo María José Montiel fueron las que se llevaron el estrépito de aplausos y la emoción del público. Exhibición de potencia y dramatismo en una obra poco dada en el teatro condal, sobre un fondo estético y sin tratamiento dramatúrgico.

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.

La propuesta de Albert Boadella regresa a El Escorial, con un reparto sensiblemente inferior al de su estreno el pasado verano.

You feel you ought not to approve of such directorial extravagance, but catch yourself being drawn into the grand pageant. 

José Carerras und ein exquisites Sängerensemble überzeugen bei der Premiere am Theater an der Wien.

Leo Nucci visceral animal of the stage has over 500 performances of the role under his belt, and, at the age of 73, he now eats this operatic challenge for breakfast

Italienischer Komponist, tschechisches Orchester und deutscher Chor. Verdis Messa da Requiem in der Münchner Philharmonie ist an diesem Abend ein europäisches Projekt. 

Une guerre politique à laquelle se superpose une rivalité amoureuse, Robert Dudley, comte de Leicester étant aimé des deux femmes.

“The show must go on.” Carlo Colombara stepped into the breach caused by Simone Piazzola's indispostion to give a Rosenblatt Recital that only fired intermittently.

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.

Hans von Bülow taunted that Verdi’s Requiem was just another of his operas “in ecclesiastical garb’”. It’s difficult to disagree when dispatched with as much operatic fervour as Antonio Pappano mustered here. 

Every once in a while, I hear a concert that grips me from the first note and doesn’t let go until the very last. Daniele Gatti and the Philharmonia’s performance of Verdi’s Requiem at the Royal Festival Hall was such a concert.There are some caveats to make: I’m not catholic, I’m not very religious and I’m not particularly steeped in the tradition of liturgical music.

With the business situation in the recording industry being what it is, studio recordings of operas are more or less ruled out. The positive side of this is that the general public gets the chance to be part of concerts that are recorded and enjoy the tension such an event creates more often.

When Salzburg Festival director Alexander Pereira stepped onto the stage of the Großes Festspielhaus last night to announce that one of the cast members of La bohème was sick and unable to sing, he faced a chorus of hisses from the audience. Soprano Anna Netrebko, the festival’s biggest non-conductor star, was feeling fine (though as Mimì she would shortly die of consumption).