En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | Orchestra del Teatro dell'Opera di Roma

Graham Vick's new staging of Mozart's unfinished Singspiel marks a welcome, exciting reopening of Teatro Costanzi after the Covid-19 shutdown.

Living in an environment influenced by French culture, Verdi saw the chance of breathing new life into the Italian opera through the grand-opéra. Les Vêpres siciliennes is his successful attempt.

In Emma Dante's staging we are viewing an allegory of death as painted in the medieval frescoes of Italian cemeteries.

Robert Carsen's minimalist modern reading of Gluck's masterpiece is a pure distillation of opera (and life) and the Teatro dell'Opera di Roma.

Graham Vick stages his Marriage of Figaro in todays vulgarity, but he is not fully convincing.

Alessandro Talevi's gorgeous staging recreates Tosca as it might have been seen at its 1900 première. 

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

Michieletto's production for the Teatro dell'Opera in Rome is fresh, intelligent and destined to go down as one of his best. 

The Mediterranean setting of Auber's work is recreated by director Giorgio Barberio Corsetti with its intriguing teatro-immagine, where video projections and virtual reality are predominant.

Carmen de Bizet revient à Rome dans le magnifique parc des thermes de Caracalla.

Lord Sidney's contemplation of the insanity of the world seems to be the impetus for this delirious production. So endless is its stream of gags that to attend this show is to be left feeling exhausted.

Difficile exercice que celui du drame lyrique pour deux Prima Donna qu’est Maria Stuarda. Il ne fallait pas moins que le talentueux duo constituait de la soprano lettone Marina Rebeka et de sa sœur de scène l’italienne Carmela Remigio pour donner ses lettres de noblesses à ce modèle de bel canto qui n’avait pas été donné sur les planches de l’Opéra de Rome depuis 2006.

Pour la première de la saison lyrique romaine, Daniele Gatti amenait l’Orchestra e Coro del Teatro dell’Opera di Roma dans un Richard Wagner épuré.

The visual results are stunning, though an uneven cast made this a performance with clear weaknesses as well as strengths. Aquiles Machado's Cavaradossi, on the other hand, was an indubitable revelation.

Thoughtful character placement and a keen eye for detail contribute to a Carmen in Rome which is short on passion, but lovingly played.