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

Monumentalidad y grandes voces encienden la nueva temporada del Teatro Real.

Entre pesados muros y bajo la presencia de la cruz pudimos observar como algunas leyendas se encontraban, en una representación con algunos elementos muy notables.

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

Espectáculo honesto y coherente que supo superar las dificultades intrínsecas del Don Carlo, con bastantes luces y algunas pocas sombras pero defendiendo un modelo de representación distinto al de los grandes teatros de ópera

Albert Boadella queda lejos de revitalizar el Don Carlo de Verdi en esta representación de El Escorial, despejando muy levemente la consabida leyenda negra que lo rodea desde su origen y que sigue resplandeciendo. Un compacto equipo vocal salva los muebles de una representación un tanto pretenciosa.

The Metropolitan Opera performs the original French version of Don Carlos for the first time with a distinguished ensemble of soloists, but the static production offers no new insights into the depth of Verdi's masterpiece.

The Jette Parker Young Artists take on their most ambitious programme yet, showcasing some of the most promising Verdian voices of the future.

The Hungarian State Opera presents a new modern production of Don Carlo by a director who depicts the historical cruelty as very much present in our world today.

A five-hour operatic marathon as the full, five-act French version of Verdi's epic Don Carlos returns to the Staatsoper after a seven-year hiatus. 

The Opéra Royal de Wallonie-Liège takes a risk in mounting a new, but traditional production of the more rarely heard French version of Verdi’s Don Carlos and succeeds with a great ensemble of singers. 

À l'Opéra Royal de Wallonie, la production de la version française de l'œuvre cherche avant tout la fidélité au spectacle original. Triomphe pour Lionel Lhote, formidable dans le rôle du marquis de Posa. 

Maestro Myung-Whun Chung leads an almost all-Italian cast in an impressive performance of Verdi’s most ambiguous masterpiece.

Dans la mise en scène de Warlikowski créée en 2017, Don Carlo est de retour à Bastille, cette fois-ci dans sa version italienne. Une franche réussite malgré l'état grippal de Roberto Alagna.    

Jens-Daniel Herzogs Regiekonzept am Staatstheater Nürnberg leistet nicht durchgängig interpretatorischen Mehrwert.

In der italienischen vieraktigen Version erklingt Giuseppe Verdis Oper vielversprechend zur Saisoneröffnung.

Sir David McVicar's unassuming production fails to engage with the political side of Verdi's masterpiece, despite good conducting by Nicola Luisotti and some good singing by a solid cast. 

Mit Fabio Sartori und Anja Harteros entsteht beim ersten Don Carlo der Saison ein ganz besonderer musikalischer Zauber.

Verdi's most political of operas brilliantly highlights the juxtaposition of personal desires and political imperatives

From stylised 16th-century dress to a 1970s sitcom ballet, Konwitschny's Staatsoper staging is full of brilliantly inventive touches, splendidly realised in this excellently sung revival. 

Anja Harteros takes a while to hit her stride in a Don Carlo that doesn't quite gel.

A (nearly) complete performance of the original French version of Don Carlos forms the centrepiece of Daniele Rustioni's Verdi Festival in Lyon. 

The team of soloists, the chorus and the orchestra, under the baton of Philippe Auguin, powerfully conveyed the spectacular qualities of Verdi's Don Carlo.

Krzysztof Warlikowski’s new Paris staging of Verdi's epic Don Carlos is cold and glassy, but the vocal performances at the Bastille more than compensate.

C’est peu dire que la nouvelle production de Warlikowski, après les deux reprises qui ont ouvert cette saison de l’Opéra de Paris, était attendue. Promesses tenues.

Has Health and Safety finally caught up with the Spanish Inquisition? A flameless auto-da-fé and some low-key individual performances meant this revival took time to hit its stride. 

Octogenarian maestro Elio Boncompagni has dug deep into the plethora of Don Carlos partiture and come up with a precious musical treasure. Derek Gimpel's direction disappoints.

Were it not for a sterling musical display, built on the shoulders of bass Ferruccio Furlanetto and conductor Myung-whun Chung, this could have been a very long night indeed.

Strong vocal and orchestral performances and a tour-de-force staging of Act II light up Grange Park's production of Verdi's political thriller of the dark days of the Spanish inquisition.

Un Verdi de toute beauté ! Avec Daniele Callegari à la baguette et Robert Carsen à la mise en scène.

A dream cast come true in Don Carlo at San Francisco Opera. Emilio Sagi's direction is the only weak link in this production.

Daniele’s Abbado’s black-box production of Don Carlo augurs a crash landing with no survivors.

Giuseppe Verdi’s Don Carlos has finally arrived, for the first time in the 21st century, as a much anticipated highlight of Opera Australia’s current season. 

Better conducting and supertitles would also help breathe life into this drab revival of Bayerische Staatsoper's Don Carlo.

Some very fine singing and beautiful, if sometimes confusing, visual effects in Opera Philadelphia's Don Carlo.  

Great singing from veterans and some visually stunning effects light up the Met's revival of Hytner's 2010 production of Verdi's Don Carlo.

Last night’s performance, the second after a serious casting face-lift held to that tradition, and was very well received despite its inherent flaws, thanks to some very fine singing.

A strong staging of Verdi's Don Carlo by Japanese opera company Tokyo Nikikai in David McVicar's Frankfurt production.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

There’s something relentlessly dark about Verdi’s Don Carlo. King Philippe and his son, the eponymous Don Carlo, are both very troubling characters, the former power-hungry and vengeful, the latter plagued by desire for his stepmother.

Read our review of Nicholas Hytner's production of Verdi­'s Don Carlo in its 2010 broadcast from the Met Opera in New York.