En vivo, Video: Buscador de críticas de conciertos de música clásica, ópera, ballet y danza | La clemenza di Tito

La fascinante producción de los Hermann sigue viva 30 años después de su estreno

L'Opéra de Toulon a remplacé la production de Semiramide qui aurait dû ouvrir sa saison par un magnifique concert lyrique.

Sam Brown's sparse production leaves nothing to focus on but the individual protagonists on stage. 

Richesse vocale et surenchère visuelle sont au menu de l'ultime opéra mozartien à Liège, mis en scène par le duo Cécile Roussat-Julien Lubek.

The Met's revival of Jean-Pierre Ponnelle's 1984 production of La clemenza di Tito is given a new breath of life with superb conducting and an excellent ensemble of singers.

Any parallels between Rome in the first century under Emperor Titus and the United States two millennia later under Emperor Trump were lost in a Tinseltown graphic novel sweep.

La Clémence de Titus fait son retour sur les planches du Capitole, dans une mise en scène de David McVicar rendant parfaitement service au livret et à la psychologie des voix.

More than 200 years after Mozart premiered La clemenza di Tito at the Estates Theatre, Marc Minkowski reveals there are still surprises to be found.

The transfer of last year's Clemenza di Tito from Salzburg delights and irritates in equal measure.

Marble and solitude: Willy Decker's view of La clemenza di Tito is revived with a strong cast at L'Opéra de Paris.

Kenneth Montgomery leads the Orchestra of the 18th Century and a fine team of young soloists in a swift, finely detailed interpretation of La clemenza di Tito.

Mozart was supposed to be the composer of La clemenza di Tito but it was really a critical edition of Metastasio’s opus by Teodor Currentzis.

Nicht alles passte in dieser La clemenza di Tito im Konzerthaus Dortmund; unbestritten anregend aber waren die dramatischen Effekte, vor allem das Auskosten des Leisen, der Milde, der Stille.

A strong cast led by Anna Stéphany's Sesto made the most of the last opportunity to hear Glyndebourne's production of Mozart's final opera.

L’Opéra de Baugé est né d’un pari un peu fou : celui de créer, en Maine-et-Loire, un festival dans la lignée de celui de Glyndebourne, dans le Sussex. Champêtre, propice à d’élégants pique-niques à l’entracte, joyeux et tous publics, le festival n’en est pas moins exigeant et porté par une vraie passion pour le genre.

Lange hat man Mozart in Salzburg nicht mehr so mitreißend erlebt. Mit dem neuen Titus gelingt Neo-Intendant Markus Hinterhäuser ein Coup, der erhoffen lässt, dass sich Salzburg einer neuen goldenen Ära entgegenbewegt.

A grimly dark setting for Mozart's final opera, Sesto and Tito haunted by childhood memories. 

Jürgen Flimm takes so many liberties with Mozart’s La clemenza it should be re-titled “Tito’s Lament”.

Strong musical performances, but Ivo Van Hove’s Powerpoint presentation of Clemenza at the Teatr Wielki is out of focus.

Avec une mise en scène originale, l'Opéra National du Rhin donne une version convaincante du dernier opéra de Mozart: La Clémence de Titus.

Le 12 décembre 2014, La Clémence de Titus est représentée au Théâtre des Champs-Élysées : la suite du cycle Mozart débuté par l'excellent Jérémie Rhorer depuis quelques années. Une production qui rassemble beaucoup de beau monde… 

The Bayerische Staatsoper's La clemenza di Tito features a bold staging, a talented cast of singer-actors, and a great orchestra. Time, place, and genders are all ambiguous, but none of that gets in the way of the story.

Classical Opera, with some deft revisions to Süssmayr's recitatives and a superb team of soloists, bring us a Clemenza both powerful and poignant, finally doing justice to Mozart's underrated late opera, composed for the coronation of a Hapsburg king. 

Amanda Majeski and Joyce DiDonato are exceptional as Vitellia and Sesto in David McVicar's production of La clemenza di Tito at the Lyric Opera.

Opera school students at the Royal Conservatiore of Scotland in Glasgow make the case for Mozart's overlooked final opera La Clemenza di Tito.

This new production of Mozart’s final, and often overlooked, opera from John Fulljames and Opera North is neither a period piece nor a straightforward translation into our own time. Instead, it inhabits it own dark and austere world created by set designer Conor Murphy and Finn Ross, whose stylish abstract projections incorporate elements of government buildings both ancient and modern.

Read our review of Jean-Pierre Ponnelle's production of Mozart's La Clemenza di Tito in its 2012 broadcast from the Met Opera in New York.

Mozart’s penultimate opera, La Clemenza di Tito is a curious work; probably the least known of his major operas, it is heavy on the recitative and lacks any “big tunes”, but it has a fascinating and timeless plot, which offers moments of high drama and eloquently depicts the loneliness of the supreme ruler.

Mozart's La Clemenza Di Tito was written in the last year of his life around the same time as Die Zauberflöte, the Clarinet Concerto and the Requiem, when Mozart was at the height of his powers.