Calixto Bieito sets Monteverdi’s L’incoronazione di Poppea in a hedonist, decadent society whose citizens are defined by their egotism, ambition and sexual exploits.
Opera Atelier's return to the earliest part of the repertoire with Monteverdi's Il ritorno d'Ulisse in patria showcases their strengths in a relatively restrained production anchored by a strong ensemble cast.
Conceptually, the programme of descending and rising fourths offered a real treat: in practice, the musicians' skill was in danger of being lost as they attempted to recover from their opening gimmickry.
Pinchgut Opera's L'incoronazione di Poppea is a glorious feast of singing, acting and playing but the production is brutal, taking Monteverdi's vision of corruption in high places to excessive lengths.
I Fagiolini's very interesting programme of music by Monteverdi and his contemporaries pulls together a wide range of works, but somehow lacks an ensemble feel.
Familiarity doesn't always breed contempt: Bach's famous Air proves the highlight of an enjoyable evening of Purcell, Bach and Pergolesi in the magnificent surroundings of Disney Hall.
Il ritorno d'Ulisse in patria, the second opera of the Monteverdi 450 trilogy being toured by Sir John Eliot Gardiner, had a strong performance in Salzburg.
Robert Hollingworth and I Fagiolini provide a whistle-stop tour of Monteverdi's different styles, from madrigals to opera, dance and sacred music, with a newly commissioned contrast from former member Roderick Williams.
Considering how rarely celebrated diva Cecilia Bartoli appears in London, Wigmore Hall certainly pulled off a coup by making her duo concert with Philippe Jaroussky happen.
Il ritorno d’Ulisse in patria tells one of the world’s great stories. This production is a treat for early opera fans and a great introduction for those new to the genre.
It's typical that in the last concert in a series that has lasted seventeen years, we had a recital from a talented young singer with a growing reputation, a Rosenblatt classic.
Until now I have been fairly sceptical about theatrical stagings of oratorios and other sacred works, so I was curious but cautious about the staging of Monteverdi's Vespers at the Holland Festival.
Energetic playing, clarity and precision from Christophe Rousset and Les Talens Lyriques in three dramatic pieces by Monteverdi, but some weighty singing obscures the detail.
A musically sensitive account of Monteverdi’s Poppea, with simple staging and 1950s costumes, sees singing triumph noticeably over the relative theatrical inexperience of HGO’s talented young cast.
Under the baton of René Jacobs, B’rock Orchestra gave an inspired performance that ought to contribute in giving Il ritorno d’Ulisse in Patria the place it deserves in the standard repertoire.
Concerto Italiano excels performing Baroque music, especially the works of Monteverdi. This year it highlights L’Orfeo in its 410th year, and does it exceptionally well.
Having received excellent reviews for his Mahler, Verdi, Wagner and Shostakovich, Pablo Heras-Casado decided to programme a composer he has loved since his youth: Claudio Monteverdi.
ETO's charactistically clear, simple production conveys Homer's story with clarity, confidence, and charm – and even humour – from a fine cast, making an exciting start to fully-staged opera at Saffron Hall.
Every early music festival these days needs one or more star countertenors in their programme. At this year’s Müpa Budapest’s Régizene Fesztival, Valer Barna-Sabadus was featured together with homegrown soprano Emöke Bárath.
A joyously fresh and zesty Orfeo, played on a selection of period instruments and with a magnificent leading tenor, makes for a superb evening of Monteverdi with Sir John Eliot Gardiner.
Historical verisimilitude and stylistic consistency might have been somewhat wanting... but the daring spirit and hight artistry prevailed in this historic night of operatic scene in Korea!
Pared-down sets and minimal stagework draw eyes and ears forward in concentration. Whilst the text is at times searingly erotic, Nero and Poppea never touch.
Former RSC Artistic Director Michael Boyd imparts a distinctly Shakespearean flavour to Monteverdi's L'Orfeo in this first collaboration between the Royal Opera and the Roundhouse.
Opera North's static production of Monteverdi's The Coronation of Poppea directed by Tim Albery takes place in a murderous psychopath’s private cellar.
Sasha Waltz’s new production of Monteverdi’s Orfeo saw a fusion of sound and movement at the Muziektheater Amsterdam, with dancers and singers twining together almost indistinguishably.
Nina Brazier’s production for Ryedale Festival Opera, on tour at Grimeborn, resoundingly succeeds on all levels, giving us an evening of luxurious beauty, abandoned sensuality and superb characterisation.
