“Sorry for my meddling. I am the director of this opera.” Before the curtain opens, in a prologue to the prologue, Delbono shows up and addresses the audience.
In one of the most fascinating resorts on the Neapolitan southern coast, the amazing London Symphony Orchestra performed Maher's First Symphony with its principal guest conductor.
Although he is mainly considered as an author of comic opera, Rossini would not be the great composer we know without GuillaumeTell, which triumphantly ended his superb operatic career.
In this anti-realistic, colourful and beautifully played production of Pagliacci, the director extends the concept expressed in the Prologue: clowns are real life people, but also real life people are clowns in a larger play.
After the great success of Eugene Onegin and the concert for Claudio Abbado, the Texan conductor John Axelrod was again on the podium of the San Carlo Orchestra, with a warm reception for a programme of Prokofiev, Mozart and Brahms.
It is not by chance that David Garrett plays the lead role in The Devil's Violinist, a 2013 film based on the life of Niccolò Paganini. With all the flamboyant looks of a rock star, he tackled Brahms' Violin Concerto in Naples.
This unadorned staging of the doomed love story between Rodolfo and Mimì in Salerno doesn’t neglect the veracity and passion of Puccini’s beautiful music.
Cirque du Soleil producer Franco Dragone's new Aida for the Teatro di San Carlo in Naples aimed to scrub off all the bombast from this triumphalistic work. The eccentricities of the production led to a poor-quality outcome, though there was some fine singing.
Attending a concert at the Teatro di San Carlo in Naples is always an amazing experience. But last Sunday’s concert was also confirmation of the excellence of two relatively young artists, conductor Juraj Valčuha and pianist Roberto Cominiani.
