En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Rome

Un classique au programme de l’opéra de Rome, puisque c’est la huitième année que Nabucco est donné en représentation dans le cadre des thermes de Caracalla ; l’œuvre de Verdi ne cesse pour autant de ravir les oreilles du public romain.

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

Si le Teatro all’Opera de Rome a souvent fait preuve de conformisme par le passé, l’audace des productions de la saison 2016/2017 lui redonne un nouveau souffle. Après une Maria Stuarda magnifique c’est au tour de Lulu, chef-d’œuvre d’Alban Berg qui n’avait pas été donné à Rome depuis 1968, d’occuper la scène du Teatro dell’Opera. 

L’Orchestre Symphonique National de la Rai et son chef, James Conlon, ont occupé la scène de l’Auditorium Parco della Musica pour une soirée entièrement dédiée au compositeur tchèque Antonín Dvořák.

L'orchestre et le chœur de santa Cecilia ont marqué la fin de la Semaine Sainte d'un grand moment de musique et de spiritualité avec ce bel hommage au Cantor de Leipzig. 

Pour leur troisième soir de représentation, les musiciens de l’Accademia Nazionale di Santa Cecilia et Ton Koopman ont offert au public de l’Auditorium Parco della Musica une performance faite de rigueur et de complicité.

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.

La programmation invitait à s’interroger sur le rapport de Mozart et Chostakovitch aux autres artistes de leur temps ou de l’histoire de la musique en général.

Rafael Payare préside, avec un style à la fois sérieux et détendu, à l’introduction antéchronologique dans le langage hexagonal avec Claude Debussy, puis Camille Saint-Saëns et enfin Hector Berlioz.

L’orchestre et le chœur de l’Accademia Nazionale di Santa Cecilia  proposait un concert éclectique réunissant compositeurs du Centre et de l'Est européens.

L’Accademia organisait, ce mardi 4 novembre, un dynamique concert entièrement dédié à Antonio Vivaldi, dans la fameuse salle Santa Cecilia de l’Auditorium Parco della Musica de Rome. 

After singing the role of Violetta over 300 times, Ermonela Jaho announces this Rome run of La traviata will be her last. 

Clever direction by Emma Dante matches an impressive cast, led by countertenor Carlo Vistoli taking the title role. 

With its 1940s setting, Luca Del Fusco’s direction alienates in a new production of Gounod's Shakespeare-inspired opera. 

Robert Carsen’s staging of Handel's oratorio arrives, via Salzburg, in the city where Handel composed it in 1707. 

In an opera rarely staged in Italy, David Hermann skilfully masters the metatheatrical challenges posed by the libretto to Ariadne auf Naxos. 

The Italian premiere of Lucia Ronchetti’s Inferno at the Teatro dell’Opera di Roma uses Dante’s original verses, but her score fails to match their beauty. 

Originally staged at the Caracalla Baths in 2014, Davide Livermore’s production comes in from the cold. 

Damiano Michieletto is entrusted with the first staging of Lohengrin in Rome for 50 years, but his distracting staging is redeemed by the musical side of things. 

Now Director Emeritus of the Orchestra dell'Accademia Nazionale di Santa Cecilia, Sir Antonio Pappano conducts the rarely heard Mass in F minor by Anton Bruckner. 

This co-production, previously seen in San Francisco, is more of a semi-staging, convinces thanks to committed performances from a cast led by Fleur Barron.  

Following her Billy Budd and Peter Grimes, Deborah Warner directs a third Britten opera at the Teatro Costanzi. 

Despite an early misadventure, Teatro dell'Opera di Roma launches Maurizio Scaparro's staging of Rossini's comic opera with panache. 

Cecilia Ligorio directs the first new production of Mozart's early opera at the Opera di Roma since 1988. 

An unusual double bill pairing of Puccini’s Suor Angelica and Dallapiccola’s Il prigioniero opens at the Teatro dell'Opera di Roma. 

Illusion – theatrical illusion – is the theme of Pierre Audi's staging of Alcina, Handel’s beloved opera which finally makes its debut in Rome. 

Valentina Carrasco's contemporary staging, with impressive sets and singing, makes for a remarkable show at the Teatro dell'Opera. 

The Swiss conductor returns to the Accademia Nazionale di Santa Cecilia, presenting a triptych of pieces by Schumann, Debussy and Zemlinsky inspired by the season of renewal.

A historical staging with well sung arias doesn't really bring Puccini's opera alive as Rome marks its 125th anniversary. 

La Lira di Orfeo and Raffaele Pe bring Handel's opera in a concert performance to the Parco della Musica. 

The pianist enchants the audience with Mozart's Piano Concerto no. 20 in D minor, conducted by Leonidas Kavakos. 

Levit offers impeccable Beethoven, while Pappano enchants the Rome audience with Cherubini and Sibelius. 

French pianist Alexandre Kantorow and conductor Jérémie Rhorer make successful debuts with the Accademia Nazionale di Santa Cecilia. 

The Polish director comes to Italy for the first time to direct Janáček's last opera, with the young Belarusian Dmitry Matvienko  conducting.

The pianist enchants with her Tchaikovsky, while the Orchestra dell'Accademia Nazionale di Santa Cecilia tackles an unfamiliar Weinberg symphony.

Michele Mariotti and Johannes Erath lead us into the caverns of Il tabarro and Bluebeard’s Castle with two stories of violence against women 

For the first time in Italy the opera that brings together the spiritual music of the Estonian composer and the minimalist direction of Robert Wilson.

Thomas Adès takes the audience in Rome into paradise, or the ascension into Dante's heavens, as his Paradiso makes its first appearance in Italy in a programme dedicated to the celestial world. 

The conductor directs the Accademia Nazionale di Santa Cecilia and Theatres of Voices in contrasting symphonies by Berio and Stravinsky.

The Russian pianist returns to the stage of the Accademia Nazionale di Santa Cecilia with a very unusual programme, from a Bach fantasia to Rachmaninov's romances.   

Masabane Cecilia Rangwanasha is the pick of the soloists in a weighty reading of Mendelssohn's Lobgesang under Kazuki Yamada. But can Schubert's Fifth withstand the same approach? 

Santa Cecilia's newly-appointed Principal Guest Conductor Jakub Hrůša leads an all-Czech concert, promising a bright future in Rome.

The Dutch conductor makes his debut at Santa Cecilia with a popular, fully symphonic programme.

Back on stage after stopping for the lockdown, Le Corsaire by José Carlos Martinez for Rome Opera Ballet creates a narrative ballet for our time, with an ancient flavour but a contemporary attack.

A new, musically convincing production of Bellini's last opera marks a welcome return to the Teatro dell'Opera di Roma, but Andrea De Rosa's staging lacks inspiration.

The controversial artist stages his first opera in Rome, with strong musical performances under dynamic Ukrainian conductor Oksana Lyniv. 

Some last-minute changes in the programme undermine the success of a promising evening at Santa Cecilia.

Challenged with a demanding programme of Beethoven, Franck and Rachmaninov, the Russian pianist gave proof of his personal, telluric approach to intense repertoire.