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

Une mise en scène portée par une fidélité au texte rafraîchissante, qui ne s’encombre heureusement jamais d’une inutile rigueur documentaire, et révèle la prometteuse Marina Rebeka.

Deuxième opéra de l'été aux Chorégies et une Traviata dominée par un trio vocal d'une précieuse homogénéité. 

L'Opéra National de Paris clôture sa Trilogie Populaire de Verdi avec une Traviata théâtralement bien pauvre. 

Amartuvshin Enkhbat and María José Siri spar as father and daughter in Günter Krämer's tired production of Verdi's biblical epic. 

Tragic love, deceit, retribution... and Plácido Domingo. Despite its darkness, the Wiener Staatsoper's revival of Simon Boccanegra makes for an enjoyable evening. 

At 78, Domingo rages against the ravages of time, and – certainly in this production – shows the next generation a thing or two about stagecraft.

La visita de Plácido Domingo al Teatro Real, si bien se sucede cada año, no deja de ser un evento de relevancia, especialmente para seguir constatando como el que fue tenor y ahora se exhibe en papeles de barítono sigue pisando las tablas del escenario con convicción y vitalidad.

In einer konventionellen Inszenierung, aber einem stimmungsvollen Bühnenbild stirbt in Baden-Baden Plácido Domingo als Simon Boccanegra einen würdevollen Operntod.

Plácido Domingo makes a dramatic recovery for a spirited celebration of the composer's birthday in Prague.

On her house debut, in Covent Garden's second cast of the year, Angel Blue is completely convincing as Verdi's doomed courtesan; Benjamin Bernheim is an unconventional but compelling Alfredo; Simone Piazzola a persuasive Germont père.

The Albanian soprano, who made a spectacular jump-in for her house debut in Richard Eyre's production in 2008, makes a splendid return. 

This revival of the Met's 30-year-old production of Aida had a disappointing debut in the title role but Dolora Zajick's reign as Amneris is still a force of nature.

All three operas in Puccini's triptych are strongly cast in this revival. 

Contrastó la soltura y la dramatización de la albanesa con lo demostrado por el tenor español, muy pegado a la partitura y sin grandes alardes, aunque sacando adelante el exigente desempeño demandado por la voz de Athanaël. 

Anna Netrebko shines opposite Plácido Domingo in Harry Kupfer's uncertain new production.

Bartlett Sher's production of Gounod's Romeo et Juliette returns to the Met. 

The role of Luisa, some of the daintier coloratura aside, fits Sonya Yoncheva like a glove. 

The ninth revival of Jonathan Kent’s production features a great Act 1 and enjoyable Covent Garden role debuts for the three top singers, but misses the mark on the set pieces.

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.

Monstyrska dominates as Abigaille, Domingo brings his unique baritenor style to the title role, Thaddeus Strassberger creates a riot of colour and antiquarian style.

The King of Opera leads an inspired performance commemorating the 230th anniversary of Don Giovanni.

The casting was something special. Each of the principals was fun to watch, magnificent to listen to, believable in every gesture, look and touch. 

Director Davide Livermore updates the plot to the period of the Russian Revolution, October 1917, a far echo of that turning point in 1403 when the Ottoman sultan Bajazet was defeated by the Tartar Timburlaine.

Dieses Jahr wurde Verdis I due Foscari ins Programm genommen, eine Oper, die trotz einiger musikalisch interessanten Momenten nicht zu Verdis Meisterwerken zählt und in Salzburg vor allem aufgrund einer durchwachsenen Besetzung nicht überzeugen konnte.

A sus 76 años, nuestro mito viviente triunfa en el final de la temporada lírica madrileña, en una version concierto semiescenificada, y acompañado de un solvente cartel vocal.

Los Angeles Opera's Tales of Hoffmann survives multiple cast changes to look and sound fabulous, but it drags dramatically.

Younger generations have still a lot to learn from the 76-year old singer

About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.

Rebeka, Domingo y Tebar fueron los responsables de dotar de numerosos momentos de verdadero arte a una producción que parecía sentenciada a lo superficial.

Elijah Moshinsky’s 15-year old production of Verdi’s Nabucco has returned to the Met, ostensibly as a vehicle for Placido Domingo.

Verdis Macbeth als Beitrag zum Hieronymus Bosch-Gedenkjahr: Schauriges zu schöner Musik, Inszenierung mit vielen Fragezeichen. 

On Saturday night, nine androgynous, saucy, rambunctious dancing witches with thick, three-foot tails and exuberant tassels, whose heritage included the Wizard of Oz and the Lion King, stole the show. 

Mit einer strahlend exotischen Vorstellung von Massenets Opernrarität sorgten die Salzburger Festspiele wieder einmal für eine musikalische Sternstunde.

Un Domingo en asombroso estado de gracia puso una vez más al teatro en pie

Liudmyla Monstyrska and John Relyea turn in strong performances and Plácido Domingo confirms his hallowed status, but Daniele Abbado's direction remains unappealing in this first revival.

Furlanetto and Domingo give their all in leading a starry cast, but the stage direction fails to ignite.

Leo Nucci y Josep Bros se coronan como triunfadores en un Simon Boccanegra "mensual", a la espera de Plácido Domingo

The Met brought back a 20-year-old traditional production of Simon Boccanegra with a starry cast led by James Levine.

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.

Operalia is a curious beast among voice competitions. Step onto the stage, belt out your aria and, before you’ve barely had time to acknowledge the applause, the next contestant shuffles along the conveyor belt. A one-shot saloon. 

Placido Domingo was "suffering from a bad cold" on Saturday afternoon, so baritone Luca Salsi, scheduled to sing Enrico in Lucia di Lammermoor later that night, put on the costume and delivered a convincing last minute Don Carlo in Verdi's Ernani.

This revival of Peter Mussbach's production of Macbeth is devoid of props and places the focus squarely on singers and orchestra. This challenge was splendidly met by Plácido Domingo, making a role debut as Macbeth, and Liudmyla Monastyrska.

Nucci's studied performance of the title role in Simon Boccanegra ensured Verdi's drama shone profoundly. 

Verdi’s Aida has been performed over 1,000 times at the Metropolitan Opera, making it the most commonly revived work after Puccini’s La bohème. Because Aida is so regularly programmed, I usually walk rather than run to see this opera.

Matthew Richard Martinez reviews Los Angeles Opera's season-opening performance of Verdi's La traviata starring Plácido Domingo, Nino Machaidze, and Arturo Chacón-Cruz.

Sehensüchtig erwartet und groß gefeiert: Anna Netrebko und Plácido Domingo glänzen in der diesjährigen Produktion von Verids Il Trovatore bei den Salzburger Festspielen und erfüllen die Erwartungen des Publikums mit Dramatik und Glanz. Auch wenn manchmal der Sinnzusammenhang fehlt, hat diese Inszenierung einiges zu bieten.

The Royal Opera House revives Jonathan Kent's traditional production, but with a crucial lack of magnetism between hero and heroine, Puccini's taut thriller feels somewhat muzzled.

If you are going to see Verdi’s I due Foscari, this production is likely the way to do it. Although this production is by no means unflawed, there are several reasons that it is a must-see for opera fans in Vienna.

Of the “ABCs” of opera (Aida, Bohème, and Carmen), Bizet’s masterpiece is the one that has made the transition to pop culture ubiquity. Surely even the most oblivious of listeners are able to whistle along to the “Habanera” and “Toreador Song”. Furthermore, the melodramatic story of exoticism, lust and rejection is one of the most popular of operatic tales.

“Fly, my thoughts, on gilded wings; fly to rest on hills and mounts.” It’s no understatement to say that Va, pensiero, the Act 3 chorus of the Hebrew slaves in Nabucco, catapulted Giuseppe Verdi to lasting fame. It remains one of the biggest moments in any opera, and the Royal Opera Chorus performed it superbly last night.