Rechercher des critiques de musique classique, opéra et ballet | María José Siri

Deutsche Oper Berlin's revival of Manon Lescaut achieves a rare theatrical success; a witty and visually stunning production combined with thrilling music making in the pit with Sir Simon Rattle leading the orchestra and singers with emotional urgency.

Traditionally, Italy's most unforgiving loggionisti are reputed to reside at Parma's Teatro Regio. Thankfully for the cast, they appear to be a dying breed.

The use in the score of ancient musical instruments is what differentiates this work: pifferi, a lute, a “viola pomposa” give this work a distinctive flavour.

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.

A sizeable contingent of curious musicologists and critics gathered for the Milan première. It was a gifted a performance with plenty of insights to offer.

Zwei kurzfristige Umbesetzungen und ein blasses Regiekonzept: Statt feuriger Saisoneröffnung mit Glamourfaktor loderte lediglich ein guter Repertoireabend. 

The libretto had a troubled genesis, to say the least: seven people put their hand on it! But the rich melodic invention of the composer prevailed and the success was resounding.

A beautiful production by Alvis Hermanis of Madama Butterfly to open La Scala's new season, but it was Riccardo Chailly's presentation of Puccini's original 1904 score which caught the ear. 

For such a young conductor of unassuming stature, Gamba exudes surprising authority, bringing off players with a swipe and reaching out far from the pit to coordinate distant chorus members.

Juxtaposing Granados’ sensuality with the miserable story of Suor Angelica functioned by contrast, as they do not have anything in common.

in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score.