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

Le Grand Théâtre de Genève ouvre sa saison avec La Cenerentola vue par Laurent Pelly : une Cendrillon farfelue, décoiffante mais aussi très émouvante.

L’Opéra National de Lorraine transpose avec succès l’opéra bouffe de Rossini.

La Cenerentola prend ses quartiers à Monaco pour fêter ses 200 ans d'existence. Une villégiature qui est passée à côté du spectacle événement. 

Originalement conçue, cette nouvelle production de l'opéra de Rossini a tout pour séduire, nous divertir et nous suprendre.

In Il turco in Italia, Gioachino Rossini’s command of spiritedness and musical timing is well matched by the plot of lovers’ infidelities.

The Teatro Regio presents a Classical rarity with echoes of Mozart and anticipations of Rossini. Diego Fasolis conducts with imagination and spunk.

Una excelente representación basada en una cuidada dirección orquestal de Riccardo Frizza y un compacto y solvente elenco encabezado por Luca Pisaroni, Varduhi Abrahamyan y Maxim Mironov.

Bartoli visitó Madrid como parte de su gira celebratoria del aniversario de Rossini y ofreció una actuación para disfrutar de su temperamento como personaje irrepetible y show-woman definitiva.

Cecilia Bartoli is joined by frequent collaborators Moshe Leiser and Patrice Caurier in a fun-filled Rossini farce full of Italian sunshine. Big grins all round. 

Bartoli shines in another Rossini role supported by an uneven cast.

La gazza ladra celebrates its 200th anniversary with a new production at La Scala, an earthbound effort from director Gabriele Salvatores, but it was Riccardo Chailly who drew the wrath of sections of the Milanese audience. 

Exuberant celebration of La Cenerentola's 200th anniversary by Cecila Bartoli and her colleagues at the Concertgebouw.

On the 200th anniversary of La cenerentola's première, Bartoli & co tour Europe and bring Rossini's sparkle to the Dortmund Konzerthaus.

Theatre director Christoph Marthaler is renowned – if notorious – for his “off the wall” productions and adherence to bad boy antics. This Viaggio was no exception.

After an absence of 145 years, Teato alla Scala staged Gioachino Rossini's Otello in a painterly Jürgen Flimm production, sparse set inspired by conversations with Anselm Kiefer.

Alden’s mise-en-scène developed the most modern aspects of Il turco's libretto. The stage not only showed what the Poet was participating towards, but the other characters also seemed to perform the poet’s conception of his own work. 

Verdi’s Otello opens with a fierce storm raging over Cyprus. In Rossini’s version, composed 71 years earlier in 1816, the composer eschewed the Cypriot setting entirely and the storm doesn’t take place until Act III, although last night a mighty crack of thunder resounded over the Théâtre des Champs-Élysées as the audience filed into the opera house. 

This cheerful revival production of Il Barbiere di Siviglia showcases the operatic talent that Naples' Teatro di San Carlo can count on.

The opening of the Teatro Real’s season in Madrid has been anything but uneventful. However, Rossini’s Il Barbiere di Siviglia, the ever-pleasing opera chosen to welcome back an expectant audience, had very little to do with it.