En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Orchestra del Teatro di San Carlo

Le baryton français incarne corps, voix et âme le personnage maléfique de l'Otello de Verdi, dans une version de concert mémorable donnée au Grand Théâtre de Provence.

Toute pérégrination italienne près de Pompéi et Herculanum mène à Naples ; au Teatro San Carlo, le chef chinois Muhai Tang dirigeait un programme entièrement consacré à Beethoven.

Faithful to the libretto’s dramaturgy, the staging unfolds in scenographic environments of strong impact -

What makes Stéphane Braunschweig's production exceptional is its ability to reveal the opera's beating heart without resorting to didacticism. 

Huge de Ana's staging is carefully crafted but feels dramaturgically outdated as the Teatro di San Carlo heads into the twilight of sovrintendente Stéphane Lissner’s final season. 

Manfred Schweigkofler's production places the drama in a surreal, timeless atmosphere at the Teatro San Carlo. 

This first-time Neapolitan performance of Gounod's masterpiece is destined to leave a lasting impression in the audience's memory.

Dmitri Tcherniakov’s staging of Rusalka in Naples has a starkly modern visual style which occasionally dilutes the story’s emotional impact.

Latvian soprano Marina Rebeka sings Violetta in Lorenzo Amato's traditional – but damp – staging. 

This production focuses on the psychological and human aspects of the central characters, rather than on their political conflict, with Elizabeth playing a pivotal role.

Strong performances from Elīna Garanča, Barbara Hannigan and John Relyea plus innovative stage direction make for a standout production.

A traditional staging by Romain Gilbert is welcomed at the Teatro di San Carlo, with a glittering line-up of soloists. 

When in doubt, stage the action in a theatre. Australian director Justin Way gets in the way of Bellini's Norma at the Teatro di San Carlo. 

In the Italian version of Verdi's French grand opéra, Emma Dante updates the action from 1282 to the organised crime of the Sicilian Mafia. 

The Teatro di San Carlo opens its season with Vasily Barkhatov directing a Gen X mish-mash take on Puccini's final opera. 

The Italian mezzo-soprano makes her mark as Anne Boleyn's rival in Jetske Mijnssen's production in Naples. 

Director Federico Tiezzi's production offered an intimate interpretation of the second opera in the Ring cycle.

An all-Russian programme from Alexander Malofeev and Dan Ettinger, held at the Teatro Politeama in Naples as the San Carlo is temporarily closed for refurbishment.

A delayed season opening at the Teatro di San Carlo, but a night of epic grand opera as Claus Guth and Juraj Valčuha deliver a weighty Don Carlo.

Argentinian film director Damián Szifron's production is lauded in Naples, as are star soloists Anita Rachvelishvili and Brian Jagde.

Appearing in Naples after an absence of 34 years, Bellini's opera was given in a concert performance headed by Lisette Oropesa and Xabier Anduaga.

An impressive revival of Filippo Crivelli's 1998 production of Il barbiere di Siviglia, with a lively cast in Naples.

Barrie Kosky's well-travelled staging reaches Naples with fine performances from orchestra, chorus and singers mixed with some questionable musical and directorial decisions.

Marina Abramović's reflection on fame, artistry and death makes an enthralling Italian debut at the Teatro di San Carlo.

Gianni Amelio's traditionalist staging pleased the audience, and Nadine Sierra brought vocal grace and a flawless technique to the title role.

Despite the setting in a condo, Dante’s staging is basically traditional, to the point of even respecting the original story's 1830s fashions.

A concert performance makes our reviewer at the Teatro San Carlo pine for a return to staged opera. 

Antonino Fogliani conducts a concert performance of Bellini's rare bel canto opera. 

The Gala Mozart Belcanto featured internationally renowned artists who performed a high quality virtuoso concert.

What do you do when your planned season opener bites the dust? Fly in the stars and put on a concert performance of a verismo favourite. 

One of Puccini's less renowned works returns to the Teatro San Carlo after over thirty years away.

With their second open-air concert performance, Teatro di San Carlo scores another hit.

Anna Netrebko, Yusif Eyvazov and Ludovic Tézier captivate the audience in the scenic square a few metres from the opera house

Lorenzo Amato penetrates deep into the recesses of Bellini's opera. 

Film director Edoardo De Angelis sets his Tosca in a devastated, dystopiian suburb which mirrors and emphasises the opera's social degradation and immoral elements.

Willy Decker does not try to make the structure of the plot any clearer, mainly concentrating on the deeper meaning of the work. The cast was excellent.

A bland staging: at the end what really emerged was Rossini’s glorious music, its intelligent construction and perfect beauty.

A production apt for audiences who prefer a traditional, intimate staging of the most often performed of all operatic works.

Notwithstanding director Pippo Delbono's narcissistic excesses, his staging confirmed itself as effective and penetrating.

Turkish-Italian director Ferzan Ozpetek stages this new production of Madama Butterfly at Teatro San Carlo in Naples with a fine, penetrating approach.

One of Teatro San Carlo’s most cherished productions of recent years, with an excellent cast of singers and a director who steered at his ease into the libretto’s erratic changes of mood and atmosphere.

An impressive performance of Verdi's masterpiece Un ballo in maschera based on of the original libretto.

A terrific staging of Janáček's opera is successfully revived at the Teatro di San Carlo.

Jean-Paul Scarpitta’s San Carlo staging was almost as minimal as a biblical oratorio.

A trusty and convincing version of the masterpiece, with a cast of well-matched singers.

After a number of eccentric stagings, Mario Pontiggia's traditional production is a hit in Naples. 

A fresh, gleaming production of director Elena Barbalich, with as much vaudeville as possible

Many scenes could risk to be particularly disturbing,  but their overt brutality appeared functional, to the structure of the drama. A dark, gloomy story as unambiguously told as it should be.

David Pountney’s 2014 staging was revived in Naples with good singing and empathetic conducting.

A suggestive staging barely supported by the musical side