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

De nouveau réunis un peu plus d'un an après un concert déjà exceptionnel, les deux géants Noseda et Chamayou, sous la gouverne des Grands Interprêtes, se retrouvaient sur les planches de la Halle, avec cette foi l'Orchestre de Turin.

Le 27 mai le TCE accueillait une version de concert de Lucia di Lammermoor avec les équipes du Teatro Regio de Turin sous la direction de leur charismatique directeur musical Gianandrea Noseda : au sein d'un cast de bon niveau, Diana Damrau a reçu un triomphe mérité dans le rôle titre grâce à une superbe maîtrise vocale, malgré une caractérisation quelque peu excessive.

Pour l’ouverture de la saison du Teatro Regio de Turin portait à l’affiche le très célèbre Aïda de Giuseppe Verdi. Le montage du chef-d’œuvre amenait une collaboration inédite avec le Museo Egizio de la ville, considéré comme l’une des collections archéologiques égyptiennes les plus riches du monde après le Musée du Caire.

Die gestreamte Vorstellung von Donizettis Oper aus dem Teatro Regio hätte noch deutlich Luft nach oben gehabt, war aber dennoch charmant.

The staging sways between tackiness and naivety, like those old Christmas cards with sequins glued to the edges of the figures.

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

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

Diego Fasolis gives an enlightened, 18th-century account of the Mozart/da Ponte masterpiece, with great precision and elegance.

Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.

The director presents the story clearly enough, but apart from that, there is not much going for this production.

With so little of worth happening onstage, this performance requires a unanimously strong set of performances from the main cast.

Stefano Poda's staging has its own coherence, but it is as cold as the Chinese princess. 

Renzetti's traditional rendition does not reveal yet unprecedented details of a score that is the summation of Verdi's mastery and his last work – his third based on Shakespeare.

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

Verdi’s Macbeth, performed at the first Edinburgh International Festival returns for its 70th anniversary in Emma Dante’s sumptuous new production from the Teatro Regino Torino under Gianandrea Noseda.

Director Emma Dante revives Verdi's Macbeth for Turin's Teatro Regio, conducted by Gianandrea Noseda.

As always in the librettos of the time, the historical events are just a weak excuse to stage timeless stories of jealousy, struggle for power, sexual desire – the ingredients in today's television series.

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.

Originally conceived by Robert Carsen for the Vlaamse Opera, this production of Katia Kabanova is now at Teatro Regio, second chapter of a Janáček/Carsen project.

The second part of the traditional Cav & Pag double bill on stage at Turin's Teatro Regio

Sixty years after its debut, Bernstein's West Side Story is back with its mix of nostalgia and timeless social issues.

Kitsch and grand-opera in Hugo de Ana's production of Samson et Dalila in Turin.

After 120 years Puccini's La bohème returns where it was first produced on February 1, 1896. Ale Ollé, director fron "La Fura dels Baus" stages a modern rendition of the moving masterpiece.

Diana Damrau erhielt noch vor Konzertende Standing Ovations, doch auch das restliche Ensemble sowie Orchester und Chor standen ihr in nichts nach. 

Patchy vocal offering saved by superb orchestra in Verdi's Simon Boccanegra.

Though musically played with participation and sensitivitythe, this production was full of jugglers, acrobats, dancers, circus performers and mimes. 

Visually traditional, this Norma often indulged on the most predictable aspects of Vincenzo Bellini’s opera, unfortunately missing the opportunity of bringing a bigger audience to the theatre and showcasing the vastness of Italian opera. 

Stefano Poda’s deeply intellectual mis-en-scene immersed the bourgeois love affair between Marguerite and Faust in an abstract and transcendental tangle of philosophical, existential and liturgical motifs. However, an overflowing symbolism sounded sometimes academic, but the visual effects were suggestive if not properly enchanting.

Vittorio Borrelli’s production of Hänsel und Gretel in Turin offers a refined mise-en-scène focusing on the tiny, playful and colourful aspects of the plot. 

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. 

Teatro Regio in Turin paid its first seasonal tribute to Giuseppe Verdi with an engaging execution of the Messa da Reqiuem.