En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Mauro Peter

Pour le milieu de la saison lyrique, on retrouvait une nouvelle fois Tito Ceccherini à la tête de l’Orchestre du Capitole pour diriger l’Enlèvement au Sérail. 

Conte merveilleux peuplé d’objets et de personnages magiques, c’est également une allégorie de la quête du Bien et de la connaissance, et un opéra maçonnique où les rites d’initiation et les symboles sont repris ouvertement.

Ivor Bolton en la batuta y Claus Guth en la escena mostraron el universo lacerante de un Don Giovanni agotado.

Claus Guth nos traslada a un entorno sombrío y lúgubre para narrar las horas finales de un Don Giovanni herido de muerte.

Lawrence Cummings conducts Zurich’s Orchestra La Scintilla in Handel’s oratorio-cum-opera, Belshazzar. The music was celestial; the staging was a bombastic mix of excess and vaudeville.

Director Nikolaus Habjan took Oberon’s inherent miscellany and ran with it, straight into a retro-futurism aesthetic.

Zurich Opera stages Tatjana Gürbaca’s production of Mozart’s La finta giardiniera. True to the opera buffa genre, it teems with silliness.

Christian Spuck, Zurich’s ballet director has crafted a new version of Hans Zender’s adaptation of Die Winterreise

No es infrecuente tener la oportunidad de escuchar la Pasión según San Mateo en el transcurso de la Semana Santa, lo que incrementa el número y la intensidad de elementos diegéticos que operan en la representación. En esta ocasión, además, la fecha era señalada por la comparecencia de una pléyade instrumental y vocal: la Orchester und Chor der Klangverwaltung y el Münchner Knabenchor bajo la avezada batuta de Enoch zu Guttenberg.

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

A skilfully constructed production, and one that plays with the our perspectives. Whether the images are flashbacks from a war-troubled Wozzeck or a Büchner-esque portent of the horrors to come is left for the audience to decide.

Zubin Mehta brings a great deal of class to most things he conducts at La Scala, and here his bright account of Mozart's score was a joy. 

Joseph Haydn’s opera Orlando Paladino was once cited as “a mixed salad of madness, mayhem and true love”. A recent revival in Zurich supports that assessment.

Lyric tenor Mauro Peter recently returned to the renowned Schubert festival to sing the demanding song cycle that many consider to be the pinnacle of Lied.

Die Festspiele starten mit Cosi fan tutte den diesjährigen Mozartmarathon und zeigen, dass man in Salzburg eben weiß, wie man Mozart spielt.

In Mozart’s marvellous Così fan tutte, what begins as a harmless wager around what women left alone will do suddenly balloons into a major calamity. 

The plot revolves around the daily life of a simple German town. But this fine production will make you glad that this is not your story.

Nina Stemme's domination of the heaviest dramatic soprano repertoire continues with an outstanding Isolde at the Zurich Opera House, ably assisted by Stephen Gould, Matti Salminen, and other notable performers under John Fiore.

Die Zauberflöte may well tell us something about the Human Condition, but its staging in Zurich serves more to distract from the music and the messages than it does to support them.

Fahle Geistergesichter, Blüten, die in den Himmel wachsen und ein fesselnder Christian Gerhaher: München zelebriert Monteverdis Orfeo

Precise Rachmaninov and heartfelt Beethoven in a fine Philharmonia Zürich programme conducted by Fabio Luisi.