Rechercher des critiques de musique classique, opéra et ballet | Roberta Mantegna

Carmen de Bizet revient à Rome dans le magnifique parc des thermes de Caracalla.

Difficile exercice que celui du drame lyrique pour deux Prima Donna qu’est Maria Stuarda. Il ne fallait pas moins que le talentueux duo constituait de la soprano lettone Marina Rebeka et de sa sœur de scène l’italienne Carmela Remigio pour donner ses lettres de noblesses à ce modèle de bel canto qui n’avait pas été donné sur les planches de l’Opéra de Rome depuis 2006.

Living in an environment influenced by French culture, Verdi saw the chance of breathing new life into the Italian opera through the grand-opéra. Les Vêpres siciliennes is his successful attempt.

Sir David McVicar's unassuming production fails to engage with the political side of Verdi's masterpiece, despite good conducting by Nicola Luisotti and some good singing by a solid cast. 

Monumentalidad y grandes voces encienden la nueva temporada del Teatro Real.

Carmela Remigio excels as the Trojan Queen; Sesto Quatrini conducts a superb account of the music of a Calabrian composer who died far too young.

La siempre excelente actuación de la Orquesta de la Comunidad y un reparto vocal bien empastado invitan a abandonarse al simple disfrute de los sentidos.

When they asked Wilson to stage an opera by Verdi, the Texan director replied "I'll never do it!". Now he is at his fourth Verdi's production.

Yoncheva passed the test in style, providing a scintillating delivery that drew feverish approval from the public.

In this Verdi's popular work we find a paroxysm of affections that is consonant with Matteo Beltrami's energetic conducting.

Lord Sidney's contemplation of the insanity of the world seems to be the impetus for this delirious production. So endless is its stream of gags that to attend this show is to be left feeling exhausted.