Rechercher des critiques de musique classique, opéra et ballet | Fabio Luisi

Dans cette reprise d'une production créée en 2016, Bo Skovhus est magistral dans le rôle-titre. L'œuvre s'avère une nouvelle fois un des moments forts de la programmation de l’Opéra de Paris.

Dans la mise en scène de Warlikowski créée en 2017, Don Carlo est de retour à Bastille, cette fois-ci dans sa version italienne. Une franche réussite malgré l'état grippal de Roberto Alagna.    

À Verbier, Fabio Luisi dirige l'orchestre du festival dans une Symphonie « Résurrection » incroyable d'engagement, malgré quelques imprécisions formelles.

Nouvelle production à l'Opéra Bastille, avec le Simon Boccanegra de Calixto Bieito. Une plongée dans les idées noires du personnage principal, magnifiquement interprété par Ludovic Tézier.

Cette reprise de Falstaff fait la part belle à l’esprit buffa et donne à Bryn Terfel une nouvelle occasion de briller dans un rôle qui lui sied à merveille.

Une nouvelle production ambitieuse et saissante du Lear de Reimann à l'Opéra de Paris, qui voit sombrer dans la folie un roi d'Angleterre interprété magistralement par Bo Skovhus.

Christian Spuck revisits Verdi’s sublime Messa da Requiem with a host of gifted dancers and singers at the Zurich Opernhaus.

This year’s revival of Andreas Homoki's production features excellent principals, choruses, and sublime orchestration under Fabio Luisi’s seasoned baton. The staging takes far fewer accolades.

Andreas Homoki’s new Zurich production capitalises on some quirky staging, but features superb voices in its principal roles and shows the best of the house’s joint choirs.

Engelbert Humperdinck’s Hänsel und Gretel has appeal for all ages, but Robert Carsen’s production is a different take on the beloved fairy tale.

Giorgio Sangati's staging idea pits Christians vs Saracens as pop stars against dark metal.

Unter Mitwirkung hervorragender Gesangssolisten bieten die Philharmonia Zürich und der Opernchor unter Fabio Luisi Mendelssohns Oratorium Elias auf sehr hohem Niveau.

Musically, a rewarding Forza, but Homoki's staging is best forgotten.

The in-house orchestra played out of its skin under Fabio Luisi.

The use in the score of ancient musical instruments is what differentiates this work: pifferi, a lute, a “viola pomposa” give this work a distinctive flavour.

Grimaud brilló en el Andante con moto, donde asistimos a la gradual fragmentación de la célula inicial, siempre bien arropada por maderas y, especialmente, una maravillosa sección de violas. Por último, el Rondo vivace desprendió energía y confirmó la compenetración entre el discurso pianístico y la Philharmonia.

Hélène Grimaud reizte die Zusammenarbeit mit dem Orchester mit Temposprüngen aus. Dafür präsentierte sich die Philharmonia unter Fabio Luisi bei Tschaikowsky in Bestform.

Fabio Luisi led The Cleveland Orchestra in Bruckner’s mighty Fourth Symphony, prefaced by a recently composed piano concerto by Sciarrino with Jonathan Biss.

Jan Vogler wirkte wenig überzeugend in Dvořáks Cellokonzert. Dafür brillierte die Philharmonia Zürich unter Fabio Luisi in Bruckners Vierter umso mehr, und die Theaterakustik unterstützte die Einzigartigkeit der Darbietung.

The backstory doesn’t bode well: three fugitive criminals decide to found a city that will pander to society’s most vital needs: food, sex, warfare, and alcohol.

The performance of Margherita d’Anjou seen at the Festival della Valle d’Itria in Martina Franca was the first staged in modern times.

InMo Yang spielte mit expressivem Rubato, agil, mit ausgezeichneter Intonation und stupender Technik, durch die Springbogen- und Flageolett-Passagen, die doppelgriffigen Läufe, das Pizzicato mit der linken Hand.

In a new production of Franz Lehár’s The Land of Smiles, the stoic Sou-Chong sets the melancholy tone of the operetta by singing “Smile despite your sorrows and a thousand.. aches and pains”.

That both the lead and a second key role were ill and couldn’t sing did not bode well, yet this performance of Verdi’s Un Ballo in Maschera shook up the house nonetheless.

Nikolaj Znaider and Fabio Luisi, along with NHKSO Tokyo, re-stated the obvious truth of art music that “it is all about the details.”

Fabio Luisi and the DNSO did not disappoint audiences in San Francisco, presenting a captivating program of Beethoven, Strauss and Nielsen.

Not much to set the heart racing in two works of German Romanticism performed by the London Symphony Orchestra and Chorus, conducted by Fabio Luisi.

A refined Emperor Concerto from Igor Levit complemented a welcome return to the LSO by Fabio Luisi, exuding calm control and infectious enthusiasm in Brahms' second symphony.

Wie passt denn das von Fabio Luisi gewählte Programm von Weberns Sechs Stücken für großes Orchester und Mahlers Neunter zusammen? Überraschend gut!

Christian Spuck’s new ballet Messa da Requiem in Zurich, is a breathtakingly powerful achievement. But its profound impact is spurred by more than dance alone.

Don Giovanni is an opera which has as its title character a man who is an unrepentant womaniser, who ultimately receives his just reward in one of the most famous scenes in opera where he is consumed into the fires of hell.

Fabio Luisi conducts a solidly cast Guillaume Tell with panache, Rossini's final opera returning to the Metropolitan Opera after a long absence. 

Simon Keenlyside returned to the Met after absence and led a delightful cast of Don Giovanni at the Met.

A long awaited debut for an opera which revealed itself as a Romantic masterpiece.

Eine brillante Komposition bot sich dem Publikum im Opernhaus, von Carlo Grante und dem Orchester in Bestform souverän gespielt.

Andreas Homoki’s new production of Vincenzo Bellini’s I puritani wows with a quartet of stellar vocalists, but its awkward staging and set design are a distinct disappointment.

Mozart’s beauty asserted but never implied, Sir Richard Eyre’s Le nozze di Figaro brings grand complications in bright turns and quick wit.

The Met's new production of Manon Lescaut with Kristine Opolais and Roberto Alagna has great potential to be successful musically, but the production is mixed at best.

The Met’s revival of David McVicar’s year-old take on the perennial Verismo twins strikes out emotionally in Cavalleria rusticana but scores high in Pagliacci. Working on the same set by Rae Smith, flanked by the forbidding stone walls of the town church, Cavalleria is dark, dark, dark – the very picture of a poor, unhappy Sicilian hill town.

Fabio Luisi manövrierte seine Philharmonia Zürich durch Tschaikowsky und bot mit ihr eine hervorragende Begleitering für Ivo Pogorelichs Rachmaninow-Interpretation. 

A charmingly-retro, Naïf Art production of Donizetti's L'elisir d'amore at Teatro alla Scala provided a refreshing departure from the minimal, post-apocalyptic devastation trends of modern stagecraft.

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.

“Denmark is not all Lego and pastries!” quipped Nikolaj Znaider to the Albert Hall audience. Indeed not. It is the land of Carl Nielsen, whose 150th birthday was celebrated in a packed Prom given by the Danish National Symphony Orchestra. 

A rare outing for Giovanni Simon Mayr's Medea in Corinto at the Festival della Valle d’Itria in Martina Franca. 

A dynamic cast recently gave the Zurich audience the “stuffs” of Vincenzo Bellini’s tragic opera: the power of duty, law and honour.

The Met's new production of Cav and Pag boasted strong musical performance, but its production, despite some interesting ideas, was not completely successful.

A delightful opportunity to hear nine young singers at The Met, all of whom will likely have fulfilling careers.

Besides Liszt's Piano Concerto no. 2, there was a finely wrought Beethoven Seventh and a colorful work by Italian composer Luca Francesconi. 

Julietta, Bohuslav Martinů’s seldom performed surrealistic opera of dreams and lost identity recently premiered in a new Zurich production.