Rechercher des critiques de musique classique, opéra et ballet | Iolanta

Une Iolanta plus candide que jamais, un orchestre du Mariinsky lumineux dirigé par un Gergiev imaginatif : l'opéra de Tchaïkovski couronne en beauté le week-end Saint-Pétersbourg de la Philharmonie de Paris.

L’opéra Iolanta et le ballet Casse-Noisette sont réunis dans une co-création d’envergure qui rassemble les talents du scénographe Dmitri Tcherniakov et des chorégraphes Sidi Larbi Cherkaoui, Edouard Lock et Arthur Pita.

Iolenta et Perséphone sublimées : vibrant hommage à la Lumière par l'Opéra de Lyon.

A Paris, l'enfant terrible russe réunit Iolanta et Casse-Noisette... avec des résultats très contrastés. 

Wolf-Ferrari's Il segreto di Susanna provides an airy bon-bouche to Tchaikovsky's Iolanta, brilliantly sung by Natalya Romaniw and David Butt Philip and conducted to fairy-tale perfection by Sian Edwards

Mit der Kombination aus Tschaikowskys Iolanta und Strawkinskys Marva zu einer Doppeloper gelingt dem Opernstudio ein zauberhaftes Experiment.

Llega al Palau de les Arts una producción procedente del Teatro Mariinsky de la última ópera compuesta por Tchaikovsky, Iolanta.

Students triumph in Tchaikovsky's Iolanta and Ravel's L'Enfant et les sortilèges.

Das Gastspiel der Helikon-Oper Moskau am Theater an der Wien zeigt Beginn und Ende von Tschaikowskys künstlerischen Schaffens.

Mariusz Treliński's double bill pairing returns to the Metropolitan Opera with fine performances from Sonya Yoncheva and Gerald Finley in the leads. 

Lydia Steier liefert mit einem doppelten Opernabend ein überzeugendes Hausdebüt an der Oper Frankfurt.

Benjamin Reiners schafft mit einem herausragenden Orchester und Sängerensemble einen unvergleichliches Hör- und Seherlebnis.

In the first of its opera productions this season, the Guildhall School of Music and Drama presented an interesting combination of Stravinsky's odd little comedy, Mavra and Tchaikovsky's tale of the blind princess, Iolanta.

A twin bill of fairy tales in Prague delights and disappoints.

A double bill of Tchaikovsky's Iolanta and Stravinsky's Perséphone fares strongly in Aix-en-Provence. 

The Met's première of Iolanta and Bluebeard's Castle, delayed by snow, opened with powerful singing and deeply effective staging. Iolanta showcased beautiful singing from the principals, while Bluebeard's Castle showed off brilliant playing by the Met Orchestra.

Iolanta and Francesca da Rimini work particularly well as a double bill because both works share the theme of lovers who find themselves at the mercy of possessive forces. Iolanta's domineering father ultimately yields in Tchaikovsky's opera, but in Rachmaninov's the deceitful Lanceotto is not so accommodating.

Donizetti’s one act opera, Rita, composed in 1841 formed the first half of last night’s double bill at the Guildhall School of Music and Drama. The second half comprised another late work, Tchaikovsky’s Iolanta, composed in 1891 to a libretto by Tchaikovsky’s brother, Modest. Rita turns out to be far more entertaining than the plot outline promises and deserves to be more widely seen.