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

Seuls l'excellent baryton James Westman dans le rôle-titre de Nabucco et l'impressionnante tenue du chœur ont sauvé la dernière production de l'Opéra de Québec. 

En partenariat avec l’Auditorium de Lyon, l’Opéra Nouvel a réussi un coup de maître grâce à son jeune et talentueux chef Daniele Rustioni : un Nabucco en version de concert qui fait plus fort que beaucoup de mises en scène.

Un classique au programme de l’opéra de Rome, puisque c’est la huitième année que Nabucco est donné en représentation dans le cadre des thermes de Caracalla ; l’œuvre de Verdi ne cesse pour autant de ravir les oreilles du public romain.

Un an tout juste après les attententats de Paris, L'Opéra de Monte-Carlo présentait une production de Nabucco. Dans ce contexte, le spectacle sonne comme un hymne contre l'obscurantisme et en faveur la liberté. Malheureusement, il déconcerte également par son côté très conventionnel. 

In Giuseppe Verdis Oper über die Freiheits-Sehnsucht der Hebräer haben am Schluss Sänger, Orchester und Regie den Bühnenstoff erfolgreich im Kasten.

A promising cast on paper is scuppered by a banal, monotonous production and uninspired conducting.

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.

Saioa Hernández leads a solid cast in Dresden in a somewhat disappointing new production by David Bösch.

Jean-Paul Scarpitta’s San Carlo staging was almost as minimal as a biblical oratorio.

José Cura shines as a designer but brings surprisingly little staging expertise to his latest directorial effort.

Monstyrska dominates as Abigaille, Domingo brings his unique baritenor style to the title role, Thaddeus Strassberger creates a riot of colour and antiquarian style.

This was a performance that had you lickng your lips for Santi’s return next season with Zeffirelli’s time-honoured take on Aida.

With Gergely Kesselyák on double duty as conductor and director, this revival proves musically outstanding but theatrically less than satisfying.

January of 2017 sees the return of Verdi's Nabucco at the Deutsche Oper Berlin. This Keith Warner production of a Verdi favorite was successfully premiered by the Deutsche Oper in 2013, in the 200th anniversary year of Verdi's birth.

Elijah Moshinsky’s 15-year old production of Verdi’s Nabucco has returned to the Met, ostensibly as a vehicle for Placido Domingo.

Liudmyla Monstyrska and John Relyea turn in strong performances and Plácido Domingo confirms his hallowed status, but Daniele Abbado's direction remains unappealing in this first revival.

The Lyric Opera put together the best-sounding première of the year so far, in which singers, chorus and the orchestra all began with astonishing confidence and only improved from there.

Martina Serafin y Ambrogio Maestri, junto a la heterodoxa pero efectivísima versión de Daniel Oren, cumplieron con su cometido acompañados por un coro que supo afrontar el reto que supone esta ópera para cualquier conjunto.

To open its season, Seattle Opera presents its first-ever Nabucco in a production undermined by weak staging and uneven casting.

De Bosio's highly traditional reading of Nabucco takes blockbuster form, aided by Veronese architect Rinaldo Olivieri's sets, which are at once epic and pragmatic.

Para celebrar sus 50 años, el Coro Nacional de Perú lució en todo su esplendor en <em>Nabucco</em> junto a un elenco internacional y bajo la dirección musical de Marco Boemi en una producción con altibajos

La italiana Anna Pirozzi se convirtió en la protagonista absoluta de un reparto por lo demás irregular

Pour l'ouverture de sa 35ème saison anniversaire, l'Opéra de Montréal a conçu Nabucco de Verdi comme une reconstitution de la première de l'opéra en 1842 : le résultat n'appelle aucune réserve.

Rudolf Frey's production of Nabucco for Welsh National Opera undercuts the solemnity and beauty of the opera, detracting from some fine performances. 

During Verdi’s bicentenary month and year, it’s fitting that Opera Philadelphia kicked off its 2013/14 season with the work that Verdi himself considers as having launched his own career – Nabucco. Written at a time when Italy longed to be free of foreign rule, Verdi’s name and the expression “Viva Verdi” became synonymous with Italian nationalism and unification.

Nabucco opened the season at the Deutsche Oper Berlin, marking the first time in the company’s 100-year history that Verdi’s opera has been performed. Directed by Keith Warner, known for his often flamboyant productions, and conducted by Andrea Battistoni, the opera was warmly received by a delighted audience.

Nabucco in a shopping mall – this is Graham Vick’s concept for his new production of Verdi’s early masterpiece created specifically for New National Theatre Tokyo.

“Fly, my thoughts, on gilded wings; fly to rest on hills and mounts.” It’s no understatement to say that Va, pensiero, the Act 3 chorus of the Hebrew slaves in Nabucco, catapulted Giuseppe Verdi to lasting fame. It remains one of the biggest moments in any opera, and the Royal Opera Chorus performed it superbly last night.

When I saw a three-tiered theater set-up on the Kennedy Center Opera House stage, consisting of boxes decorated with blue velvet, gold and exquisite paintings, I have to admit that even having seen various different stagings of Verdi’s Nabucco before, I was intrigued.