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

Sérieuse et sans condescendance, profitant d'un plateau vocal de premier plan, la mise en scène de Damiano Michieletto séduit le public bruxellois.

Entre overdose visuelle et auditive, le Maestro Carella a eu fort à faire pour sauver le célèbre duo Cav/Pag à l'Opéra de Toulon. Il y est parvenu !

Dans le cadre des Nuits de l'Orangerie, Anna Netrebko avait concocté le 4 juillet un programme d'opéra italien quasi en famille, à destination de ses nombreux fans : ceux-ci n'ont pas été déçus.

David Lefkowich takes Pagliacci into the big top for a contemporary treatment at the the Steriti Rink.

Exceptional singing, an auspicious conducting debut and a staging that is both sophisticated and emotionally involving make this production an unequivocal winner.

Elīna Garanča gibt als Santuzza ein beeindruckend gefühlvolles Wiener Rollendebüt.

Tenor-turned-director José Cura transplants the action from southern Italy to Buenos Aires. 

Leider können auch die schönste Musik, ein bestens disponiertes Orchester und ein wunderbares Sängerensemble den Gesamteindruck des Abends nicht retten.

Scottish Opera brings opera to the people on a huge scale in a promenade production of Pagliacci.  

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

Zwei Verismo-Klassiker, die sich nach kurzfristigen Umbesetzungen auf unterschiedlichem Niveau präsentierten, wurden von Roberto Alagna in Höchstform zusammengehalten. 

David McVicar's uninspiring Cavalleria rusticana remains problematic, but a strong Pagliacci leaves the New York audience gasping. 

After its Christmas break, Cavalleria rusticana and Pagliacci return to the Royal Opera in Daminano Michieletto's arresting production. 

Even stronger than first time round, Michieletto's impressive staging is complemented by an outstanding double role debut from Hymel and a heartbreaking Santuzza from Elīna Garanča.

Charles Edwards and Annabel Arden direct Leoncavallo's Pagliacci and Ravel's L'Enfant et les sortilèges in a contrasting pairing of two short operas in Opera North's 'Little Greats' season.

A remarkable performance for State Opera of South Australia from Rosario La Spina as Turiddu in Cavalleria rusticana and Canio in Pagliacci was evidence of the brilliant tenor he has become.

Damiano Michieletto's inspired intertwining of the standard double-bill of Cavalleria rusticana and Pagliacci makes for vivid storytelling, the whole supported by an excellent cast solidly directed by Andrea Licata.

The second part of the traditional Cav & Pag double bill on stage at Turin's Teatro Regio

Despite occasionally brilliant singing, the Norwegian National Opera fails to raise seasonal spirits with a dramatically inert Cavalleria rusticana and a shaky Pagliacci.

A rare pairing of Rachmaninov's Aleko and Leoncavallo's Pagliacci was the first première of the New York City Opera's 2016-2017 season.

Welsh National Opera may have reached the ripe old age of seventy but it's very much alive and kicking.

Benjie del Rosario ignites a thrilling Pagliacci, while Cavalleria rusticana is potentially as good but marred by intelligibility and balance issues.

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.

A gripping double bill of  “Cav &Pag” from Italian director Damiano Michieletto at Covent Garden includes a few surprise guest appearances. 

Zeffirelli excess and Woody Allen wit: Los Angeles Opera's season opens with a double bill of Puccini's Gianni Schicchi and Leoncavallo's Pagliacci.

Mario Martone's Cavalleria rusticana—Pagliacci returns to La Scala, with results that do not always convince. 

El tenor norteamericano Gregory Kunde se enfrentaba al doble reto de debutar como Turiddu (Cavalleria rusticana) y Canio (Pagliacci) en la temporada lírica de ABAO, en el Palacio Euskalduna de Bilbao, con una cuidada dirección musical de Alessandro Vitiello y una nueva producción de corte clásico a cargo de Joan Anton Rechi.

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

In this anti-realistic, colourful and beautifully played production of Pagliacci, the director extends the concept expressed in the Prologue: clowns are real life people, but also real life people are clowns in a larger play.

An attractive double bill of opera and zarzuela paves the way to a new way of performing this fascinating Spanish genre. 

San Diego Opera's season opening Pagliacci focused squarely on the character of Tonio, in Andrew Sinclair's intriguing vision for this verismo classic. But the vocal performances were lacking. A director can only do so much.

As I left Holland Park after last night’s Cavalleria Rusticana and Pagliacci, I found myself wondering what they’d put in the orchestra’s cups of tea at the interval. Or, perhaps, what was it that conductor Stuart Stratford said to them.

Nothing says “Happy Easter” like a bit of alcohol-fuelled murder on the church steps, right? With their new double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci, the Norwegian National Opera certainly seems to think so!The two productions were done on practically the same sets, albeit with a few differences, which did create a rather wonderful sense of continuity from the fir

120 years after the Metropolitan Opera in New York paired Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci in a single performance, the tradition of staging these representative works of verismo opera in a double bill continued this weekend with a production under the direction of Lo Kingman, Hong Kong’s home-grown doyen of opera.

​In each case, you know the murder is coming. In each case the music is explosive and closes the opera: there is nothing left to say except Canio's simple words: "La commedia è finita.