Rechercher des critiques de musique classique, opéra et ballet | Don Giovanni

Un Don Giovanni de haute volée porté par un Simon Keenlyside impérial, dans une mise en scène sombre mais d’une efficacité redoutable.

La production de Don Giovanni au Festival de Beaune s'est révélée plus intéressante sur le plan dramatique que sur le plan vocal.

L’Orchestra di Piazza Vittorio transforme l’opéra de Mozart en spectacle fusion. Mais quelle fausse note vient y jouer le colonialisme ?

Pas de changement de décor depuis Les Noces de Figaro l’an dernier : l’action de Don Giovanni se déroule ici encore entre un élégant théâtre portatif  de rideaux et de fausses coulisses, écrin idéal pour les lieux de représentation – Drottningholm puis Versailles.

Il sera bien malaisé pour le spectateur de trouver dans ce morne tableau la ferveur conjuguée d’Eros et de Thanatos, ou encore, comme souhaité, le désespoir des années SIDA. Ni gaie, ni triste : la chair, ici, indiffère. 

Diana Damrau a fait vibrer l'Opéra de Marseille lors d'un récital qui restera dans les anales de l'institution marseillaise. 

Plongée dans cette nouvelle production nantaise, entre l'interphone et le réverbère, portée par de jeunes chanteurs convaincants. 

Incohérences scéniques et aplatissements du livret mettent en question la lecture du mythe proposée par la production normande.

Diablement moral donc, et aussi glacial que redoutablement efficace, ce Don Giovanni compte parmi les relectures les plus saisissantes de ce drame que l’on qualifiera difficilement de joyeux.

Vor allem die großartige Musik rettet Mozarts und Da Pontes Meisterwerk; die Neuinszenierung aber hinterlässt einen zwiespältigen Eindruck.

A terrific cast takes on the latest revival of Kasper Holten’s video-infused staging of Mozart’s opera buffa.

A disappointing new production by David Marton at Opéra de Lyon. 

Despite some dramatic frustrations, at least in Oslo, Jones' production is saved by some truly outstanding singing.

A strong cast take us to the brink of damnation in Welsh National Opera’s revival of Don Giovanni.

Alessandro Talevi's production of Don Giovanni, conducted by Christoph Altstaedt, receives a welcome revival at the Grand Theatre, Leeds. 

Jean-Louis Martinoty’s scenically seductive Don Giovanni comes as a welcome relief from recent Regietheater aberrations. 

Christian Gerhaher’s experience in a role he knows well rescued an evening of mitigated pleasures.

The King of Opera leads an inspired performance commemorating the 230th anniversary of Don Giovanni.

Iván Fischer's minimalist staging of Don Giovanni makes a triumphant return to Mupa, Budapest.

Jean-François Sivadier's pulsating new production propels The Don through his lusty adventures at a whirlwind pace. 

An impressive cast, lively orchestra and a few twists in the tale made this an exciting Don Giovanni from the Staatstheater am Gärtnerplatz.

A visually stunning production with a fine cast to match. 

Dangling and turning like shards of a giant overhead chandelier in Don Giovanni’s banquet hall, this is an evocative multimedia production that tantalizes the senses while shining new light on Mozart's genius. 

Mozart's Don Giovanni is transported by director Oliver Platt to The Queen Mary in the 1930s. It looks handsome enough, but the concept is flawed.

Robert Carsen's Don Giovanni cannot burn in a hell in which he does not believe. 

Director Jo Davies' staging of Mozart’s dramma giocoso for Nederlandse Reisopera is a high-spirited  affair packed with humour, where the emphasis is decidedly more on giocoso than on the dramma.

In Richard Jones' production of Don Giovanni at Theater Basel, it was the singers alone who stole the limelight.

Wahrscheinlich eine der besten Don Giovanni-Inszenierungen aller Zeiten; mit Sicherheit die lustigste.

Oliver Mears' impressively-cast farewell production in Belfast combines gripping drama and exuberant fun in a symbol-packed reading of Don Giovanni. 

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.

A lack of inspiration and dull staging is a serious hindrance to the second of Glyndebourne's touring productions.

Richard Jones' new production is original and thought-provoking, while a commendable cast soars under the capable baton of Mark Wigglesworth.

Roddy Doyle's new translation is ingenious more often than incongruous; John Molloy's Leporello steals the show in the Opera Theatre's Don Giovanni.

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

Whilst the spirit of Mozart permeates the Estates Theatre in Prague, it was sadly absent in both the staging and singing of his “work of uninterrupted perfection”.  

According to director Sven-Eric Bechtolf,  Don Giovanni’s divine retribution for a life of pure evil and insatiable fornication is just more of the same.

In Ron Daniels' production of Mozart’s Don Giovanni at Santa Fe Opera, the specter of death and the possibility of judgment is always center stage. 

Ian Page assembled a fine cast, with a particularly good Leporello from David Soar for yet another superb performance of Mozart from Classical Opera.

Revel with a naughty Don Giovanni at the Komische Opera in Berlin.

The Netherlands Chamber Orchestra was in glittering form, while strong singing and acting enhanced each other in the evocative woodland of Claus Guth’s Don Giovanni.

Wonderful singing and playing liven up a slightly lifeless staging of Mozart's turbulent masterpiece. 

Die Bayerische Staatsoper zeigt erneut die umstrittene Don Giovanni-Inszenierung von Stephan Kimmig aus dem Jahr 2009. 

Wenn Don Giovanni im Amerika des 21. Jahrhunderts leben würde. Dann wäre er der König der Vorstadt und der Partys, zumindest wenn es nach Jacopo Spirei geht.

Erwin Schrott seduces the Budapest audience with smiles, but Zerlina steals the show in Budapest. 

In der Regie von Achim Freyer und unter der Leitung von Jan van Steen zeigt die Volksoper Wien ihren neuen Don Giovanni.

A brilliant modern revisioning by Genevieve Raghu, in a superb contemporary translation by Benjamin Hamilton, makes Don Giovanni feel more relevant than ever for the Tinder generation and their disposable approach to love. 

Strassberger’s production of Don Giovanni raises interesting questions about modern society and our relationship with religion. Unfortunately, this production lacked focus, but is redeemed by occasionally glorious singing.

Within Mozart’s Don Giovanni, the darkest corners of the soul are exposed by music, stirred up by the lying, lecherous exploits of the aristocratic scoundrel, Don Giovanni.

Kasper Holten's virtuosic staging is revived by the Royal Opera with a cast of three exceptionally strong women, and accomplished performances by Christopher Maltman and Alex Esposito as the Don and his servant.

An accomplished technical display from the OAE's period wind ensemble which occasionally lacked personality.