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Artiste: Jonah Hoskins

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New YorkLincoln in the BardoCréation mondiale

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Mazzoli: Lincoln in the Bardo
Yannick Nézet-Séguin; Lileana Blain-Cruz; Metropolitan Opera; Steven Osgood; Adam Rigg; Montana Levi Blanco; Yi Zhao

PhiladelphiaCarmina burana

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Coleridge-Taylor, Ortiz, Orff
The Philadelphia Orchestra; Yannick Nézet-Séguin; Jeffrey R. Smith; Janai Brugger; Jonah Hoskins; Will Liverman

HambourgIl barbiere di Siviglia

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Rossini: Il barbiere di Siviglia (Le Barbier de Séville)
Teresa Riveiro Bohm; Tatjana Gürbaca; Staatsoper Hamburg; Klaus Grünberg; Barbara Drosihn; Philharmonisches Staatsorchester Hamburg

HambourgGuillaume TellNouvelle production

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Rossini: Guillaume Tell
Susanna Mälkki; Tobias Kratzer; Staatsoper Hamburg; Rainer Sellmaier; Reinhard Traub; Philharmonisches Staatsorchester Hamburg

BerlinDie Entführung aus dem Serail

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Mozart: Die Entführung aus dem Serail (L'Enlèvement au sérail)
Tim Fluch; Andrea Moses; Staatsoper Berlin; Raimund Bauer; Anja Rabes; Irene Selka; Staatskapelle Berlin

HambourgCavalleria Rusticana / Pagliacci

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Mascagni, Leoncavallo
Giampaolo Bisanti; Giancarlo del Monaco; Staatsoper Hamburg; Michael Scott; Philharmonisches Staatsorchester Hamburg; Chor der Hamburgischen Staatsoper
Critiques récentesEn voir plus...

L’italiana in Algeri in the wrestling ring at Deutsche Oper Berlin

L'italiana in Algeri at Deutsche Oper Berlin © Eike Walkenhorst
A classic opera buffa gets an update by Rolando Villazón to a produce a staging that celebrates the timeless vitality of Rossini’s comic imagination.

Glyndebourne’s season opens with Rossini’s Barber of Seville

Germán Olvera (Figaro) © Glyndebourne Productions Ltd | Tristram Kenton
Annabel Arden’s production provides joyous comedy, with vocal and orchestral performances of the very finest.

Hidden tears season the comedy in Santa Fe's enchanting Elixir

Jonah Hoskins (Nemorino) and Alfredo Daza (Dulcamara) © Curtis Brown Photography
In this revival of Stephen Lawless' busy production, set in 1945 Italy, young American tenor Jonah Hoskins' endearing performance tilts Donizetti's charmer in a Nemorino-centric direction.