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Aix-en-ProvenceAccabadoraCréation mondiale
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Filidei: Accabadora
Lucie Leguay; Valentina Carrasco; Festival d'Aix-en-Provence; Mariangela Mazzeo; Mauro Tinti; Antonio Castro; Orchestre de l'Opéra de Lyon
ParisMaria StuardaVersion de concert
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Donizetti: Maria Stuarda
Clelia Cafiero; Orchestre de chambre de Paris; Chœur Les Eléments; Ermonela Jaho; Marina Viotti
Baden-BadenGiacomo Puccini: La BohèmeVersion de concert
Puccini: La bohème
Marco Armiliato; Gstaad Festival Orchestra; Chor der Bühnen Bern; Benjamin Bernheim; Carolina López Moreno
FlorenceSimon BoccanegraNouvelle production
Verdi: Simon Boccanegra
James Conlon; Àlex Ollé; Maggio Musicale Fiorentino; Alfons Flores; Lluc Castells; Orchestra del Maggio Musicale Fiorentino; Coro del Maggio Musicale Fiorentino
MilanDon Giovanni
Mozart: Don Giovanni
Thomas Guggeis; Robert Carsen; Teatro alla Scala; Michael Levine; Brigitte Reiffenstuel; Orchestra del Teatro alla Scala
MilanIl barbiere di Siviglia
Rossini: Il barbiere di Siviglia (Le Barbier de Séville)
Giulio Cilona; Leo Muscato; Teatro alla Scala; Federica Parolini; Silvia Aymonino; Alessandro Verazzi; Orchestra del Teatro alla Scala
Critiques récentesEn voir plus...
Werther revived at San Carlo: an anatomy of emotional isolation
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Willy Decker’s psychologically intense Werther returns to the Teatro di San Carlo with a deeply human interpretation by Francesco Demuro and refined conducting by Lorenzo Passerini.
Diamonds and steel: Anna Pirozzi rules in La Scala’s Turandot revival
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Visually enchanting and meticulously staged, this centenary revival confirms Livermore's production as a modern classic.
Falstaff als abgehalfterter Popstar an der Semperoper in Dresden
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Musikalisch war Daniele Gattis Falstaff eine Offenbarung und ein grandioser Einstieg als Chef an der Semperoper. Auch das Sängerensemble nötigte Bewunderung ab. Michielettos Personenführung diente der Komödie gut, blieb aber im szenischen Setting einigermaßen belanglos.
La fanciulla del West revival fails to reignite the spark in Naples
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Huge de Ana's staging is carefully crafted but feels dramaturgically outdated as the Teatro di San Carlo heads into the twilight of sovrintendente Stéphane Lissner’s final season.