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Performer: Alejo Pérez

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RomeThe Fiery Angel

Prokofiev: The Fiery Angel
Alejo Pérez; Emma Dante; Teatro dell'Opera di Roma; Carmine Maringola; Vanessa Sannino; Leigh Melrose; Ewa Vesin
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Demonic obsessions in Prokofiev's The Fiery Angel in Rome

Alis Bianca (Madiel) and Ewa Vesin (Renata) in The Fiery Angel © Yasuko Kageyama | Teatro dell’Opera di Roma
In Emma Dante's staging we are viewing an allegory of death as painted in the medieval frescoes of Italian cemeteries.
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In Konwitschny's modern Medea, monsters are made by men

Sebastian Kohlhepp (Jason) and Cornelia Ptassek (Medea) © Thomas Aurin
Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.
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Minimalist Onegin on the Lyric Opera stage

Mariusz Kwiecień (Onegin) and Ana María Martínez (Tatyana) © Todd Rosenberg
The finale was the dramatic and musical high of the night, when both Ana María Martínez and Mariusz Kwiecień let themselves cut loose, laying waste to the bare stage.
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An unsettling Lady Macbeth of Mtsensk in Oslo

Ole Andreas Tandberg's production of Lady Macbeth of Mtsensk gets a revival in Oslo, and proves even more chilling than the first time around.
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The universalization of Britten: Death in Venice

Death in Venice makes its première in Madrid with a rational and symbolic production by Willy Decker. 
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Teatro Real: Die Eroberung von Mexico

The inability of human beings to communicate or even empathise, and the monstrous consequences that gap in misunderstanding leads to, is the foundational idea of Die Eroberung von Mexico, and Wolfgang Rihm’s dense and frequently brilliant music.
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