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Performer: Elīna Garanča

Upcoming eventsSee more...

ViennaParsifalNew production

Wiener Staatsoper GmbH
Wagner: Parsifal
Philippe Jordan; Kirill Serebrennikov; Vienna State Opera; Ludovic Tézier; Wolfgang Koch

LondonDon Carlo

Verdi: Don Carlo(s)
Richard Farnes; Nicholas Hytner; The Royal Opera; Bob Crowley; Ferruccio Furlanetto; Michael Fabiano

SalzburgVienna Philharmonic · Thielemann

Wagner, Bruckner
Vienna Philharmonic; Christian Thielemann; Elīna Garanča

ParisCarmen

Bizet: Carmen
Domingo Hindoyan; Calixto Bieito; Opéra national de Paris; Keri-Lynn Wilson; Alfons Flores; Mercè Paloma; Clémentine Margaine

ParisAidaNew production

Verdi: Aida
Michele Mariotti; Lotte de Beer; Opéra national de Paris; Christof Hetzer; Jorine van Beek; Elīna Garanča; Ksenia Dudnikova
Latest reviewsSee more...

Garanča glows in The Met's Damnation de Faust

Elīna Garanča © Ken Howard | Met Opera
Edward Gardner's conducting brings out the nuances of Berlioz's complex score, but The Met's concert staging lacks theatrical thrust.
***11
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Why, why, why Dalila? More disappointment at Unter den Linden

Brandon Jovanovich (Samson) and Elīna Garanča (Dalila) © Matthias Baus
Daniel Barenboim conducts an underwhelming cast in the Staatsoper's new Samson et Dalila, and Argentinian director Damián Szifron's operatic debut is stale and cliché-ridden. 
**111
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Nézet-Séguin and Met Orchestra offer compelling Mahler and Bruckner

Elīna Garanča and Yannick Nézet-Séguin © Steve J. Sherman
The Met Orchestra’s closing performance of the season saw Yannick Nézet-Séguin lead the ensemble in Mahler’s Rückert-Lieder with Elīna Garanča and an arresting Bruckner's Seventh Symphony.
****1
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Crushed velvet: Elīna Garanča holds Wigmore Hall spellbound

Elīna Garanča © Holger Hage | DG
With Malcolm Martineau, the Latvian mezzo delivered poise and polish and transcendent Rückert Lieder
****1
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A chiaroscuro-free, shiny Samson et Dalila at The Met

Elīna Garanča (Dalila) © Ken Howard | Metropolitan Opera
The Met's new season opens with a new Samson et Dalila only marginally more trashy than Saint-Saëns’ peculiar brand of kitschy orientalism.
***11
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