Opera

Teatro alla Scala presents Wolfgang Amadeus Mozart's Così fan tutte, one of the Salzburg genius's most brilliant and comical operas. This production by Robert Carsen and Luis F. Carvalho is a vibrant display of garish pastel colors, reminiscent of American candy colors, as if we were in a pink and blue Mulholland Drive burger joint. This is accompanied by simultaneous video projections and various other quirky elements, all in keeping with the latest trends in stage design. T

On Saturday, the Opéra Garnier in Paris premiered the production of Wolfgang Amadeus Mozart's Le Nozze di Figaro done by Netia Jones in 2022, with a new cast. Da Ponte's celebrated libretto, based on Beaumarchais's work and a key embryo of the French revolutionary movement, returned to Paris in a stage interpretation by Netia Jones that attempts to expose the power dynamics surrounding an opera house, setting the action backstage at the Opéra Garnier itself. The idea is bril

Jessica Pratt is the true diva of bel canto . These days in Florence, she is crowned as a true diva in the stratospheric role of Lucrezia Borgia. Her vocal range is absolutely complete and, moreover, tailor-made for this role, in the tragic depths of her lower notes and the piercing, stellar quality of her higher ones. Pratt delivers a Lucrezia unlike any heard in Italy for years. Powerful, regal, electric, with breathtaking breath control, and high notes as clean and delicat

One of Verdi's most profound and late works, Otello, was presented at the Opéra national du Rhin with a minimalist concept by Ted Huffman. Everything is concentrated on Shakespeare's human drama and the power of his characters; the set design adds nothing of interest, except for Bertrand Couderc's dramatic lighting. Speranza Scappucci is a conductor with a promising future who has toured the world's greatest opera houses, such as the Met, La Scala, and the Royal Opera House (

As happened last year with Rheingold, Calixto Bieito's production was so highly anticipated, given the director's track record in other productions such as his Tristan und Isolde at the Vienna State Opera, that the final result is disappointing. Bieito is no longer the director he once was, and when Wagner becomes complex and grandiose with his absolute Gesamtkunstwerk – Der Ring des Nibelungen – Bieito pales in comparison. This time, the main stage prop is a fresh robotic do

he Théâtre des Champs-Elysées premiered a new production of Hector Berlioz’s Damnation de Faust the day before yesterday. The role of Faust was sung by the legendary French vocalist, Benjamin Bernheim, who joined the cast at the last minute. From the very first lines, he impressed with the brilliance of his timbre, the power of his projection, and the perfection of his phrasing. Deeply committed to the dramatic, he made the role of the tormented, childlike adult, consumed by

Sir Bryan Terfel can still do it all. Yesterday his voice resonated once again in Monaco, embodying a magnificent and awe-inspiring Flying Dutchman. The Monte-Carlo Opera had the privilege yesterday of witnessing Richard Wagner's Der Fliegende Holländer in a semi-staged version with extraordinary projections by Stefano Visconti. Senta was sung by Asmik Grigorian, who delivered an marvellous and highly dramatic Ballad of Senta. The legendary Albert Dohmen was Daland, and his W

Valentina Carrasco, born with La Fura dels Baus, brought the war to the country that has been spared from it all: Switzerland. The Zurich Opera House presented her staging of Giuseppe Verdi's La Forza del Destino , based on the Argentine director's vision, in which she brings the war to Switzerland to reflect on contemporary conflicts. How tiresome! Does anyone really think people want to go to the opera to see more war? Isn't it enough that we see it constantly in the media?

Khovanshchina (Хованщина) was the great musical testament that Modest Mussorgsky left unfinished when he died in 1881. After premiering, not without some difficulties, his magnum opus Boris Godunov in 1874, which would henceforth be considered a musical bible of the history of the Russian Empire under the Tsars, Mussorgsky worked tirelessly on this new great Russian drama, which he left unfinished at the fifth act. After Mussorgsky's death, due to his fame as the composer of

Yesterday, Charles Gounod's Roméo et Juliette at the Berlin State Opera became a resounding triumph for Lisette Oropesa in the former Prussian city. Lisette Oropesa fully embraced Mariame Clément's strange stage concept, even when not singing and only acting, resulting in a highly convincing performance. From the very beginning of the waltz "Je veux vivre" it was impossible not to be captivated by her jubilant voice, dazzlingly bright, with impeccable technique and a charming

Last Thursday, October 30th, Roberto Alagna, a living legend of opera, landed at the Gran Teatre del Liceu, courtesy of Puccini. He gifted a completely devoted Barcelona audience with a recital dedicated entirely to the composer from Lucca. Me -Roberto- and Puccini: something very intimate and familiar, as he himself described the recital, speaking directly to the audience at the beginning, and continuing in this way throughout the evening, engaging in a continuous and very c

The highly anticipated premiere of Tristan und Isolde at the Deutsche Oper Berlin is noteworthy not for Michael Thalheimer's staging, which was already seen in September 2024 at the Grand Théâtre de Genève, but for the world debut of soprano Elisabeth Teige as Isolde. Isolde represents one of the most challenging roles for any soprano. A few sopranos dare to sing Isolde without any prior Wagner experience, but this is not so advisable. Elisabeth Teige is a highly intelligent

The  Accademia Nazionale di Santa Cecilia  in Rome wanted to kick off the musical season with a bold move: staging Die Walküre at the Auditorium of Rome's Parco della Musica. For this, some of the finest Wagnerian singers came to Rome. Michael Volle, on his endless Wotan tour, left his indelible vocal mark in Rome, creating another Wotan full of power and color. The evening's great achievement was Miina-Liisa Värelä's Brünnhilde. Her voice becomes a torrent that flows over th

Tonight, The Metropolitan Opera House once again staged Puccini's legendary La Bohéme in Franco Zeffirelli's marvelous production. A colorful, detailed, and thrilling production—especially in the second act, where the Café Momus is a true stage spectacle—but not only are the costumes, sets, and props incredible; the cast chosen to begin this year's production (which will be replaced with other casts throughout 2025 and 2026) is stellar. Freddie de Tommaso, leaving behind hi

Faust, Charles Gounod Les Arts, Valencia 15 th  October 2025 Voices: Iván Ayón-Rivas (Faust), Alex Esposito (Méphistophélès), Ruth Iniesta (Marguerite), Florian Sempey (Valentín), Bryan Sala (Wagner), Ekaterine Buachidze (Siebel), Gemma Coma-Alabert (Marthe) . Conductor: Lorenzo Viotti . Director: Johannes Erath .  On October 15, the final performance of Charles Gounod’s Faust was staged in Valencia. With this production, the Palau de les Arts opens the season celebrating th

Macbeth, Giuseppe Verdi Teatro del Maggio Musicale Fiorentino, Firenze 17 th  October 2025 Voices: Luca Salsi, Vanessa Goikoetxea, Antonio Di Matteo, Antonio Poli, Lorenzo Martelli, Elizaveta Shuvalova, Egidio Massimo Naccarato, Huigang Liu, Lisandro Guinis, Dielli Hoxha, Nicolò Ayroldi, Aurora Spinelli, Caterina Pacchi . Conductor : Alexander Soddy . Director : Mario Martone .  The recent Macbeth at the Teatro del Maggio Musicale Fiorentino offered a dark, ambitious take on

Akhnaten, Philip Glass Gran Teatre del Liceu, Barcelona 20 th  October 2025 Voices: Anthony Roth Costanzo, Rihab Chaieb, Katerina Estrada Tretyakova, Joan Martín-Royo, Toni Marsol, José Manuel Montero, Zachary James. Conductor: Karen Kamensek. Director: Phelim McDermott.  Akhnaten is the milestone of 20th-century minimalist music, and the orchestra that must perform the piece is also minimalist—no violins and very small. To this end, the Gran Teatre del Liceu has brought to B