Verdi's brilliant final masterpiece Falstaff, in its first new Met production in 50 years – and conducted by Met Music Director James Levine in his first new production since his return to his podium at the Met. When it comes to theatrical flair, captivating costumes, stage antics and imagination, there are not many shows on Broadway to rival the Met s new Falstaff. “Ambrogio Maestri is made for the title role, with the apt physique, nimble acting and superb vocal presence that make him the leading Falstaff of the day. There is no weak link in a finely balanced, comically-attuned cast (the women are especially impressive) and Levine’s conducting is pitch-perfect. The show fizzles from start to finish and is tremendous fun” (Classical Music).
Coproduced with Siberia's Novosibirsk Opera, this new Macbeth uses cutting-edge multimedia technology to give the viewer a fresh perspective on the work. Google Earth satellite images plunge us into the heart of the action: a gloomy square surrounded by soulless buildings, and the interior of an aristocratic residence. Witches are no more a part of Tcherniakov's Macbeth that the duel was of Onegin, but once again the atmosphere is one of brooding claustrophobia. Tcherniakov has chosen a great cast, beginning with the marvellous Lithuanian soprano Violeta Urmana as Lady Macbeth. Greek baritone Dimitris Tiliakos is a powerful presence as Macbeth, while the Italians Ferruccio Furlanetto (bass) and Stefano Secco (tenor) are sumptuous as, respectively, Banquo and Macduff. In this, his second production at the Paris Opera, Teodor Currentzis, music director of the Novosibirsk Opera and Ballet Theatre conducts with verve and a splendid theatrical sense.
Verdi's late masterpiece is presented in Elijah Mashinsky's Met production with sumptuous sets and period costumes. Semyon Bychkov conducts an all-star cast led by South African Heldentenor Johan Botha in the title role with a voice of "impressive size and bronze color" (New York Times). Renee Fleming's Desdemona enshrines one of her signature roles in a definitive performance "she knows exactly how to spin the gentle lines of the "Willow Song" and "Ave Maria" so that they softly fill the hall" (New York Times). A strong supporting cast includes the superb Falk Struckmann as Iago and star tenor Michael Fabiano as Cassio.
Martin Kušej’s thrilling contemporary interpretation of Verdi’s late period opera proved the perfect vehicle for the Bavarian State Opera’s dream team of Jonas Kaufmann and Anja Harteros. The imposing sets’ references to terrorism and the implosion of modern civilization bring the opera’s inherent drama to a breathtaking pinnacle. Specialist promo & marketing activity.
Teatro Regio’s 2013 revival of their highly successful 2006 production of Verdi’s Don Carlo celebrates the 40th anniversary of the theatre’s reopening in 1973. With traditional staging and lavish costume design, the production garnered high acclaim in the national and international press, with GB Opera commending the ‘sumptuous’ setting and French online music magazine ResMusica praising director Hugo de Ana’s decision to revive the show ‘in all its splendour’. Shown here in the four-act version, Don Carlo is the fascinating tale of father-son power struggles, adultery and love that borders on incest. The cast – under the powerful baton of Gianandrea Noseda – is headed by renowned Mexican tenor Ramón Vargas, and also features Ludovic Tézier, who has been hailed as ‘one of the best Verdian singers of our time’ (ResMusica).
Originally commissioned to celebrate the completion of the Suez Canal and the opening of Cairo’s new opera house, Verdi’s Egyptian epic Aida is here seen in a spectacular new staging in the Teatro Regio Torino by the Oscar-winning American film director William Friedkin, creator of such famous movies as The Exorcist and The French Connection. The cast featuring the American soprano Kristin Lewis, who exhibits “a remarkable voice, which she uses with powerful dramatic instinct” (La Stampa), and the Georgian mezzo-soprano Anita Rachvelishvili, whose Amneris “dominates the stage with her dark, rounded, irresistible voice and extraordinary stage presence” (La Gazzetta Musicale) is first-rate. All were united in praise of Noseda: “he controls everything - orchestra, singers, chorus, dancers, acrobats – with an all-encompassing overview” (La Stampa); “he knows exactly when it’s time to linger over a timbre, a colour, an expressive chord” (Corriere della Sera).
First seen at the Royal Opera House in 2013, this staging of Verdi's rarely-performed opera Les Vêpres siciliennes – directed by Stefan Herheim and conducted by The Royal Opera’s Music Director, Verdi specialist Sir Antonio Pappano – went on to win the prestigious Olivier Award for Best New Opera Production. The Sunday Times hailed it 'the best the Verdi year in Britain has to offer,' praising the standout event of the Verdi bicentenary celebrations. 'The Royal Opera has done its favourite composer proud.'
Recorded live in April 2013 at the Royal Opera House in London, Sony Classical is proud to present Verdi: Nabucco starring the legendary Placido Domingo in his debut in the title role. Conducted by Nicola Luisotti, the release celebrates the bicentenary year of Verdi’s birth.
Here's the complete concert that brought together four of the world's most exciting singers, performing beloved arias, duets, and quartets. Anna Netrebko and Ellna Garanca appear together for the first time on stage in this dazzling gala for a quartet of "superstars" (Badische Zeitung). "Bel canto at its most beautiful and most ravishing" (Badische Neueste Nachrichten).
Fabio Luisi conducts the Metropolitan Opera in this production of Verdi's work, based on Shakespeare's tragic play. Zeljko Lucic stars in the title role with Anna Netrebko as his wife, Lady Macbeth. The cast also includes Joseph Calleja as Macduff and René Pape as Banquo. New York Observer stated: “.. a superstar cast … the most potent: Anna Netrebko's ferociously exciting star turn as Lady Macbeth … a "demented" performance, one so exciting it propels both artist and audience figuratively to the brink of madness.”