Live, Video: Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Il ritorno d'Ulisse in Patria, SV 325

Jossi Wieler und Sergio Morabito überraschen mit einer emotionsgeladenen und zeitgemäßen Inszenierung von Claudio Monteverdis Dramma per musica.

Wolfgang Katschner am Pult sowie die Regisseurin Mariame Clément prägen die beeindruckende Neuinszenierung von Monteverdis Die Heimkehr des Odysseus.

Was lange währt, wird ziemlich gut: Sir John Eliot Gardiner und seine Montverdis überzeugen mit dem Premieren-Ulisse in Berlin.

Mit dieser neuerlichen Belgien-Produktion unterstrichen Ensemble und Dirigent ihren Ruf als vorzügliche und lebendige Opernausleuchter.

Der Mannheimer Monteverdi-Zyklus beginnt mit einem fulminanten Feuerwerk, das man gesehen haben muss.

Darmstadts neuer Intendant lässt das Publikum den Prozess der neuen Ausrichtung des Theaters hautnah miterleben und bietet eine ganz neue Perspektive auf eine Vorstellung.

Avec son ensemble Europa Galante, le violoniste et chef d'orchestre italien impressionne par la justesse de ses choix, tandis que Sara Mingardo incarne une admirable Pénélope.

L'opéra de Monteverdi bénéficie d'une distribution superlative et d'un ensemble instrumental stupéfiant. Un concert qui fera date.

Monteverdi’s Il ritorno d’Ulisse in patria is given the Pinchgut treatment, with an abstract staging complementing historically informed music-making under Erin Helyard.

L'Opéra Royal de Versailles donne Il ritorno d'Ulisse in patria de Monteverdi, dans la production créée en 1998 par William Kentridge. Les marionnettes font toujours leur effet mais la vidéo laisse parfois dubitatif.

Fine singing all round, sensitive continuo musicianship and dramatic action make for a thoroughly enjoyable Return of Ulysses by Monteverdi.

Opera Atelier's return to the earliest part of the repertoire with Monteverdi's Il ritorno d'Ulisse in patria showcases their strengths in a relatively restrained production anchored by a strong ensemble cast.

A series of ill-advised staging choices leads to a disappointingly drab performance of Monteverdi's Homeric epic.

Willy Decker's production, presented in Zürich in 2014, is revived at the Hamburgische Staatsoper with most of the same cast

Il ritorno d'Ulisse in patria, the second opera of the Monteverdi 450 trilogy being toured by Sir John Eliot Gardiner, had a strong performance in Salzburg.

Il ritorno d’Ulisse in patria tells one of the world’s great stories. This production is a treat for early opera fans and a great introduction for those new to the genre.

Under the baton of René Jacobs, B’rock Orchestra gave an inspired performance  that ought to contribute in giving Il ritorno d’Ulisse in Patria the place it deserves in the standard repertoire.

ETO's charactistically clear, simple production conveys Homer's story with clarity, confidence, and charm – and even humour – from a fine cast, making an exciting start to fully-staged opera at Saffron Hall. 

Director Ole Anders Tandberg's production of Monteverdi's Il ritorno d'Ulisse expertly balances the line between irreverent humour and human tragedy.

Seeing Zürich Opera’s new production of Monteverdi’s Il ritorno d'Ulisse in Patria made me wonder why this is the least performed of Monteverdi's three surviving operas. 

With a cast of over 20 parts, here sung by 18 soloists, the Royal Conservatoire of Scotland made a bold choice by staging Monteverdi’s Il ritorno d’Ulisse in patria to showcase the current students at the Opera School. Continuing the “Opera Up Close and Personal” series, this was performed in the tiny opera studio to an audience of around 100, creating an intimate evening of early music.

Since its inception in 1972 the Royal Northern College of Music has gained a reputation for excellence in the field of opera, having often staged extraordinary productions of repertoire familiar and forgotten.

Productions of Monteverdi’s Il ritorno d’Ulisse in patria which make the title character a returning war veteran, preferably one returning from a juicy topical war, are nothing new, and director Claus Guth doesn’t stretch the well-worn conceit much further in this listlessly vague staging for the Theater an der Wien.

ENO's latest première matches a young theatre director with a reputation for cutting-edge drama to one of the earliest operas in the repertoire, in the less-than-conventionally-operatic surroundings of London's Young Vic. It's an improbable combination, and I wasn't at all sure what to expect.