Béatrice Uria-Monzon

Dans cette production prestigieuse au Gran Teatre del Liceu, le monde célèbre et très controversé metteur en scène de Calixto Bieito, admiré pour ses mises en scène premières et évocateur, voit dans la réalisation de Carmen la gitane mythique et touche à des questions sensibles telles que le racisme, la xénophobie et politique de droite. Bieito évoque une atmosphère sensuelle et réaliste pleine de symbolisme puissant. Un quatuor exceptionnel de stars vocales, dirigés par un «splendide et sensuelle" (El Periódico) Béatrice Uria-Monzon dans le rôle-titre, offre l'une des plus excitantes Carmens ces dernières années: Roberto Alagna comme Don José, Erwin Schrott le rôle d'Escamillo et Marina Poplavskya que Micaëla. Enregistrement live du Gran Teatre del Liceu, Octobre 2010.

Live performance from the Opéra National de Paris, 2003.

Hamlet suspects his uncle has murdered his father to claim the throne of Denmark and the hand of Hamlet's mother, but the prince cannot decide whether or not he should take vengeance.

Conspiracies and regattas form the backdrop to the fortunes of a young singer. Harassed by a heartless spy, she sacrifices everything to save the man she loves and the woman he prefers over her. Ponchielli based his flamboyant opera on Victor Hugo’s play Angelo, tyrant of Padua. An expert on Hugo, director Olivier Py offers us a dream-like version of this dark Romantic tragedy, presided over by sex and death. Paolo Carignani conducts an exceptional cast in the six demanding main roles.

L'Opéra National de Paris' production of L'Amour des Trois Oranges must certainly be one of the most elaborate operatic presentations. It has a cast of gazillions, characters who fly, jugglers, fire-eaters, remarkably elaborate costumes, amazingly realistic props (those five-foot oranges are convincingly juicy and edible looking), a huge set, fireworks, and so on. In fact, at times, it looks more like a Cirque de Soleil show than something you'd see in an opera house. Director Gilbert Deflo's conception and William Orlandi's costumes and sets are rooted in commedia dell'arte, but the production is thoroughly eclectic, with allusions to a wonderfully weird assortment of styles and periods.

From the Gran Teatre del Liceu - one of the great Wagner singers of our time in the lead role, Peter Seiffert is a nimble, youthful-voiced Tannhäuser He plays alongside Petra Maria Schnitzer as Elisabeth. As the goddess of love, Elisabeth’s counterpart Venus is portrayed by the stunning Béatrice Uria-Monzon. Sebastian Weigle, the Liceu’s principal conductor, gives a performance that the Spanish daily ABC wrote is “full of vitality and visibly inspired“heldentenor Peter Seiffert ruled the stage as the troubled artist. His duet with Elizabeth and his Rome narration were emotionally potent.” --Opera News

The 2016 Don Carlo production at the Vienna State Opera, directed by Daniele Abbado, offered a modern, minimalist take on Verdi's masterpiece. Abbado emphasized the psychological and political tensions within the story, employing stark sets and subdued colors to evoke a timeless, oppressive atmosphere. Lighting played a crucial role, intensifying the focus on the characters' inner struggles and conflicts. The cast featured René Pape as a commanding and deeply nuanced Philip II, alongside Ramón Vargas as Don Carlo and Anja Harteros, who delivered a luminous and emotionally charged portrayal of Elisabetta.