Baroque opera is a battlefield once more. Just as 17th-century Venice thrived on rivalry, dazzle and excess, today’s Early Music scene brims with competition. Into this arena, the Bayreuth Baroque Opera Festival — founded only in 2020 — has stormed with astonishing speed, staking its claim through neglected Italian gems and the intoxicating intimacy of the UNESCO-listed Margravial Opera House. No dry concepts here: Bayreuth trades in beauty, detail, and theatrical seduction. This year’s jewel, Cavalli’s Pompeo Magno (1666), became both a Venetian centrepiece and a specialist’s odyssey under conductor Leonardo García-Alarcón.
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Amadeus
O Príncipe do Egito
A Megera Domada
Decisões Extremas
Uma Noite na Ópera
Ziegfeld - O Criador de Estrelas
O Homem Que Mudou o Jogo
A Negociação
O Último Concerto
Star Wars: A Ascensão Skywalker
Onde Nasce a Esperança
Mountain
A Cronologia da Água
De Volta à Itália
Sobrevivendo ao Paraíso: Contos de FamíliasBaroque opera is a battlefield once more. Just as 17th-century Venice thrived on rivalry, dazzle and excess, today’s Early Music scene brims with competition. Into this arena, the Bayreuth Baroque Opera Festival — founded only in 2020 — has stormed with astonishing speed, staking its claim through neglected Italian gems and the intoxicating intimacy of the UNESCO-listed Margravial Opera House. No dry concepts here: Bayreuth trades in beauty, detail, and theatrical seduction. This year’s jewel, Cavalli’s Pompeo Magno (1666), became both a Venetian centrepiece and a specialist’s odyssey under conductor Leonardo García-Alarcón.
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