da Enrico Melozzi | 12/10/2026 | Agenda, Melos
Antonio Pappano opens the London Symphony Orchestra’s season with Mahler’s Resurrection, and the tickets are gone. The Bruckner Ninth that follows is still on sale. In Los Angeles, Daniel Harding, who takes over the LA Phil in 2027, is back with Leif Ove... 
da Enrico Melozzi | 12/10/2026 | Melos, Recensioni
by Antida Carelli As the celebrations for the 270th anniversary of Mozart’s birth draw to a close in Italy and abroad, among the many events I have had the pleasure of attending this year I am happy to recall the Sunday matinee which, as part of Bif&st 2026,... 
da Enrico Melozzi | 11/10/2026 | Ascolti, Melos
Josef Hoffmann, set design sketch for Das Rheingold, Bayreuth 1876. Via Wikimedia Commons (public domain).Bayreuth, 13 August 1876. The auditorium of the new theatre is dark, the orchestra is hidden beneath the stage, and from the bottom of the pit rises an E flat so... 
da Enrico Melozzi | 11/10/2026 | Interpreti, Melos
Maria Callas thanks the audience at the Concertgebouw in Amsterdam, 1959. Anefo, Nationaal Archief, via Wikimedia Commons (CC0).Florence, May 1953. At the Teatro Comunale, for the Maggio Musicale, Vittorio Gui conducts Cherubini’s Medea, and in the title role of the... 
da Enrico Melozzi | 11/10/2026 | Cross-over, Melos
by Luisa De Vita Between symphonic orchestrations, operatic echoes and contemporary experimentation, Rosalía turns the language of classical music into a new form of artistic expression. With «Berghain», Rosalía explores a musical territory where the European... 
da Enrico Melozzi | 10/10/2026 | Melos, Opinioni
by the Melos Chorus, technical and scientific committeeMary Cassatt, In the Loge, 1878. Boston, Museum of Fine Arts. Via Wikimedia Commons (public domain).Milan, mid-January 1872. La Scala is closed to the public, and Franco Faccio is reading through, with the...
