Giorgio Caoduro

Live performance, Festival d'Aix-en-Provence, July 2006. 'L'italiana in Algeri' (English: 'The Italian Girl in Algiers') is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.

Live performance from the Opéra de Lyon, July 1 2012. Controversial production by Olivier Py.

Part of the celebrations for the 150th anniversary of the death of the Pesaro composer, Il Barbiere di Siviglia staged in Lugano, is the result of a virtuous collaboration that involved Swiss Radio and Television, LuganoInScena and LuganoMusica. The musical part was entrusted to Maestro Diego Fasolis who, together with his Barocchisti ensemble, was involved in the project from the very beginning. Internationally renowned soloists such as Edgardo Rocha (who embodies the Count of Almaviva), Riccardo Novaro (Bartolo), Lucia Cirillo (Rosina), Giorgio Caoduro (Figaro), Ugo Guagliardo (Basilio) and Alessandra Palomba (Berta) performed on stage.

Two Queens. One Catholic and Scottish, one Protestant and English. One in prison at the other’s behest. A man between them balancing loyalty and love. A cry of ‘Vile bastard’ is the impassioned insult that leads one to the scaffold. The insult was so potent that the first performance of Donizetti’s lyrical tragedy was cancelled at the last minute in Naples through royal intervention. A toned-down revision went awry at la Scala the following year when the great Maria Malibran chose to sing the original words. More than a century would pass before Maria Stuarda would finally make its way into the operatic mainstream. For the central female roles, Irish National Opera has called on two Irish singers with glittering international careers: mezzo-soprano, Tara Erraught and soprano, Anna Devin. Tom Creed’s new production promises timely insights into what happens when larger imperial states encroach on their smaller neighbours and when geopolitics is clouded by emotions.

L'elixir d'amour - Donizetti - Angers Nantes opéra

The rich Gaudenzio has promised his ward Sofia to the son of his friend Bruschino without asking. But the latter is held in an inn with a drinking debt. Florville, Sofia's lover, unceremoniously poses as Bruschino junior. The identity theft leads to an absurd situation, because the whole world assumes that old Bruschino is denying his paternity - that is until, in the greatest confusion, the prodigal son turns up.