Wozzeck

Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Viennese composer Wolfgang Amadeus Mozart.

A meditation on the female body as a source of both power and pain that focuses on the tragic figure of renowned American-Greek opera singer Maria Callas (1923-77), whose stunning soprano voice captivated audiences around the world in the mid-20th century while her life was wracked by scandal and personal suffering.

This production from Covent Garden is set in Stockholm, and not Boston. With Reri Grist (Oscar), Placido Domingo (Gustavus), Katia Ricciarelli (Amelia), Piero Cappucili (Renato), Patricia Payne (? - the booklet or DVD fails to credit the singer) (Ulrica) and Claudio Abbado in the pit: all at their peak, you just simply cannot go wrong when purchasing this DVD. This performance made me realise why I had fallen in love with opera: beautiful (today one should be thankful) and convincing sets and costumes, and fiery conducting and singing from all the above soloists which leaves you breathless. Domingo as the King (not the Governor of Boston) is simply ravishing! He is so convincing and dashing as Gustavus - I think very few tenors nowadays can even attempt such a convincing vocal and dramatic performance.

The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.

This occasionally off-the-wall but finely sung and colourfully staged La Cenerentola was Rome Opera’s first foray into the media market, shown on television and in cinemas across Italy in 2016. It clearly had the funding. Emma Dante’s production will not have come cheap – Vanessa Sannino’s costumes are a particular feature – nor would the singers, given that this is as good a Cenerentola cast as any international house might currently muster.

Alex Ollé, one of the famous La Fura dels Baus, recreates the conflict and places principal protagonists in clear, transforming set with supporting lighting – facing all primal emotions directly, with no place to hide. The set design (smart and impressive solution of scenography by Alfons Flores) encased in mirrors and accented with silently moving columns, creating cloister, battlefield, cemetery or castle with minimalistic hints (impressive lighting design by Urs Schönebaum), gives us the opportunity to keep full attention on the vocal performance of main characters.

Verdi's sweepingly ambitious opera on war, religion, love and fate is given a cinematic staging by Christof Loy. The Marquis of Calatrava forbids his daughter Leonora to marry the South American nobleman Don Alvaro. The lovers attempt to elope, but the Marquis catches them. In the ensuing altercation, Alvaro accidentally kills the Marquis, who curses his daughter as he dies. Leonora and Alvaro become separated during their escape. Leonora's brother Don Carlo di Vargas decides to find them and avenge his father.

Disillusioned with life, the aged philosopher Faust calls upon Satan to help him. The devil Méphistophélès appears and strikes a bargain with the philosopher: he will give him youth and the love of the beautiful Marguerite, if Faust hands over his soul. Faust agrees, and Méphistophélès arranges matters so that Marguerite loses interest in her suitor Siébel and becomes infatuated with Faust. Faust initially seems to love Marguerite in return, but soon abandons her. Her brother Valentin returns from the war and is furious to find his sister pregnant. Will Faust repent his destructive actions, and can his soul, and Marguerite's, be saved?

Staged by the Salzburger Marionettentheater. Wagner's great epic condensed into two hours — compact, humorous and very exciting! Marionettes encounter actors and take us into a time tunnel of mythological entanglements.

Based on Oscar Wilde's lurid play, it is an intense exploration of the Salome story. Its sumptuous vocal and orchestral writing seethes and pulsates as Strauss conjures up the brutality of Herod's corrupt court. Richard Strausss opera at the Salzburg Festival, staged by Romeo Castellucci at the Felsenreitschule, was nothing short of a sensation. Debuting in the title role, Asmik Grigorian propelled herself to international stardom with her mesmerizing singing and acting abilities. The exceptional soprano recently won the International Opera Award as best singer.

Bregenzs Tales of Hoffmann is different from everything you saw before. The New York Times praised the thoughtfulness and creativity of Stefan Herheims new production, devised by the director as a search for ones own self in a sparkling drag show. A shining-toned (NYT) Hoffmann is embodied by tenor Daniel Johansson in the title role. He is supported by a fantastic cast: Rachel Frenkel is positively ideal as Muse and Niklausse (Kurier), Kerstin Avemo as Olympia is endowed with brilliant, cheekily extemporized coloraturas (Neue Zürcher Zeitung), Michael Volle sings the parts of Lindorf, Coppelius, Dr. Miracle and Dappertutto, the works four villains, with warmth and intensity (NYT) and Mandy Fredrich is a finelyphrased Antonia (Kurier).

La Rondine (The Swallow) is possibly the least performed of Giacomo Puccinis later operas, but is still just as much a masterwork as its more performed counterparts. Originally conceived as the composers first operetta, the work is an artful blend of opera and operetta, with a lighter mood than Puccinis other works. This live production filmed at the Deutsche Oper Berlin stars Dinara Alieva and Charles Castronovo in the lead roles. Renowned stage director Rolando Villazon sets this rendition, and the Orchestra and Chorus of the Deutsche Oper Berlin is conducted here by acclaimed Maestro Roberto Rizzi Brignoli.

Xerxes is one of Handel’s latest and most frequently performed operas, famous for its marvelous opening aria ‘Ombra mai fu’. At the centre of the confusing tragicomedy, very loosely based upon the life of Xerxes I of Persia, is a powerful and lovesick royal eccentric, King Xerxes. Rising opera star Gaëlle Arquez in the title role of Xerxes ‘scintillates with her nimble, luminous mezzo-soprano’, singing ‘irresistibly beautiful, impassioned, furious – but never mean’ (Frankfurter Rundschau). Frankfurt’s excellent Opera and Museum Orchester contributes ‘all sorts of refinements’ to this ‘musical smash hit’ (Deutschlandfunk) and ‘In Frankfurt Tilman Köhler ensures a three-hour short abundant and furious banquett … a great evening of opera’ (Deutschlandfunk).

A Scottish lighthouse goes dark. A visiting supply ship finds the building in order. But the keepers have vanished without trace.

When the most voluptuous, sought-after courtesan in the world meets an ascetic monk whose life is devoted to God, you know erotic sparks are going to fly. And when the clash takes place in a glorious, but rarely performed, opera by Massenet, it’s a delight to the ear just as much as to the eye. Renée Fleming is every inch the glamorous Thaïs, swathed in elegant gowns designed by Christian Lacroix. Thomas Hampson is Athanaël, the tortured man of God. This production by John Cox, which premiered in December 2008, brilliantly sets the stage for a confrontation as old as civilization itself.

A penniless poet, a young seamstress, and a lost key: Puccinis passionate opera tells the story of a captivating romance set against the background of 19th-century Paris. The luscious score, with its soaring melodies and rich orchestration, brings to life the relationships between Rodolfo, Mimì and their friends, the painter Marcello and fiery Musetta. Acclaimed director Richard Jones stages a fresh and intelligent new production of one of the worlds most popular operas, conducted by The Royal Operas Music Director, Antonio Pappano.

A 120-participant tableau vivant by Sarah Small.

Zvonek

Pergolesi Opera Buffa

O Die Zee is a modern Dutch retelling Homer's Odyssey in the form of a rock opera. It was performed in the summer of 2014 in the open air of Fort Rammekens, The Netherlands.