Don Giovanni

Live from Glyndebourne 1983

Glyndebourne's intimate opera house provides the perfect setting for Rossini's third French opera, a sparkling medieval comedy of lust and chastity.

Live from Glyndebourne 2009

Don Pasquale - Teatro alla Scala

Nikki Martin, a beautiful French opera star, stows away on an ocean liner in hopes of escaping her jealous fiancee. Once aboard, she joins an American swing band and falls in love with its leader, who, after hearing her sing, eventually comes to reciprocate her feelings.

Recorded live at the Royal Opera House, December 2012. Daniel Oren conducting Royal Opera House Orchestra and Chorus. A grand opera that dominated the stages of Europe for most of the 19th century, Robert le diable is a masterpiece. Director Laurent Pelly breathes new life into Giacomo Meyerbeer's great spectacle and audaciously entertaining moral fable, in this colourful new staging for The Royal Opera.

Live performance at Opernhaus Zürich in 2006. Nello Santi conducting Orchester der Oper Zürich and Chor der Oper Zürich. Directed for the stage by Gilbert Deflo.

Live recording at Parma Verdi Festival 6 October, 2008. Massimo Zanetti conducting Orchestra e Coro del Teatro Regio di Parma. Stage director Stefano Vizioli.

Both Florez and Diana Damrau brought their bel canto expertise and superb vocalism to the service of Verdi's music. The Rigoletto, Zeljko Lucic, ran the gamut from tenderness with his Gilda to thundering fury with everyone else. I also liked the production. At first, when Rigoletto was putting on his grease paint during the overture, I was afraid that it might be a typical "Euro-trash" production, with a bit of warmed over I Pagliacci. But the sets and dramatic action really served the music and libretto. I would have to say that I came to a deeper understanding and appreciation of the story and characters as a result of seeing this performance.

Live performance at Teatro La Fenice, Venice, September 25-28 2010. Myung-Whun Chung conducting Orchestra e Coro del Teatro La Fenice. Directed for the stage by Daniele Abbado.

This spectacular opera film was taped in 1967 and is based on the 1966 Salzburg Festival production directed by Herbert von Karajan himself, who also conducts the fabulous Vienna Philharmonic Orchestra. The production features the three greatest exponents of their respective roles at the time: Grace Bumbry’s magnificently seductive-toned Carmen, Mirella Freni’s ineffably lovely, touching Micaëla and Jon Vickers’s thrillingly manic-depressive Don José. On its release the film was hailed by Die Presse, (Vienna) as a “unique artistic event”, while Le Monde felt that Karajan’s production brought “a whole new dimension” to the opera, “combined with a magisterial interpretation”. A classical and utterly dramatic approach to probably the world's most beloved opera – Karajan’s Carmen is as much a delicacy for opera fans as it is a perfect starter for newcomers.

Recorded in 1992 at the Ludwigsburger Schlosstheater, this release from Art Haus Musik features a performance of Wolfgang Amadeus Mozart's two-act opera Die Zauberflote. The production stars Deon Van Der Walt as Tamino and Ulrike Sonntag as Pamina and includes music by The Ludwigcburger Festspiele

The Queen of the Night has begged Prince Tamino to free her daughter Pamina from the clutches of the High Priest Sarastro, who has abducted her. Together with the bird-catcher Papageno, Tamino enters Sarastro's realm to seek her. When he finds her, the two fall in love, but they have to have to undergo ordeals before they can be together. At the end, Papageno is also rewarded with his Papagena.

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

Maria Ewing, as Dido, heads an outstanding cast of young British singers in a film adaptation of Henry Purcell’s much-loved tragic opera. With spectacular sets, this intense tale of heroism, passion, betrayal and ultimate tragedy is played out against a backdrop of fiery rituals, evil spells and pageantry.

Early recordings of Franco Zeffirelli's 2006 production of Verdi's opera which saw Roberto Alagna's high-profile exit during the second performance. Egypt and Ethiopia are at war. Radames is appointed commander of the Egyptian forces by the King, whose daughter, Amneris, loves Radames. It is in fact Amneris' Ethiopian slave Aida whom Radames loves. Ramades wins the war against the Ethiopians, capturing Aida's father Amonasro in the process. On his return to Egypt he faces a choice between marrying Amneris or betraying his country through his love for Aida.

Recorded on the 13th. of August 2016 in the city Torre del Lago doing the Festival Puccini at the Gran Teatro Puccini venue.

This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable.

Memoirs of the Italian Opera by the singers and musicians of the Casa Verdi, Milan, the world’s first nursing home for retired opera singers, founded by composer Giuseppe Verdi in 1896. This documentary, which has achieved cult-like status among opera and music lovers, features former singers who reminisce about their careers and their past operatic roles.

Japan, early twentieth century. U.S. Navy Lieutenant B.F. Pinkerton inspects the house he has leased from a marriage broker. The broker, Goro, has procured him three servants and a geisha wife, Cio-Cio-San, known as Madama Butterfly. He is enchanted with the fragile Cio-Cio-San. Cio-Cio-San is heard in the distance joyously singing of her wedding. In a quiet moment, Cio-Cio-San shows her bridegroom her few earthly treasures and tells him of her intention to embrace his Christian faith. The Imperial Commissioner performs the wedding ceremony, and the guests toast the couple. The celebration is interrupted by Cio-Cio-San's uncle, a Buddhist priest, who bursts in, cursing the girl for having renounced her ancestors' religion. Alone with Cio-Cio-San in the moonlit garden, her husband dries her tears, and she joins him in singing of their love.