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Huge de Ana's staging is carefully crafted but feels dramaturgically outdated as the Teatro di San Carlo heads into the twilight of sovrintendente Stéphane Lissner’s final season. 

Sur le vaste plateau du Corum, l'opéra de Verdi bénéficie d'une scénographie efficace, d'une direction musicale subtile et d'un bon duo Yunuet Laguna – Amadi Lagha.

Strong vocals from the three principal singers and a sure musical direction from young conductor Farrell help offset some of the less than convincing elements to Olivia Fuchs' production. 

Si le dispositif semi-scénique d'Annabel Arden convainc à moitié, la direction musicale et la distribution (avec Sunyoung Seo dans le rôle-titre) valent le détour.

A journey through the subconscious of the main protagonist Edmea, with Anne-Sophie Duprels as the eponymous heroine.

Risurrezione is a work whose value is to be found more in the orchestra than in the vocal lines, a peculiar thing for an Italian opera belonging to an epoch that gloried in enticing melodies.

L'Opéra Orchestre National Montpellier reprend la mise en scène de David Hermann créée en 2017. Une production marquée par la belle direction de Michael Schønwandt.

A terrifically strong cast gives a fine rendition of two lesser heard operas: Giordano's Mala vita Leoni's L'oracolo.

Only soprano Eleonora Buratto’s Mimì added real warmth and pathos to Mario Pontiggi's staging.