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Die gestreamte Vorstellung von Donizettis Oper aus dem Teatro Regio hätte noch deutlich Luft nach oben gehabt, war aber dennoch charmant.

Cav & Pag remain a potent pairing in stagings by two directors which unites the operas via liturgical settings in the Teatro Regio di Torino’s Verismo Festival. 

We all know Giacomo Puccini’s La bohème, but what of the version by Ruggero Leoncavallo? Francesco Micheli tries to make a case at the Teatro Regio di Torino. 

Daniele Menghini’s production treats Mascagni’s giapponismo opera with sensitivity and dramatic conviction in the Teatro Regio di Torino’s Verismo Festival. 

The staging sways between tackiness and naivety, like those old Christmas cards with sequins glued to the edges of the figures.

The Teatro Regio presents a Classical rarity with echoes of Mozart and anticipations of Rossini. Diego Fasolis conducts with imagination and spunk.

Female voices dominate in the vocal cast: Rachel Willis-Sørensen debuts as Leonora and charms the audience; Anna Maria Chiuri has the temperament and rich vocality requested by the role of the gypsy.

Diego Fasolis gives an enlightened, 18th-century account of the Mozart/da Ponte masterpiece, with great precision and elegance.

Two different variations of the female conditions: one of 1909 and now utterly out-of-date, the second of 1959 much more ut-to-date.

The director presents the story clearly enough, but apart from that, there is not much going for this production.

In the Teatro Regio's production everything is according to the script, but the magic of the stage is absent. 

With so little of worth happening onstage, this performance requires a unanimously strong set of performances from the main cast.

Stefano Poda's staging has its own coherence, but it is as cold as the Chinese princess. 

Renzetti's traditional rendition does not reveal yet unprecedented details of a score that is the summation of Verdi's mastery and his last work – his third based on Shakespeare.

What distinguishes Noseda's Tristan most of all is especial balance in the orchestra and a transparency of sound that reveals the inner-workings of the music.

Director Emma Dante revives Verdi's Macbeth for Turin's Teatro Regio, conducted by Gianandrea Noseda.

As always in the librettos of the time, the historical events are just a weak excuse to stage timeless stories of jealousy, struggle for power, sexual desire – the ingredients in today's television series.

The libretto had a troubled genesis, to say the least: seven people put their hand on it! But the rich melodic invention of the composer prevailed and the success was resounding.

Originally conceived by Robert Carsen for the Vlaamse Opera, this production of Katia Kabanova is now at Teatro Regio, second chapter of a Janáček/Carsen project.

The second part of the traditional Cav & Pag double bill on stage at Turin's Teatro Regio

Sixty years after its debut, Bernstein's West Side Story is back with its mix of nostalgia and timeless social issues.

Kitsch and grand-opera in Hugo de Ana's production of Samson et Dalila in Turin.

After 120 years Puccini's La bohème returns where it was first produced on February 1, 1896. Ale Ollé, director fron "La Fura dels Baus" stages a modern rendition of the moving masterpiece.

Teatro Regio celebrates Henze's 90th anniversary of birth bringing on stage for the first time in Turin the fairy tale Pollicino

Though musically played with participation and sensitivitythe, this production was full of jugglers, acrobats, dancers, circus performers and mimes. 

Pour l’ouverture de la saison du Teatro Regio de Turin portait à l’affiche le très célèbre Aïda de Giuseppe Verdi. Le montage du chef-d’œuvre amenait une collaboration inédite avec le Museo Egizio de la ville, considéré comme l’une des collections archéologiques égyptiennes les plus riches du monde après le Musée du Caire.

Visually traditional, this Norma often indulged on the most predictable aspects of Vincenzo Bellini’s opera, unfortunately missing the opportunity of bringing a bigger audience to the theatre and showcasing the vastness of Italian opera. 

Stefano Poda’s deeply intellectual mis-en-scene immersed the bourgeois love affair between Marguerite and Faust in an abstract and transcendental tangle of philosophical, existential and liturgical motifs. However, an overflowing symbolism sounded sometimes academic, but the visual effects were suggestive if not properly enchanting.

Vittorio Borrelli’s production of Hänsel und Gretel in Turin offers a refined mise-en-scène focusing on the tiny, playful and colourful aspects of the plot. 

Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues. 

Alden’s mise-en-scène developed the most modern aspects of Il turco's libretto. The stage not only showed what the Poet was participating towards, but the other characters also seemed to perform the poet’s conception of his own work. 

Elena Barbalich's mis-en-scene for Le nozze di Figaro in Turin seemed a swirling game of Chinese boxes, but the vocal performances were full of vitality. 

An intriguing combination which mixes up together the exuberant sensuality of Granados’ one-act-opera, the gloomy shades and the melancholy liturgy of Suor Angelica.

Laurent Pelly's production of Giulio Cesare is a play of references to antiquity, heroism and myth. However, it does not thrill. 

in Turin, British director Walter Sutcliffe sets Otello right in the middle of a never-ending battle and Gianandrea Noseda leads a passionate, rigorous account of the score. 

Teatro Regio in Turin paid its first seasonal tribute to Giuseppe Verdi with an engaging execution of the Messa da Reqiuem.

Jordi Savall conducts ‘Le Concert des Nations’ playing suites from Baroque’s controversial Jean-Philippe Rameau. The varied programme of the Italian music festival, Mito, is enriched with this historical hint of Baroque music.

Vittorio Borrelli's double bill of Zemlinsky's Eine Florentinische Tragödie and Puccini's Gianni Schicchi had the audience constantly re-evaluating not only what is real and artifice, but what could be deemed virtue and vice.