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In the intimate splendour of the Margravial Opera House, Bayreuth Baroque revives Cavalli’s Pompeo Magno with a riot of colors, eight masked countertenors and a Tiepolo-like air of playful chaos.

The sopranista voice type is rare although not unknown, but there are very few who are an unmitigated joy to listen to: Samuel Mariño is one of those rarities. 

Day two of Frankfurt Ring featured impressive stage work and some superior musical performances, but it was not enough to create a perfect evening of opera.

Once upon a time an intrepid youth showing off his precocious skills as a cyclist boasted, “Look, Ma, no hands!” The 16 year-old Mozart could well have been exclaiming the same as he composed Lucio Silla in 1772.

It's not for nothing that Janáček's opera is properly titled Její pastorkyňa (Her Stepdaughter). Karita Mattila's Kostelnička was at the centre of a powerful concert performance of Jenůfa.

In a ravishing and affectingly sung production, Floris Visser re-imagines the myth of Orpheus and Eurydice as the efforts of a grieving psyche trying to heal its devastating wounds.

Five hours with five counter tenors: a virtuoso stand-off which impresses, even astounds, but ultimately exhausts even the most dedicated audience by its refusal to cut a single note of what becomes a very long, florid opera by Jommelli. 

This gem from Martinů received a bright, spirited performance at the Estates Theatre in Prague – putting an early gleam on what should be an interesting year celebrating Czech music.

Had you been travelling, in the mid 18th century, around the crowned courts of middle Europe, there would have been little debate as to who was the most celebrated opera composer and ensemble: Johann Adolph Hasse and his company at the Saxon court of Dresden.

Although I never had the pleasure of attending Garsington Opera in its original setting in Garsington Manor, I was very impressed by their new premises at Wormsley, Buckinghamshire, with their spectacular-looking and also comfortable opera pavilion.

Unter der Leitung von Raffaele Pe gelingt dem MusikTheater an der Wien eine kohärente Rekonstruktion von Francesco Gasparinis Opera seria Ambleto. Die musikalischen Highlights bleiben aber aus.

La Orquesta ADDA Simfònica se presentó en Madrid junto al Orfeón Donostiarra en un contrastante programa que resolvieron de manera brillante con Josep Vicent en la dirección.