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A swan song of the early Baroque opera seria, Scarlatti's final opera flourishes at a festival that specialises in rarely performed works.

The real sensation of the evening was Alex Esposito – this time, Gounod's Faust should have been titled Méphistophélès...

A concert performance of a middle period rarity is part of a slimmed down festival which transfers to an online format to audiences across the globe.

A complex plot with great music and great theatre where Strauss showcases his compositional mastery.

Carmela Remigio excels as the Trojan Queen; Sesto Quatrini conducts a superb account of the music of a Calabrian composer who died far too young.

The Donizetti Opera Festival presents a rarity with a good cast of bel canto specialists in a somewhat disappointing production.

Giorgio Sangati's staging idea pits Christians vs Saracens as pop stars against dark metal.

Pippo Delbono, an advocate of experimental theatre, tests the audience's patience at Opera di Roma, masking some enjoyable musical performances.

David Pountney’s 2014 staging was revived in Naples with good singing and empathetic conducting.

A visually stunning production with a fine cast to match. 

According to director Sven-Eric Bechtolf,  Don Giovanni’s divine retribution for a life of pure evil and insatiable fornication is just more of the same.

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. 

Eugene Onegin: regrets, broken dreams and sorrow are perfectly rendered in this staging, as the callous dandy's icy heart eventually melts.

It's the most spectacular entrance in opera: the giant stone statue bursts in to join Don Giovanni at the dinner table; a pair of sweeping downward octave swoops in D minor fills the audience (and the hapless Leporello) with terror at the rake's imminent descent into hell.OK, that was a spoiler, but then we all know the story: a production of Don Giovanni is all about how you tell it.

La directora Yi-Chen Lin fue, junto con Simón Orfila, la mayor baza para levantar esta producción que ha ofrecido el Festival de Verano de El Escorial.

Malgré son évident intérêt musical, La Calisto a jusqu’ici attiré l’attention des metteurs en scène avant tout pour les jeux sur les registres et le(s) genre(s) que le livret de Giovanni Faustini, basé sur les Métamorphoses, laissait entrevoir.

Difficile exercice que celui du drame lyrique pour deux Prima Donna qu’est Maria Stuarda. Il ne fallait pas moins que le talentueux duo constituait de la soprano lettone Marina Rebeka et de sa sœur de scène l’italienne Carmela Remigio pour donner ses lettres de noblesses à ce modèle de bel canto qui n’avait pas été donné sur les planches de l’Opéra de Rome depuis 2006.