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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.

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.

Verdi’s Macbeth, performed at the first Edinburgh International Festival returns for its 70th anniversary in Emma Dante’s sumptuous new production from the Teatro Regino Torino under Gianandrea Noseda.

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

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

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.

Patchy vocal offering saved by superb orchestra in Verdi's Simon Boccanegra.

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

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.

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.

The Verbier Festival Orchestra is the centrepiece of the festival from which it takes its name. Hundreds of young players hoping to start a professional orchestral career audition each year for the chance to work with big-name conductors, the likes of which this year include Charles Dutoit, Valery Gergiev, Gábor Takács-Nagy, and, for this concert, Gianandrea Noseda.