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Anna Goryachova and Mélissa Petit shine as doomed lovers Tancredi and Amenaide, while Jan Philipp Gloger's contemporary setting has much to offer, but doesn't quite nail the landing.

Rossini's Otello is rarely performed, mainly due to its three demanding tenor roles, but the Rossini Opera Festival delivers a knockout, both vocally and emotionally. 

Riccardo Chailly gives a masterful rendition of Rossini’s masterpiece, leading a solid cast in an inspired performance, in Leo Muscato’s new staging. 

A bland staging: at the end what really emerged was Rossini’s glorious music, its intelligent construction and perfect beauty.

Michele Mariotti triumphs in Rossini’s masterpiece with a good cast led by Salome Jicia and a new production, only partially successful.

A nimble, cheerful performance of Donizetti's dramma buffo in Naples, both by individuals and ensemble. 

There's much to recommend this Turco, including stunning vocal fireworks by Olga Peretyatko and moments of comedic gold in the staging. But this production also reinforces some ugly racial and gender stereotypes.

In a city where the Vienna State Opera ball is considered the climax of the carnival season and where the local news would lend itself to great libretti (were operetta still in fashion), it is not too surprising that music and theatre performances occasionally mirror the headlines.

Ópera de Tenerife ha presentado la Lucrezia Borgia de Donizetti, dirigida por Andriy Yurkevych y con Yolanda Auyanet en el papel principal.

Pour terminer l’année en beauté, l’Opéra royal de Wallonie a choisi de proposer aux mélomanes Le Comte Ory de Rossini, en reprenant la mise en scène signée Denis Podalydès.

Rossini sublimé par les voix expertes de Sergey Romanovsky, Michele Pertusi et Marianna Pizzolato à l'Opéra de Lyon.

Mardi 27 mai avait lieu au Théâtre des Champs-Elysées la dernière représentation de Tancredi, “mélodrame héroïque en deux actes” datant de 1813. Le premier grand opera seria de Rossini était servi par une belle distribution, assez efficace pour faire oublier par moments l’absence d’originalité de la mise en scène.