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Illusion – theatrical illusion – is the theme of Pierre Audi's staging of Alcina, Handel’s beloved opera which finally makes its debut in Rome. 

With dazzling set designs and powerhouse sopranos, Karlsruhe’s Rinaldo upholds the opera's Baroque fantasy allure in a flawed yet fascinating production, conducted by Rinaldo Alessandrini. 

Laurent Pelly's Night in the Museum production of Giulio Cesare is finally staged at the New National Theatre, Tokyo, after its 2020 pandemic cancellation.

Donizetti's music in this early opera has the freshness and liveliness of his most mature comic works, but l barbiere di Siviglia and La Cenerentola were just a few years before, as one could easily perceive.

Concerto Italiano excels performing Baroque music, especially the works of Monteverdi. This year it highlights L’Orfeo in its 410th year, and does it exceptionally well.

Director and choreographer Jo Strømgren's production of Gluck's Orfeo ed Euridice brings together ballet and opera, but succeeds only with limited results.

Looks can be deceiving in this beautifully sung revival of Thaddeus Strassberger's Oslo production of Mozart's The Marriage of Figaro.

With Lawrence Zazzo's spectacular counter-tenor voice, Handel's Orlando finds an ideal interpreter.

A musically convincing production of Niccolò Jommelli's L'isola disabitata, but with too many pretentious stage ideas.

Pared-down sets and minimal stagework draw eyes and ears forward in concentration. Whilst the text is at times searingly erotic, Nero and Poppea never touch.