It is a thing of wonder that Roberto Devereux is one of Donizetti’s lesser known works. Whether on account of its challenging soprano part, or its fussy Tudor setting, it is rarely performed, but contains some of the composer’s most beautiful – and indeed memorable – arias and duets.
Riccardo Frizza conducts a complete version of Donizetti’s masterpiece, with the debuts of Maria Agresta in the title role, Carmela Remigio as Giovanna Seymour and René Barbera as Percy.
A clever production enlivens a rare, early opera at the Donizetti Opera Festival. A fantastic cast and a great period orchestra seal a resounding success under the lead of Alessandro De Marchi.
For his new production of Donizetti’s Lucia di Lammermoor in Basel, director Olivier Py underscored an emotive kaleidoscope of events with unparalleled creativity and imagination.
Dismembered after the 1840 bankruptcy of its promoter, Opera Rara's decade-long reconstruction has resulted in a beautifully constructed opera that's enjoyable throughout.
Javier Camarena’s debut as Edgardo contributed to a triumphal night at the Teatro Real together with Lisette Oropesa’s charismatic Lucia and David Alden’s powerful staging.
Juan Diego Flórez and Venera Gimadieva charm as the young unlucky couple, and convince with their vocal performances in Wysocka’s production at the Bayerische Staatsoper.
Gaetano Donizetti’s Maria Stuarda is perhaps most famous for a single and highly emotional scene in which two monarchs engage in a venomous confrontation. One is doomed to die.
Director Davide Livermore sets the story at the time of the Dolce Vita, including the motorbike from the film Roman Holiday and the roadster from The Easy Life.
Issues that cropped up in the first run of Mitchell's production have been ironed out. In the hands of a strong cast, a chilling interpretation of Donizetti's masterpiece.
Clever casting combined with good singing, classy chorus work and quality ensemble music has produced an enjoyably entertaining Don Pasquale from State Opera of South Australia.
The Glimmerglass Festival in Cooperstown, New York always does themed seasons. This year the season was about the idea of home. As such, the production directed by Francesca Zambello was updated from the Middle Ages to a modern-day refugee camp.
Lisette Oropesa gives a coloratura star turn; Renato Girolami and Andrey Zhilikhovsky give the buffo patter; Mariame Clément's staging focuses on the work’s dark side.
It's typical that in the last concert in a series that has lasted seventeen years, we had a recital from a talented young singer with a growing reputation, a Rosenblatt classic.
One might have hoped for a memorable performance of the work for its absolute première at the Carlo Felice. Instead, this was an experience to quickly forget.
Ivan Magrì's exemplary technique and strong delivery in his London recital debut left his audience hoping for a return visit to the Rosenblatt series in the imminent future.
Time honoured tradition has it that the pianist in a song recital plays the supporting role, hence the slightly derogatory term “accompanist”. Someone forgot to share that script with Giuseppe Vaccaro.
A tour de force performance of Donizetti's infrequently heard Maria de Rudenz at Wexford Festival Opera. Gilda Fiume shines brightly as the eponymous heroine amidst a stellar cast. A must see.
Scottish Opera’s boutique touring production of The Elixir of Love is a fun-filled delight. Fine singing, perfect comic timing, all to a score for just five players. It worked a treat.
“Prepare to be shocked!” was the warning issued before this new Lucia di Lammermoor from Katie Mitchell at the Royal Opera House. Shocking? Yes, but in a good way.
