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Film director Edoardo De Angelis sets his Tosca in a devastated, dystopiian suburb which mirrors and emphasises the opera's social degradation and immoral elements.

An impressive performance of Verdi's masterpiece Un ballo in maschera based on of the original libretto.

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.

Juxtaposing Granados’ sensuality with the miserable story of Suor Angelica functioned by contrast, as they do not have anything in common.

The visual results are stunning, though an uneven cast made this a performance with clear weaknesses as well as strengths. Aquiles Machado's Cavaradossi, on the other hand, was an indubitable revelation.

An intriguing combination which mixes up together the exuberant sensuality of Granados’ one-act-opera, the gloomy shades and the melancholy liturgy of Suor Angelica.

The singing is strong and the stagework slick in Laurent Pelly's rib-tickling, often uproarious production of Le Comte Ory.

An attractive double bill of opera and zarzuela paves the way to a new way of performing this fascinating Spanish genre. 

An internationally acclaimed singer with a career spanning well over 30 years should be granted almost whatever role he’d like to do. It would also be understandable if the singer chose a well-known, crowd-pleasing piece, but, as is quite evident by now, Ferruccio Furlanetto is not a typical singer.

Le pétillant opera buffa de Donizetti revient à l'Opéra de Paris dans une savoureuse mise en scène de Laurent Pelly, porté par une distribution de rêve. On y était.