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If Chung is sometimes hailed as the greatest living conductor of Verdi, here was a performance to support that claim.

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.

Puccini’s score has many thrilling moments, here taken up by a fascinating if uneven cast of singers.

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.

January of 2017 sees the return of Verdi's Nabucco at the Deutsche Oper Berlin. This Keith Warner production of a Verdi favorite was successfully premiered by the Deutsche Oper in 2013, in the 200th anniversary year of Verdi's birth.

New National Theatre Tokyo hosts a stylish and humorous Il barbiere di Siviglia. 

A relative rarity by Verdi is given an outing at the Sydney Opera House, with excellent performances let down by a disappointing staging. 

De Bosio's highly traditional reading of Nabucco takes blockbuster form, aided by Veronese architect Rinaldo Olivieri's sets, which are at once epic and pragmatic.

At the 2014 Edinburgh International Festival, Gianandrea Noseda leads the Teatro Regio Torino in a concert performance of Rossini's William Tell that offers enormous variety without quite hitting the bull's eye.

Kasper Holten's innovative production of Tchaikovsky's Eugene Onegin comes to Sydney, with Nicole Car outstanding as Tatyana.

Verdi’s Don Carlo – the four-act Italian version – at the Deutsche Oper combines strong singing and acting with lush music in an evening that, despite its beauty, is not without its faults.

Attila, Verdi’s ode to Italy (one of them), made its world première in Venice to huge bursts of patriotic feeling. “You can have the universe, but leave Italy for me!” exclaimed the Roman general Ezio, and the audience erupted. Small wonder: the opera appeared at the height of the Risorgimento, when Italy was in the process of unifying into one state.

In the end, the big man gets the last laugh. Come to think of it, he also gets the first laugh, but for different reasons: you sense that Verdi steadily grew to love Falstaff in the course of writing the opera, as he turns from a coarse buffoon into a maligned old man and, eventually, into the spirit of laughter itself.

Iolanta and Francesca da Rimini work particularly well as a double bill because both works share the theme of lovers who find themselves at the mercy of possessive forces. Iolanta's domineering father ultimately yields in Tchaikovsky's opera, but in Rachmaninov's the deceitful Lanceotto is not so accommodating.

Rarement représentée, l'œuvre bénéficie de la mise en scène sobre et éloquente de Nicola Raab, de la direction énergique de Giuliano Carella et d'une distribution cohérente.

Le Festival de l'Opéra de Lyon, intitulé pour cette édition 2022 « Secrets de famille », s'ouvre avec un Rigoletto de qualité malgré des histoires parallèles qui rendent l'ensemble difficile à suivre.

Roberto Alagna, Aleksandra Kurzak und Dalibor Jenis bringen frischen Wind in Christine Mielitz' Inszenierung an der Wiener Staatsoper.

Originalement conçue, cette nouvelle production de l'opéra de Rossini a tout pour séduire, nous divertir et nous suprendre.