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With their second open-air concert performance, Teatro di San Carlo scores another hit.

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

In the role created for Jenny Lind, Lisette Oropesa, in her debut in the theater, shows her magnificent silvery voice, beautiful vibrato and impeccable colorature.

Angela Meade shone in the soprano solo, beautifully backed by leader Tamas Kocsis, in the passage that segues into the stunning "Abraham thou didst promise" section.

The Royal Liverpool Philharmonic Orchestra present a programme of Rossini, Paganini and Dvořák with Michele Mariotti conducting, but it’s Ray Chen who steals the show.

It's a big night at the Opéra Bastille for their 350th anniversary season; Oropesa's dazzling coloratura stops the show; Andreas Kriegenburg sets the action interestingly in a Star Trek future.

The director presents the story clearly enough, but apart from that, there is not much going for this production.

Juan Diego Flórez perhaps is the only one currently able to revive the virtuosity of the role created in 1762

Vick enjoys working with young singers, and in with the young second cast he is spoiled.

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.

An able cast sings in Christof Loy’s non-interventionist and insightful production of Verdi’s panoramic tragedy, conducted with vivid detail by Michele Mariotti.

One wonders why Emma Dante's concept, which explores the plight of women crushed by romantic catastrophes, is not done more often.

The Rossini masterpiece is brought to life by an inspired conductor and four first-class singers in a new, modern production by David Alden.

Juan Diego Flórez plays the role for the first time on stage and it's a vocal triumph 

Meyerbeer's little performed work is given an enthusiastic rendering, with star singing from a big cast led by Flórez, Ciofi and Jerkunica. David Alden's quality Personenregie makes up for some unconvincing setting choices.

Despite starry bel canto experts such as Joyce DiDonato, Lawrence Brownlee and maestro Michele Mariotti, a 2013 Paul Curran staging of Rossini’s La donna del lago reads vacuous on The Metropolitan Opera stage.

Director Tatjana Gürbaca’s production of Aida in Zurich strictly underscores the psyche and emotional parrying of the principals.

Despite its happy ending, Vincenzo Bellini’s last opera I puritani is a 19th century opera permeated by deathly shadows, disenchantment, fading of love and sentiments forced or burdened by political intrigues. 

A menacing rather than a bucolic setting for The Met's new production of La donna del lago, but the proof is in the singing... 

There’s nothing like a trip to The Barber to refresh you. This season, the Metropolitan Opera revives Bartlett Sher’s 2006 production of Rossini’s comic masterpiece, The Barber of Seville. 

There is much to enjoy in the Met’s revival of its almost 40 year old production of Bellini’s I Puritani although almost none of it is visual, with Olga Peretyatko and Lawrence Brownlee both fitting the bill. 

The new Barber of Seville at the Lyric Opera, brought to life by the director Rob Ashford, set designer Scott Pask, and conductor Michele Mariotti, is not only intelligent and imaginative but also strings successions of images, gestures, and sung moments into truly satisfying large-scale forms.

Read our review of Michael Mayer's production of Verdi's Rigoletto in its 2013 broadcast from the Met Opera in New York.

Verdi’s Rigoletto is possessed of a truly tragic plot. A physically disabled jester keeps his innocent daughter locked up except for weekly church visits, a situation which she only lightly resists. Rigoletto believes a curse is to blame for his daughter being killed, although she only dies as a substitute for the man Rigoletto himself has arranged to be assassinated.

C’est un accueil triomphal que reçoit cette nouvelle production parisienne de La Traviata, placée sous le double signe de la jeunesse et des réseaux sociaux.

L'Opéra Garnier propose la reprise de la géniale mise en scène de Damiano Michieletto, qui multiplie les trouvailles heureuses. Michele Pertusi, Christian Senn, Javier Camarena et Pretty Yende forment une distribution convaincante.

Dieses Jahr wurde Verdis I due Foscari ins Programm genommen, eine Oper, die trotz einiger musikalisch interessanten Momenten nicht zu Verdis Meisterwerken zählt und in Salzburg vor allem aufgrund einer durchwachsenen Besetzung nicht überzeugen konnte.

L'Opéra National de Paris clôture sa Trilogie Populaire de Verdi avec une Traviata théâtralement bien pauvre. 

L’Opéra Berlioz de Montpellier accueillait mardi 15 juillet le premier opéra de l’édition 2014 du Festival Radio France, en version concert : Zingari de Leoncavallo (1912), dirigé par Michele Mariotti. Une œuvre courte où les passions s’expriment avec ardeur, des interprètes pleins de l’énergie exigée par le vérisme : une réussite.