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Lawrence Brownlee further cements his status as the world's leading bel canto tenor with a blazing performance as Rodrigo, the unlikely central figure in Rossini's rendering of the Shakespearean tragedy.

Rossini's Otello is rarely performed, mainly due to its three demanding tenor roles, but the Rossini Opera Festival delivers a knockout, both vocally and emotionally. 

ETO's extracts from Rossini's serious operas at the Hackney Empire lacked spark and dynamism, but saw a fine showing from Elena Xanthoudakis and Catherine Carby.

Suggesting that Otello was a migrant, like modern refugees, was not a great staging idea for a production which could count on an high-rate vocal cast.

After an absence of 145 years, Teato alla Scala staged Gioachino Rossini's Otello in a painterly Jürgen Flimm production, sparse set inspired by conversations with Anselm Kiefer.

Verdi’s Otello opens with a fierce storm raging over Cyprus. In Rossini’s version, composed 71 years earlier in 1816, the composer eschewed the Cypriot setting entirely and the storm doesn’t take place until Act III, although last night a mighty crack of thunder resounded over the Théâtre des Champs-Élysées as the audience filed into the opera house. 

A split-level stage featuring an ornate stairwell and scaffolding was the setting for this the tenth Jette Parker Young Artists’ Summer Performance. Entitled ‘Veneziana’, the specially compiled programme embodied the visions of Venice dreamt by Rossini, Donizetti, Britten and Offenbach in six sets of Opera Scenes.

Damiano Michielettos Inszenierung bietet einen durchwachsenen Abend, wenn auch mit filigranem Orchester unter der Leitung von Sestro Quatrini.

Rossinis Otello begeistert im Theater an der Wien mit packendem Kammerspiel und fabelhafter Besetzung.