Captured live at London’s Royal Opera House, this Barbiere, with its unbeatable cast and the directors’ characteristic wit and intelligence, offers a unique dramatic twist: Joyce DiDonato, who had broken her leg on the opening night, went on with the show. As she said: “Being trapped in the wheelchair was a quite literal way of demonstrating Rosina's huge desire to break free.
The town of Palermo was illuminated and Claudio Abbado revealed his strong Sicilian roots. Viewers of this concert, broadcasted on TV all across Europe, were inspired to see the maestro so relaxed, gesticulating so emphatically.
The great Renée Fleming stars as the beguiling femme fatale who captivates all Paris in Lehár’s enchanting operetta, seen in a new staging by Broadway virtuoso director and choreographer Susan Stroman (The Producers, Oklahoma!, Contact). Stroman and her design team of Julian Crouch (Satyagraha, The Enchanted Island) and costume designer William Ivey Long (Cinderella, Grey Gardens, Hairspray) have created an art-nouveau setting that climaxes with singing and dancing grisettes at the legendary Maxim’s. Nathan Gunn co-stars as Danilo and Kelli O’Hara is Valencienne. Sir Andrew Davis conducts.
Dvorak’s enchanting fairytale of the water-nymph Rusalka has been a signature role for Renée Fleming for the past 25 years. The Gramophone Classical Music Guide writes: “Renée Fleming's tender and heartwarming account of Rusalka's Song to the Moon reflects the fact that the role of the lovelorn water nymph, taken by her in a highly successful production at the MET in New York, has become one of her favourites”.
Puccini’s musical vision of the American West is vividly brought to life in Giancarlo Del Monaco’s atmospheric production. Deborah Voigt is Minnie, the girl of the title and owner of a bar in a Californian mining camp. Marcello Giordani sings Dick Johnson, the bandit-turned-lover hunted by the cynical sheriff Jack Rance (Lucio Gallo), who wants Minnie for himself. Complete with whiskey-drinking cowboys, gunplay, a poker game, and a snowstorm, La Fanciulla del West is Puccini at his most colorful.
Bizet’s Les Pêcheurs de perles, set in Sri Lanka, is known above all for its unforgettable duet for tenor and baritone, but it its score is full of delightful and dramatic music. When recently staged at the Metropolitan Opera in New York it proved a major success, both for the production by Penny Woolcock and the musical performance, conducted by Paolo Noseda, with (once again) Diana Damrau as the priestess Leïla and, as the two men competing for love, the tenor Matthew Polenzani (Nadir) and the baritone Mariusz Kwiecien (Zurga). Woolcock’s concept brought the production up to date, with photographic and video references to the 2004 tsunami, and offered a superb ‘aquatic’ spectacle during the overture: the whole stage appeared to be beneath the Indian Ocean and acrobatic divers ‘swam’ down from the surface (located in the flies of the theatre).
In spring 2011, the first-ever performances at New York's Metropolitan Opera of Rossini's Le Comte Ory brought standing ovations and critical-acclaim. The spectacular trio of Juan Diego Florez, Diana Damrau and Joyce DiDonato ignited vocal and theatrical fireworks. Le Comte Ory tells the story of a libidinous and cunning nobleman who disguises himself first as a hermit and then as a nun ("Sister Colette") in order to gain access to the virtuous Countess Adele, whose brother is away at the Crusades. The 2011 Met production was directed by the Tony Award-winning Broadway director Bartlett Sher, who in recent years has also staged Il barbiere di Siviglia and Les Contes d'Hoffman for the Met. Sher presented the action as an opera within an opera, updated the action by a few centuries and giving the costume designer, Catherine Zuber, the opportunity to create some particularly extravagant headgear. Juan Diego Florez starred as the title role while Diana Damrau plays his love interest, Countess Adele, and Joyce DiDonato was in breeches as his pageboy Isolier. The trio had appeared in Sher's production of Rossini's Il barbiere di Siviglia.
First seen at the Royal Opera House in 2013, this staging of Verdi's rarely-performed opera Les Vêpres siciliennes – directed by Stefan Herheim and conducted by The Royal Opera’s Music Director, Verdi specialist Sir Antonio Pappano – went on to win the prestigious Olivier Award for Best New Opera Production. The Sunday Times hailed it 'the best the Verdi year in Britain has to offer,' praising the standout event of the Verdi bicentenary celebrations. 'The Royal Opera has done its favourite composer proud.'
Luis Pasqual's powerful production for the Spanish capital sets Da Ponte's timeless story of sleaze and seduction into the dark world of 1940s Spain. Carlos Álvarez, in the title role, toys with the affections of Donna Anna, Zerlina and the Spanish lady Donna Elvira, before his overpowering methods finally bring his own destruction. "José Bros is a luxurious Don Ottavio, with an excellent high register, perfect diction and an exquisite vocal elegance. Alvarez is the perfect Trickster of Seville. Victor Pablo Pérez, one of the most reputed conductors of the Spanish scene, manages a crystal clear work, very attentive to the beauty of Mozart's score." (La Razón, Madrid)
When it comes to Mozartian perfection on the opera stage, one needn’t always seek it in Milan, Vienna, Salzburg or New York! At the Sferisterio Opera Festival in the centralltalian city of Macerata, a rapt audience was treated to a production of Don Giovanni ..that will enter the annals of opera (ForumOpera.com). This magnificent reading of Mozart’s timeless masterpiece sweeps the viewer into a libertine, 1B’h-century society dominated by sensuality and erotic impulses. They are acted out on the stage’s main prop, a large, unmade bed, not only by Don Giovanni, but also by justabout everyone eise in the .. nearly faultless cast” (ForumOpera.com). ln his role debut as the title hero, lldebrando D’Arcangelo is .. incandescent” (Gazzetta di Parma) and “doesn’t do Don Giovanni; he is the Don. Unsurpassable” (24 Ore).