Tamerlano

Handel's 1724 opera Tamerlano followed the success of his previous year's Giulio Cesare with another colourful historical costume drama. This time the setting is the court of "Timur the Tartar", who has just defeated the Turkish Sultan Bajazet at the battle of Angora. There are, naturally enough, romantic complications when both Tamerlano and his ally, the Greek Prince Andronico, fall in love with Bajazet's daughter Asteria. She, however, has plans to revenge her father's defeat. This production was directed by Jonathan Miller and staged in the intimate surroundings of the Goethe Theatre of Bad Lauchstadt as part of the 2001 Halle Handel Festival.

Viva Vivaldi

Viva Vivaldi! is a concert by the Italian mezzo-soprano Cecilia Bartoli interspersing arias from the 20 surviving operas of Vivaldi with two concertos. Given with the early music ensemble Il Giardino Armonico before a very appreciative audience in the Théâtre des Champs-Élysées, the performance is part of Bartoli's exploration of the Venetian composer's opera music which also includes The Vivaldi Album. There is a startling dynamic energy, which contrasts powerfully with the more restrained interpretations by singers such as Emma Kirkby. Bartoli's natural Italian and the live atmosphere of Maria Grazia d'Alessio's oboe gives her interpretation of the quietly haunting and melodically rich "Non ti Lusinghi la Crudeltade" from Tito Manlio a particular piquancy. The Flautino Concerto is a most attractive interlude, while the more famous Lute/Violin Concerto beguiles with its exquisite lyricism.

Cecilia & Bryn at Glyndebourne

The celebrated mezzo-soprano Cecilia Bartoli joins Bryn Terfel for a recital of arias and duets recorded at Glyndebourne Opera House in 1999. The programme features favourite pieces from Mozart, Rossini and Donizetti, with the London Philharmonic Orchestra conducted by Myung-Whun Chung.

Alceste

John Eliot Gardiner conducts Gluck’s 1776 French version of “Alceste” at the Théâtre du Châtelet in Paris. Soprano Anne Sofie von Otter takes the title role of Alceste, Queen of Thessaly, who offers to die at the hands of the gods in place of her husband, Admète (Paul Groves), so that the people will not lose their king. Alceste is then saved from the underworld by Hercule (Dietrich Henschel).

Bartoli in Italy

In the awe-inspiring Teatro Olimpico,Vicenza, Cecilia Bartoli, recognised as one of the best singers of our time, gives the most outstanding recital of work from a variety of composers such as Caccini, Schubert, Handel, Vivaldi, Bellini, Donizetti,Mozart, Rossini, Viardot and Bizet.

Orfeo Ed Euridice

Performed live at the Royal Opera House, Covent Garden, Gluck's opera in three acts is conducted by Hartmut Haenchen. Performers include Jochen Kowalski, Gillian Webster and Jeremy Budd, alongside the Royal Opera Chorus and Orchestra. When Orpheus mourns for his late wife Eurydice, the god Cupid offers him the chance to descend into the underworld and lead her back to the land of the living, on the condition that he does not look at her face. He sets out on his journey, but his path to the Elysian Fields is blocked by the fierce Furies.

Mozart: Così Fan Tutte (Zurich Opera House)

A production of Mozart's opera recorded live at Zurich Opera House in 2000. Cecilia Bartoli leads an all-star cast including Roberto Saccà, Liliana Nikiteanu, and Agnes Baltsa. The conductor is Nikolaus Harnoncourt. Filmed live at the Zurich Opera House in February 2000 on a set which visualises the subtitle "The School for Lovers", the plot revolves around two army officers arguing about the fidelity of their brides, then setting out to test their chastity. Despite the often playful humour, this is not only psychologically telling music-making, but reveals Mozart exploring the structure of opera, discarding convention to mix large ensemble sections with arias for as many different combinations of singers as possible. With Liliana Nikiteanu attractively contrasted with Bartoli, and thoroughly convincing performances by Roberto Sacca (Ferrando) and Oliver Widmer (Guilelmo), this Così has a freshness and flow which, coupled with the timeless romantic themes, feels very contemporary.

Attila

Death in Venice

Gustav Von Aschenbach, a passionate composer, arrives in Venice as a result of wanderlust and there meets a young man by whose beauty he becomes obsessed.

Werther

Jules Massanet's lyrical opera is transformed into a superb film production by Petr Weigl, shot on location in Prague, with music conducted by Libor Pesek. First produced by the Vienna Opera in February 1892, "Werther" rapidly confirmed Massanet's position on the French opera scene and achieved enormous popularity outside France, notably in Italy, America and England. The tragic story tells of Werther's intense passion for Charlotte, who has married his best friend, Albert, fulfilling a pledge to her now deceased mother. But Werther's letters of love bring Charlotte to his side when he promises to take his own life.

The Bartered Bride

Frantisek Filip film version of the Smetana opera.

Rigoletto

This tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father.

Die Walküre

Simon Rattle conducts the Berliner Philharmoniker in Stepháne Braunschweig's production of Richard Wagner's Die Walküre. A Festival d'Aix-en-Provence 2007 production, in coproduction with Osterfestspiele Salzburg. Directed for HDTV and video by Don Kent.

Don Quichotte

This May 2010 production of Massenet's 1910 opera "Don Quichotte" marked the opera's centenary and also Jose Van Dam's operatic farewell at the Theatre de la Monnaie, Brussels. It is beautiful in every way--vocally, scenically, sonically, and visually--and a worthy record of Van Dam's farewell. Van Dam is just shy of 70 in this production, but you would never guess it from his singing or stage movements--a consummate artist. His is a noble portrayal and deeply moving. The Act V death scene is a model of beautiful singing and acting.

Verdi La Traviata

This set has Edita Gruberova singing in top form, all her scooping cast aside, which one finds in abundance in her Lucia under Richard Bonynge. Here, however, she makes ravishing use of those bits of tone that only she can produce: those instances of coloratura and dramatic legato with little asides and small florishes of style that suggest her intelligent approach and her high degree of musical involvement in this role. She does this in her I Puritani and her Anna Bolena, less so in Roberto Deveraux and Maria Stuarda(both sets). Listen to Addio del passato and the Sempre Libra...ravishing, yes, but there are again those nuances learned from Callas that she makes her own. A very singualr perform,ance, and extremely moving with its detail and cry for pity throughout..from the start even. Neil Schicoff is excellent, not an unworthy Alfredo at all! His is a great lyric tenor voice that should have been in the top line.

Puccini: Turandot (San Francisco Opera)

Donald Runnicles directs the San Francisco Opera in this lavish production of Giacomo Puccini’s final masterpiece, which was left unfinished upon his death and was later completed by Franco Alfano. Declaring himself a suitor of the beautiful Princess Turandot (Eva Marton), the son of a conquered king (Michael Sylvester) must correctly answer three troublesome riddles. According to tradition, if he fails, it will mean his death.

Bastien a Bastienna

Prodaná nevěsta

Libuše

La Bohème