Luca Tittoto

Francesco Cavalli, a natural successor to Monteverdi, was the most famous and influential Italian opera composer during the mid-17th century. Cardinal Mazarin, chief minister to the king, commissioned Cavalli to create a Parisian spectacle to celebrate the wedding of the ‘Sun King’ Louis XIV and the Infanta of Spain. Ercole amante (‘Hercules in Love’) was the flattering subject chosen for this regal extravaganza combining larger-than-life characters with mythology, and genuine human emotions with natural and cosmic phenomena. The result is a sumptuous Baroque spectacle, conceived on a vast scale in this lavish production by directors Valerie Lesort and Christian Hecq.

Antonio Florio, conducting the Orchestra and Choir of the Teatro Regio, tackles Claudio Monteverdi's rich score. The cast includes Roberta Invernizzi, Mauro Borgioni, Francesca Boncompagni, Monica Bacelli, Luigi De Donato, and Luca Tittoto, internationally renowned soloists and recognized experts in the field of Baroque opera.

Medea lives with Jason and her children in Corinth and becomes increasingly aware of her husband's betrayal of love. When she is certain that Jason is to marry the king's daughter Creusa and that she herself will be banished for doing so, she swears to take bitter revenge

Dutch conductor Ton Koopman, one of the leading experts in the early music repertoire, will lead the Choir and Orchestra of the Accademia Nazionale di Santa Cecilia in Mozart’s Mass in C minor, K. 427, and Symphony No. 41, K. 551, “Jupiter.” The soloists include sopranos Maria Grazia Schiavo and Roberta Mameli, tenor Tilman Lichdi, and bass Luca Tittoto.

Michele Mariotti conducts Gioachino Rossini’s *Tancredi* for the first time. Carlo Vistoli takes on the title role. Joining him on stage are Martina Russomanno, Antonino Siragusa, and Luca Tittoto. Directed by Emma Dante, with set design by Carmine Maringola. The Orchestra and Chorus of the Teatro dell’Opera di Roma.

Mariella Devia, one of the greatest bel canto singers of 20th century, chooses Venice’s La Fenice as the stage for her last Norma.

New production of Rigoletto at the Teatro Massimo in Palermo, co-produced with the Teatro Regio in Turin, the Opéra de Wallonie Liège, and the Shaanxi Opera House. Libretto by Francesco Maria Piave.

Relive an unforgettable musical and theatrical experience with this singular production of Mozart's Requiem, staged by the defiantly nonconformist director Romeo Castellucci at the Aix-en-Provence Festival in 2019. Raphaël Pichon leads his acclaimed ensemble Pygmalion, whose impeccable musicianship and refreshingly original approach to early music have led them to the highest echelon of period-instrument outfits working today. Four magnificent solo voices—soprano Siobhan Stagg, alto Sara Mingardo, tenor Martin Mitterrutzner, and bass Luca Tittoto—blend seamlessly with the choir and orchestra in the most famous of all requiem masses, left unfinished by Mozart at his death. "Mozart's Requiem," writes musicologist Olivier Bellamy, "is resolutely theatrical. From moment to moment, the music alternates between terror, joy, supplication, exaltation, and scriptural piety."

Puccini’s passionate opera is conducted by Antonio Pappano and stars a superb young cast including Nicole Car, Michael Fabiano and Mariusz Kwiecień, in a new production by Richard Jones.

A penniless poet, a young seamstress, and a lost key: Puccinis passionate opera tells the story of a captivating romance set against the background of 19th-century Paris. The luscious score, with its soaring melodies and rich orchestration, brings to life the relationships between Rodolfo, Mimì and their friends, the painter Marcello and fiery Musetta. Acclaimed director Richard Jones stages a fresh and intelligent new production of one of the worlds most popular operas, conducted by The Royal Operas Music Director, Antonio Pappano.

The hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.