Pique Dame

This thought-provoking, modern-day interpretation of Rossini's 'Mosè in Egitto' sets the scene for superior music-making at the prestigious Rossini Festival in Pesaro. For conductor Roberto Abbado, the transposition of the action to the present day releases the energy of Rossini's music. At his disposal is a cast of top-quality vocalists such as the “refined bel canto artist(Bresciaoggi) Sonia Ganassi as Elcia, and the “outstanding” Dmitry Korchak as the Pharaoh's son, two lovers fatefully drawn into the political turmoil and catastrophes of their time. Also among the protagonists are the “thoroughly brilliant” (DeutschlandRadio Kultur) baritone Alex Esposito as Faraone and, in his Rossini Festival debut, young, full-bodied bass Riccardo Zanellato as Moses. Conductor Roberto Abbado “inspired his musicians to deliver a spectacular performance” (Salzburger Nachrichten).

The love story of young Countess Natasha Rostova and Count Pierre Bezukhov is interwoven with the Great Patriotic War of 1812 against Napoleon's invading army.

This was Domingo's last set of performances as Otello in La Scala. In spite of his relatively advanced age, he is still in excellent form, both vocally and in terms of stage presence. Nucci is also his usual self, delivering a performance of very high standard. Barbara Frittoli is an excellent Desdemona, in good voice and gives a very moving performance. Muti conducts with great emotion and tight accuracy, conveying the full orchestral drama of the score.

Recorded at the Glyndebourne Festival Opera in 1995, this acclaimed presentation of composer Gioachino Rossini's epic opus ERMIONE is based on Jean Racine's play "Andromache." Set in Troy after the city fell to the Greeks, the production recounts the rancorous battle between widow Andromache and Helen of Troy's green-eyed daughter, Ermione for the love of Pyrrhus

Alban Berg's black, satirical opera is one of the masterpieces of the 20th Century. It charts the rise and fall of a femme fatale "created to make trouble", from life as a society hostess to prostitution and eventual bloody death at the hands of Jack the Ripper. Berg's score is intensely beautiful, and the rich characterisation brilliantly executed.

Live from the Teatro Carlo Felice di Genova 2003

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.

Tragic story of Golaud, his marriage to the long-haired Mélisande, her subsequent love for Pélleas, and their deaths.

This majestic production of Handel's vivid tragedy, TAMERLANO, stars a Lear-like Placido Domingo as the Turkish Sultan Bajazet, caught between pride, love, and loyalty. Displaying the uniquely heroic quality of his voice, Domingo heads a superb cast, including Sara Mingardo, Monica Bacelli, and Ingela Bohlin, all magnificently responsive to Paul McCreesh's authentic and luminous musical interpretation of the score. The stunning theatrical staging by Graham Vick provides a splendid setting for the characters and for designer Richard Hudson's extravagant Baroque-Islamic costumes, emphasizing the brilliance of one of Handel's finest dramatic achievements.

A spectacular production of Aida filmed at Bregenz Festival's lakeside stage in 2009, with Carlo Rizzi conducting the Vienna Symphonic Orchestra and the Polish Radio Choir.

Having led a series of victorious campaigns against rival territories, a warrior wins the hand of a Brahmin priestess. But when his true caste is brought to light, he risks losing more than just his bride. Based on a play by Casimir Delavigne, Stanisław Moniuszko's final opera is rarely performed. Poznań Opera presents it in this new production directed by Graham Vick to celebrate the 200th anniversary of the composer's birth.

A philandering nobleman lives without a care for the consequences of his actions. But when one of his conquests ends in murder, he finds himself on the run, pursued by disgruntled ex-lovers, fiancées and a force from beyond the grave. Following his recent spectacular production of Paria, the renowned British director Graham Vick makes a welcome return to OperaVision with this new Don Giovanni from Rome. Italian baritone Alessio Arduini plays the dishonourable Don alongside Georgian soprano and Moniuszko International Vocal Competition winner Salome Jicia as Donna Elvira. This performance is part of OperaVision’s events celebrating the inaugural World Opera Day on 25 October 2019.

A bored, unhappily married woman dreams of love and of starting anew elsewhere. When she starts an affair with a rakish farmhand, her passion pushes her to crime... Birmingham Opera Company's 50th production relocates Lady Macbeth of Mtsensk to a disused, iconic nightclub where, amidst the 150 volunteer actors and chorus, audience members encountered bloody brides, oversized rats and poisoned wedding guests. Accompanied on stage by the City of Birmingham Symphony Orchestra and a band from the Royal Birmingham Conservatoire, and with a radical set design by the Banksy collaborators Block 9, ‘the production is perhaps its most brilliant so far’ (The Observer)

When a Russian dissident is released after 20 years of imprisonment, he finds his wife in despair, his son estranged and the world outside sinking into racial violence. As events get out of hand, the rivalry between blacks and whites turns into a murderous mob riot. Birmingham Opera’s artistic director Graham Vick takes up the challenging of mounting Tippett’s both visionary and eccentric opera, that has remained unstaged since its premiere in 1977. An unused warehouse is transformed into an airport terminal, through which the audience enters a participatory experience, ushered by the chorus.

A handsome prince falls in love with an abducted princess. Armed with musical instruments, he and his singing sidekick mount a rescue mission that tests their commitment to truth, love and humanity itself. Staging a mass revolt against the powers that be, British director Graham Vick has enlisted a good hundred locals and immigrants as demonstrators occupying makeshift camps on the flanks of Sferisterio's impressive open air stage. Sung in simple, modern Italian, Mozart's famous Singspiel takes on a liveliness and spunk that stresses the opera's folk roots and conveys the sense that the action is unfolding around us today.