Carlo Bosi

Visually this is a gripping production which captures the drama of this opera perfectly. It's downright exciting! and I found the singing, acting, and orchestral playing reasonably fine. I found only one major problem with it, a problem that kept Puccini for quite a few years. Turandot has been looking for an opportunity to kill Calif and Calif has singlemindedly tried to get Turandot to love and wed him focusing on her and ignoring a better looking girl who loves him truly. The problem is how to get the audience to applaud the match once Calif gets his wish. Puccini couldn't figure out how to do it. The traditional quick ending doesn't do it, and Berio's attempt is longer , tries its best, but ends up making it plain this is one wierd couple.

For the first time since the 1904 La Scala premiere, Riccardo Chailly restores Puccini's original two-act version to the La Scala stage.

Christine Goerke has wowed audiences as Turandot, the icy princess at the heart of Puccini’s grand final masterpiece. In this performance from the 2019–20 Live in HD season, Goerke stars alongside tenor Yusif Eyvazov (as Calàf) and soprano Eleonora Buratto (as Liù) in Franco Zeffirelli’s classic staging, which dazzles with its opulent visions of mythic China. Met Music Director Yannick Nézet-Séguin is on the podium, drawing a vivid array of musical colors from the incomparable Met Orchestra and Chorus.

Recorded at Glyndebourne, Lewes, East Sussex, United Kingdom on 21 June 2018.

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Verdi's sweepingly ambitious opera on war, religion, love and fate is given a cinematic staging by Christof Loy. The Marquis of Calatrava forbids his daughter Leonora to marry the South American nobleman Don Alvaro. The lovers attempt to elope, but the Marquis catches them. In the ensuing altercation, Alvaro accidentally kills the Marquis, who curses his daughter as he dies. Leonora and Alvaro become separated during their escape. Leonora's brother Don Carlo di Vargas decides to find them and avenge his father.

It's an event that draws many thousands of music lovers to one of the most beautiful cities in the world every summer: the opera season at the ancient Arena di Verona. The 2,000-year-old roman amphiteatre with its gigantic stage dimensions is one of the largest and best preserved Roman construction of its kind, and with over 22,000 seats it is undoubtedly one of the most spectacular open-air venues of the world! The revered master of opera Franco Zeffirelli, who died shortly before the premiere of Il Trovatore, created a legendary scenery with groups of giant sized armoured knights, a fortress turning into a luminous cathedral, an enormous choir, horses, breathtaking fights: “his perhaps best arena production” (Opernglas). It brings Anna Netrebko to the Arena of Verona where she is giving her much-anticipated debut in one of Giuseppe Verdi’s most popular operas.

The Arena di Verona Festival honors Italian stage director Franco Zeffirelli, and his legendary production of Turandot. Interpreted within the sumptuous surroundings of Verona Arena, this Puccini's masterpiece tells the story of a princess whose beauty was only comparable to her cruelty. She will only marry a prince capable of solving her riddles, but if he fails, he will be beheaded... For this edition, the lyrical festival invites the russian soprano Maria Guleghina who proved a brilliant Turandot. She took to the stage with Salvatore Licitra's trump card is his imposingly radiant tenor voice of wich he remains in sovereign control, and the soprano Tamar Iveri is a beautiful and sensitive Liù.

Cio-Cio-San, the young Japanese bride of dashing American officer Lieutenant Pinkerton, finds her romantic idyll shattered when he deserts her shortly after their marriage. She lives in hope that one day he will return. Three years later, Cio-Cio-San and her little son see Pinkerton’s ship in the harbour. She excitedly expects his visit – but Pinkerton and his American wife Kate have come only to take the boy away, to raise him in America. Cio-Cio-San bids her son farewell and then takes her own life.

Massenet’s tale of passion, excess, and their consequences stars rising soprano Lisette Oropesa in the effervescent title role. Tenor Michael Fabiano is her ardent admirer, Chevalier des Grieux, with Maurizio Benini conducting Laurent Pelly’s enchanting production.

Andrea Chénier, Umberto Giordano's masterpiece, a title that opens the Piermarini's 2017/2018 opera season, returns to La Scala in Milan after a 32-year absence. A highly anticipated event, not only because of the debut in the role of Magdalena by superstar soprano Anna Netrebko (thus marking her third season opener at La Scala, following 2011's Don Giovanni and 2015's Giovanna d'Arco) but also because of the La Scala debut of Yusif Eyvazov (Mrs. Netrebko's spouse, who has been keeping the Piermarini's gallery apprehensive for months now) and for the new direction signed by Mario Martone, who with Margherita Palli (composer of the sets) return to La Scala's handling of an opera by Umberto Giordano, after the success in May 2016 of their Cena delle Beffe.

Baritone Michael Volle stars as the caddish knight Falstaff, gleefully tormented by a trio of clever women who deliver his comeuppance, in Verdi’s glorious Shakespearean comedy. Maestro Daniele Rustioni takes the podium to oversee a brilliant ensemble cast that features sopranos Hera Hyesang Park and Ailyn Pérez, mezzo-soprano Jennifer Johnson Cano, contralto Marie-Nicole Lemieux, tenor Bogdan Volkov, and baritone Christopher Maltman.

Soprano Eva-Maria Westbroek sings Puccini’s gun-slinging heroine in this romantic epic of the Wild West, with the heralded return of tenor Jonas Kaufmann in the role of the outlaw she loves. Tenor Yusif Eyvazov also sings some performances. Baritone Željko Lučić is the vigilante sheriff Jack Rance, and Marco Armiliato conducts.

Soprano Anna Netrebko joins the ranks of Renata Tebaldi, Montserrat Caballé, and Renata Scotto, taking on—for the first time at the Met—the title role of the real-life French actress who dazzled 18th-century audiences with her on-and offstage passion. The soprano is joined by tenor Piotr Beczała as Adriana's lover, Maurizio. The principal cast also features mezzo-soprano Anita Rachvelishvili and baritone Ambrogio Maestri. Gianandrea Noseda conducts. Sir David McVicar's staging, which sets the action in a working replica of a Baroque theater, premiered at the Royal Opera House in London, where the Guardian praised the "elegant production, sumptuously designed ... The spectacle guarantees a good night out."

In Guy Joosten's ingenious production of Bellini's masterpiece, Norma is about more than just beautiful singing. It becomes a layered, timeless drama in which Norma is the archetypal successful woman struggling to retain her dominant but vulnerable position. Hasmik Papian's lyrical and intense interpretation of the title role accentuates the striking similarity between a Druid high priestess and a modern opera diva. Conductor Julian Reynolds guides the brilliant cast, choir and Netherlands Chamber Orchestra to great heights, providing a refreshing new take on the chef d’oeuvre of bel canto.

Music Director James Levine conducts his first new Met production after a two-year absence: Robert Carsen’s hit staging of Verdi’s great human comedy. Ambrogio Maestri is an ideal Falstaff, leading an extraordinary ensemble cast of veteran and up-and-coming Met stars, including Angela Meade (Alice), Stephanie Blythe (Mistress Quickly), Franco Vasallo (Ford), and Jennifer Johnson Cano (Meg). Lisette Oropesa and Paolo Fanale are the young lovers, Nannetta and Fenton.

Ruggero Raimondi and Barbara Frittoli star in this 2006 production of the Verdi opera with Zubin Mehta conducting the Maggio Musicale Fiorentino. Giuseppe Verdi's last opera is given new life in this production by Luca Ronconi. Utilizing the sights and social conditions of modern Britain, this version of Shakespeare's THE MERRY WIVES OF WINDSOR keeps the comedy accessible while still featuring all the elements that have made this opera a perennial favorite.

Riccardo Chailly inaugurates the 2024-2025 Opera Season with a new production of La forza del destino, conducting his ninth Verdi title at La Scala. Leo Muscato will direct yet another cast of extraordinary prestige. A complex opera in terms of dramaturgy, first performed in St. Petersburg in 1862 and debuting in its final form at La Scala in 1869 with the creation of the famous overture, La forza del destino offers some of the most memorable Verdi melodies. It has been absent from the programme since the Verdi centennial in 2001, when it was brought to La Scala by the artists of the Mariinsky Theatre of St. Petersburg; the La Scala Orchestra and Choir have not performed it since 1999.

In the present stylised production by Lorenzo Mariani the 'violet-perfumed murderess' is taken by mezzo-soprano Marianne Cornetti, one of the most in-demand representatives of her vocal category. Opposite her, in the role of Adriana, is a soprano who as a Verdi and verismo specialist also appears regularly at all the major international opera houses, Micaela Carosi. The 'cock-of-the-walk' role is sung by the world-class tenor Marcelo Álvarez. His timbre, velvety smooth yet robustly virile, is ideally suited to a vocal characterisation of the idolised Maurizio. Conductor Renato Palumbo is very much at home with Cilea's operatic masterpiece, since the Italian Romantic and verismo periods are at the core of his extensive repertoire.

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“Kaufmann is performing the title role for the first time, and it’s hard to imagine him bettered. His striking looks make him very much the Romantic and romanticised outsider of Giordano’s vision. His voice, with its dark, liquid tone, soars through the music with refined ease and intensity: all those grand declarations of passion, whether political or erotic, hit home with terrific immediacy.” – The Guardian Presented in its Covent Garden premiere in January 2015, this staging – directed by David McVicar and conducted by the Royal Opera’s Music Director, Sir Antonio Pappano – shows a bloody tricolour daubed with the words “Even Plato banned poets from his Republic” – written by Robespierre on the death warrant of the historical Chénier, a poet and journalist sent to the guillotine in 1794 for criticising France’s post-revolutionary government.

Cio-Cio-San, the young Japanese bride of American naval officer Lieutenant Pinkerton, finds her romantic idyll shattered when he deserts her shortly after their marriage. She lives in hope that one day he will return. Three years later, Cio-Cio-San and her son, Dolore, see Pinkerton’s ship in the harbour. She excitedly awaits his visit – but when Pinkerton and his American wife Kate arrive and learn about Dolore's existence, they ask to take the boy away, and raise him in America. Cio-Cio-San bids her son farewell and takes her own life.

To open its 2019-2020 season, La Scala in Milan has chosen Tosca, in a new production directed by Davide Livermore. The production is part of the rediscovery of Italian opera led by Riccardo Chailly, the conductor of the production and music director of La Scala. He has chosen the original version of Tosca, as created by Puccini in Rome in January 1900, which included eight "additional musical inserts" that were removed from the work after its second performance in Turin in February 1900 and will now be rediscovered for the first time on December 7 at La Scala.

Poor Madame Butterfly! The 15-year-old geisha, who has renounced her family and Japanese traditions for the love of an American naval officer, finds herself abandoned in favour of a Western wife.

Japan, early twentieth century. U.S. Navy Lieutenant B.F. Pinkerton inspects the house he has leased from a marriage broker. The broker, Goro, has procured him three servants and a geisha wife, Cio-Cio-San, known as Madama Butterfly. He is enchanted with the fragile Cio-Cio-San. Cio-Cio-San is heard in the distance joyously singing of her wedding. In a quiet moment, Cio-Cio-San shows her bridegroom her few earthly treasures and tells him of her intention to embrace his Christian faith. The Imperial Commissioner performs the wedding ceremony, and the guests toast the couple. The celebration is interrupted by Cio-Cio-San's uncle, a Buddhist priest, who bursts in, cursing the girl for having renounced her ancestors' religion. Alone with Cio-Cio-San in the moonlit garden, her husband dries her tears, and she joins him in singing of their love.