When this sumptuous production by Giancarlo del Monaco opened in 1995, legendary tenor Plácido Domingo gave a riveting performance as the fiery revolutionary Gabriele Adorno, a tenor part. In the 2010 revival, he made history by taking on the baritone title role, one of Verdi’s most fascinating characters, and thrilling audiences with his multifaceted and gripping portrayal. Boccanegra is beset on all sides, juggling political adversaries bent on murder with his love for his long-lost daughter Amelia (Adrianne Pieczonka). James Levine’s conducting brings out all the color and surging emotion of Verdi’s magnificent score.

Opera lies at the heart of Rimsky-Korsakov's colourful idiom, but performances are few and far between; this realisation of his penultimate and grandest stage work is a very rare and special experience. Kitezh is known as "the Russian Parsifal", which encapsulates its mystical flavour and steady unfolding of a legend of redemption

Prince Abesalom runs into an orphaned Eteri while hunting, falls for her and brings the woman to his palace as his fiancé. The Prince’s aid Murman loses his self-control at Eteri’s beauty and gives her a spelled necklace as a wedding gift. Eteri contracts a mysterious disease that only Murman is capable to heal.

Like Handel’s Orlando (1732) and Ariodante (1734), Alcina derives from the narrative material in Ariosto’s Orlando furioso. The story of the sorceress Alcina, an initially hedonistic, manipulative woman who later finds herself a victim of love, fits into the genre of the ‘magical opera’ with numerous magical elements, but Handel achieved considerable emotional authenticity in his characterisations. This makes Alcina one of the most deeply felt and multifaceted operas. ‘You may despise what you like ; but you cannot contradict Handel,’ said the Irish playwright George Bernard Shaw. As in Tamerlano, Pierre Audi based this production on the stage at the baroque theatre at Drottningholm, for which he originally developed the directing concept. His set is thus based on the principles of perspective, with wings in the form of painted panels. The result is marvellous modern musical theatre in a historizing frame.

The grand scale and magnificent acoustics of the Roman arena in Verona are ideally suited to the pageantry of Verdi's Egyptian opera, presented here in a staging that is true to the original 1913 production, framed by obelisks and sphinxes and filled with chorus and dancers. Chinese soprano Hui He has won international acclaim for her portrayal of the eponymous slave girl whose forbidden love for the war hero Radamés (Marco Berti, the experienced Verdi tenor) brings death to them both.

Axel Kohler, the internationally renowned countertenor has brought Admeto into the modern era in timeless style by the skillful application of imaginative theatrical digressions. Köhler's production at the Halle Opernhaus revisits a work that encompasses comedy, tragedy and almost absurd grotesqueness, couching it in the convincing metaphor of a modern hospital.

In Rigoletto, the deformed figure of the hunchbacked jester at the Mantuan court acts as a foil to his cynical and powerful master, an unscrupulous philanderer contrasted with his cruel and unforgiving fool. Rigoletto encourages and welcomes the Duke's conquests, pitilessly mocking his victims until he discovers that the Duke has abducted the one person he genuinely loves, his own daughter. As a result, the character of the court jester is transformed into a tragic figure who, in spite of his evident immorality and malice, allows us to sense the devotion he feels for his daughter and his horror at being destroyed by the same despotic world as that which he himself has helped to create.

It took Anna 10 years to recover from the death of her husband, Sean, but now she's on the verge of marrying her boyfriend, Joseph, and finally moving on. However, on the night of her engagement party, a young boy named Sean turns up, saying he is her dead husband reincarnated. At first she ignores the child, but his knowledge of her former husband's life is uncanny, leading her to believe that he might be telling the truth.

Robert Lepage’s dreamlike production, with its thousands of twinkling LED lights stretching across the stage to represent the sea, encapsulates the mystic feeling of L’Amour de Loin, Saariaho’s haunting opera of distant love. Eric Owens is Jaufré Rudel, a troubadour in 12th century France who has become tired of his hedonistic life and longs for an idealized love. Enter the Pilgrim (Tamara Mumford) who tells him his perfect love does, in fact, exist, far across the sea. She is Clémence, Countess of Tripoli (Susanna Phillips). The magic of the characters’ inner lives as they explore the meaning of love, longing, life, and death is heightened by Saariaho’s hypnotic and bewitching score, conducted by Susanna Mälkki.

This filmed version of Strauss' shocker features Teresa Stratas as opera's most depraved teenager, and she's as perfect a Salome as one would ever hope to see or hear. Stratas inhabits the role, exploring the character's sensuousness as she vainly woos Jochanaan, her venomous hatred when she's rejected, the crazed look in her eyes when she demands his head--on a silver platter, no less. Such complete identification with a role, especially of a character so malignant helps make this 1974 Salome stand out among the many fine DVDs of the opera.

Opera in one act, libretto by G. Forzano based on Dante's Divine Comedy. Third part of his opera Triptych. The plot is based on canto XXX of "Inferno" from "The Divine Comedy", which are dedicated to the rogue and deceiver Gianni Schicchi, who was punished for his sins: he impersonated a dying rich man in order to make a forged will on his behalf. Gianni Schicchi is Puccini's only comic opera, a brilliant example of a modern opera buffa based on the tradition of Verdi's Falstaff. The most expressive recitative, bubbling melody, sharp character, impetuous tempo distinguish her music. Recorded live at Glyndebourne Opera House, Sussex, UK on 11 July 2004.

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Opera at La Scala Milan

Without question, this is an incredibly bizarre production. The revised storyline makes little sense, and there is a surprising amount of violence and sexual innuendo. However, the singers are superb, both vocally and in regard to their stage presence and acting, the orchestra plays beautifully, the chorus is wonderful, and the set is as clever as it is strange. It's definitely not for purists, or for someone new to this particular opera. But for someone who's seen Die Entfuhrung before, and is familiar enough with the original story to not miss it, watching Belmonte, Constanze, Blonde, Pedrillo, and Osmin embark on an entirely new adventure -- and push the boundaries of good taste -- is rather enjoyable.

Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.

Dvořák's "Rusalka" in a production by David Pountney at the English National Opera in 1986. Mark Elder conducts the orchestra, accompanied by the English National Opera Chorus in English.

The life and career of Italian opera singer Farinelli, considered one of the greatest castrato singers of all time.

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.

Le convenienze ed inconvenienze teatrali (Conventions and Inconveniences of the Stage) is a two-act opera that shines an exaggerated spotlight on the behind-the-scenes working of a theatre and the rehearsal process, showing what can go wrong when the egos of the performers get in the way of putting on a good show. A regional (and mediocre) operatic troupe is rehearsing a new work and faces numerous obstacles. The prima donna acts every bit the diva, refusing to rehearse. The Tenor finds himself in the wrong production and quite out of his depth. The Seconda Donna’s mother (played by a baritone) demands that her daughter be given a more prominent role, before deciding to take on several roles herself. Not be outshone, the Prima Donna’s husband takes to the stage too. When the show eventually collapses and the company tries to flee under cover of night, rather than pay back all the investors (whose money has already been spent), the Impresario has other plans…

37-year-old Italian-American widow Loretta Castorini believes she is unlucky in love, and so accepts a marriage proposal from her boyfriend Johnny, even though she doesn't love him. When she meets his estranged younger brother Ronny, an emotional and passionate man, she finds herself drawn to him. She tries to resist, but Ronny, who blames his brother for the loss of his hand, has no scruples about aggressively pursuing her while Johnny is out of the country. As Loretta falls for Ronny, she learns that she's not the only one in her family with a secret romance.