One of the composer's most beguiling scores, La Favorite is Gaetano Donizetti's La favorita in it's original French form; a tale of love and war that represents a glorious mix of Italian bel canto and 19th c. grand opera. Vincent Boussard's arresting Toulouse production does full justice to this newly renewed masterpiece. Three international principals take on the work's demanding roles: Chinese tenor Yijie Shi is a 'revelation' as Fernand, the rich-toned, authoritative French baritone Ludovic Tezier as King Alphonse XI and lauded American mezzo Kate Aldrich - 'the Carmen of this generation' - plumbing the emotional depths of Leonor's music. Conductor and bel canto specialist Antonello Allemandi adds to the passionate proceedings onstage. Maestro Allemandi demonstrated full authority over the stage for the musically complex scenes, and in the arias and duets demonstrated his confidence in the singers by establishing ample tempos to support their soaring vocal lines.

In his 'new life' as a baritone, Placido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi's darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with "Die Soldaten" and "Il trovatore". Domingo is joined by two of Italy's most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo's performance, calling his interpretation of the role "sublime".

Gennaro, the son of Lucretia Borgia, lives unaware of the identity of his mother, who has married the Duke of Ferrara. After Lucretia's brother is killed by five conspirators, the fathers of Gennaro's dearest friends, Lucretia tortures the old men to death. Later, Gennaro and his companions journey to Lucretia's domain, and she sees her son for the first time. The Duke, who believes him to be her lover, poisons him, but Lucretia administers the antidote in time and saves his life. Then she schemes to poison her sons' five friends for their fathers' mistake.

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.

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The incredible story of Lucrezia Borgia (1480-1519), daughter of Pope Alexander VI (1431-1503), deliberately used politically by her powerful family and historically slandered as a poisoner and incestuous femme fatale. But who was the real Lucrezia?

Six Italian directors explore contemporary Milan in a rich and eclectic portrait of urban life and spaces—both rooted in history and bursting with a diversity of architecture and humanity.

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The magistrate, Scauri, inquires into the mysterious poisoning death of Gaspare Pisciotta, the imprisoned assassin of Salvatore Giuliano. He very soon finds himself struggling against a conspiracy of silence, which Scauri must therefore overcome in order to indict two powerful mafia bosses. His only hope comes for a brief moment from the testimony of the young prosecutor Lojacono. But The Organization is the most strong: the young prosecutor withdraws his deposition and the magistrate disappears in mysterious circumstances.

Eurocrime/Poliziotteschi movie from 1973

De Luca is killed by Marchetti's chauffeur. Marchetti ordered the murder because he was to be accused by De Luca. The two have a car accident while going home to get an alibi. There is a witness, Sironi, who calls the police. But when the police arrive the car has gone and so have the two men. Inspector Santi and young judge Novelli look into the strange case. Marchetti, however, is a powerful man and Sironi and his family begin to be obsessed first by threats then by assaults.

Roma.During a clash between demonstrating laborers (whose fight the students have joined) a policeman and a student are both killed. The investigating magistrate - in charge of the case with two commissioners - wants to believe to the version of the police: the student was killed by one of the laborers, while the policeman would have been killed by Massimo Trotti.

Set in the 1990s, this film uses black humour to cast a sharp, satirical eye at the problems facing modern Japanese families. Hiroshi accidentally hits a young woman with his car and flees in panic. He confesses to his wife, Yoko, who persuades him to keep quiet as his arrest would mean the end for their already troubled family. Their daughter is having an affair with a married man, their son is being bullied and refusing to go to school and their grandfather is becoming more difficult. Yoko urges the family to move the car into the living room in order to destroy the evidence by taking it apart. Hiroshi finally decides to do the honest thing but a series of bizarre incidents then ensues...

Richard Harrison is the Mob hit man who finds friendships can get you into trouble when he meets an old buddy who turns out to be part of an opposing family!

Luigi, a middle-aged engineer who, getting increasingly worried about the rising crime rate in his surroundings, follows the advice and example of his sleazy drinking cronies to arm himself with the titular weapon; the problem is that he starts carrying – and, occasionally, brandishing – it with him everywhere.

Mario Gastaldi, a lawyer with no clients and no money, agrees to be a negotiator in a deal on stolen paintings, between the boss Peseti and the engineer Farnese, who plots kidnappings unsuspectedly. After he cashed from Farnese three hundred millions of lire to deliver to Peseti, Mario lets money be robbed by four pickpockets, which he is naturally in cahoots with and which he will share out it with. Money cannot be used since it comes from a kidnapping and it was marked. The lawyer will be able to make the boss get arrested.

A young man comes out of a reform school properly reformed, but life outside will bring him to the underworld again. His second reform will be short-lived.