Sir John Eliot Gardiner conducts the Monteverdi Choir, Choeur du Théâtre du Châtelet and Orchestre Revolutionnaire et Romantique in a landmark recording of Berlioz's towering opera. A tragic tale of love and fate, war and peace and the intertwined destinies of two cities, the opera is based on Virgil's imperial vision of the founding myth of Rome. The American tenor Gregory Kunde as Aeneas and the Italian soprano Anna Caterina Antonacci lead an international cast in this stunning production.

Composed in 1838, Poliuto is a masterpiece from Donizetti's mature years. It is rarely performed because the title role - the most dramatic part which Donizetti ever wrote for a tenor - is so difficult to sing. The opera was forbidden by the Naples censors and was finaly staget only after Donizetti had died.

The drama of 'Gemma di Vergy', like that of 'Anna Bolena', 'Maria Stuarda' and 'Roberto Devereux', unfolds at court, where reason of State interwines with sentiments of passion and love. Gemma is repudiated by her husband, the Count of Vergy, baritone, while the "antagonist" is Tamas (tenor), the Arab slave, locked in unrequited love. The vocal composition for the role of Gemma moves with sudden jumps between the central and the high regusters. "It is as difficult as three Normas put together", maintained Montserrat Caballé.

In its original form, Maria di Rohan was without doubt the most audacious result – pre-Verdi – of aesthetic transformation beyond the courtly dramas of “long Italian classicism”. The opera’s intrigue develops like an unstoppable machine: the fatal triangle formed by Maria, Chalais and Chevreuse being the work of Richelieu’s absolute power (despite never appearing on stage). Like trapped animals, the characters hopelessly search for a way out, and they devour each other in turn. Recorded at the Bergamo Donizetti Festival, October 2011, this is the first DVD release of Donizetti’s 1843 opera.

For all its exotically tinged, trademark Orientalism, so fashionable in late-19th-century France, Delibe's opera Lakmé is at heart a simple story of tragically misplaced love. This marvelous and sensitively wrought interpretation renders the intensity of that love story with a surprising emotional credibility. Conductor Michel Plasson allows the music's arching melodies to breathe and unfold leisurely, like a lovingly cultivated floral display; he even discovers hidden nuances within the formulaic fluff that pads Delibe's score. And his vision is shared by the outstanding principals here. As the titular Hindu princess, Natalie Dessay gives a jewel-like performance, full of stunningly shaped phrases and tapered notes that sound like spun silk (and one that can favorably compare with Joan Sutherland's account on London).

As a more consistently light-hearted version, with delightful La Scala sets and colourful costumes, the 1994 TDK Don Pasquale will also be hard to beat. Visually it is a joy, and with three outstanding principals the performance sparkles from start to finish. By not seeming too old, Ferruccio Furlanetto’s portrayal of Don Pasquale is the more convincing, but he has no chance against Nuccia Focille’s minx of a Norina and one certainly feels sorry for him at his discomfiture. Gregory Kunde is an appropriately ardent Ernesto; his voice isn’t creamy but the sings passionately and has good comic timing, and Lucio Gallo enters into the spirit of the story as a wily Dottore Malatesta.

Juan Diego Flórez stars in the only available blu-ray version of Zelmira, filmed at the celebrated Rossini Festival in the composer s home town of Pesaro. The final opera Rossini wrote for Naples is a dramatic and musical tour de force and a magnificent showcase for the bel canto superstar of our time. Recorded in high definition at the 2009 Festival, Giorgio Barberio Corsettis production places the classical tale, set during the Trojan Wars, in modern times and modern dress. Joining Juan Diego Flórez are a major international cast, described as near miraculous by Opera Today and led by American mezzo-soprano Kate Aldrich in the virtuosic title role. The evening remained another distinguished triumph for Juan Diego Flórez as Prince Ilo, whose arrival in his homeland, to rescue Zelmira, was marked by a dazzling tenorial display which evoked a nearly twenty-minute ovation (Opera Today) .

The most comprehensive edition devoted to Gioachino Rossini marking his 150th anniversary.
Born in 1792, Rossini was the most popular opera composer of his time. Although he retired from the Opera scene in 1829, he continued to compose in other genres, including sacred music, piano and chamber works. He did gather his late works under the ironic title Péchés de vieillesse (Sins of Old Age), which veils a true collection of masterworks.

Sir John Eliot Gardiner conducts the Monteverdi Choir, Choeur du Théâtre du Châtelet and Orchestre Revolutionnaire et Romantique in a landmark recording of Berlioz's towering opera. A tragic tale of love and fate, war and peace and the intertwined destinies of two cities, the opera is based on Virgil's imperial vision of the founding myth of Rome. The American tenor Gregory Kunde as Aeneas and the Italian soprano Anna Caterina Antonacci lead an international cast in this stunning production.

Doktor Faust remained a fragment at the time of the composer's death. Busoni died in 1924, unable to complete what he himself described as his ''state masterpiece'' - an opera to which he had a deep personal attachment. The missing scenes from the score - the appearance of Helen and Faust's closing monologue - were completed by his pupil, Philipp Jarnach, whom Busoni had become acquainted with during his period in exile in Zürich. In this form the opera was given its first performance in Dresden in 1925. Then in the 1980s the conductor Anthony Beaumont came across previously undiscovered sketches by Busoni and produced a new version of Doktor Faust, which was premiered in Bologna in 1985. The current recording uses the Jarnach score.

Rarely has a production of Verdi's "Otello" taken place in such a prestigious location, the courtyard of the Palazzo Ducale in Venice. Directed by Francesco Micheli, this special outdoor "event production" of the Gran Teatro La Fenice supports the claim that "Venice is asserting itself more than ever on a global scale as one of the great capitals of music" (GB Opera).