This religious masterpiece, composed in memory of the great Italian novelist Alessandro Manzoni (1785-1873), has themes even more cosmic than any in Verdi's other operas: life and death, heaven and hell, the Christian vision of humanity's redemption, the end of the world, and the last judgment. Verdi's music rises to the tremendous demands of this subject matter; it is music of grandeur, guilt, terror, and consolation, with a breadth of vision and an intensity of feeling unique in the composer's work and in religious music. John Eliot Gardiner's is the first recording made with period instruments, a kind of performance that some musiclovers still dismiss as dilettantism, more concerned with musicological correctness than feeling and communication.

Operatic powerhouse Olga Peretyatko is accompanied by the Munchner Rundfunkorchester (Munich Radio Orchestra) conducted by Miguel Gomez-Martinez on this high-quality album of (coloratura) soprano favorites. With an able, keen orchestra behind her, Peretyatko is free to demonstrate her considerable talents. Two arias are by opera legend Rossini. One, his "Non si dà follia maggiore," begins the album, and Peretyatko interprets it in a way that leaves the listener entranced. Peretyatko's voice is clean, bright, and full of vibrato. Her interpretation is also highly dramatic.

This selection of scenes and arias, all very familiar items, is distinguished by the imaginative accompaniments under Evelino Pidò. …here we have one of the great opera personalities of our time - it's a lovely voice, used with a formidable technique.

Hera Hyesang Park releases her second Deutsche Grammophon album, that focuses on spiritual, meditative arias and songs. Breathe reflects the soprano’s determination to embrace life, let go of grief and approach every day with gratitude. This personal approach led to a choice of music containing classics by Rossini, Verdi, Massenet and more, besides recent works by contemporary composers.

Falstaff was one of Verdi's greatest creations and this set is the finest of all reacordings of the work. Only Toscanini comes close and even then his cast is a shade less accomplished. Gobbi may not have a 'fat' voice, but his keen intelligence and magnificent shading of phrases and text more than compensates.

If you wonder what happened to Rossini and Verdi conducting in the vein of Toscanini, look no further that this CD. This is wonderfully stimulating playing. Abbado would become principal conductor of the London Symphony several years after this recording was made, but we find here that he already had a superb rapport with the orchestra. Andre Previn was still the principal conductor at the time, and it is interesting to hear how differently the orchestra played for him and for Abbado.

A greatest-hits album ought to stick to the middle of the road, playing to what an artist does best. Yet it ought not simply wallow in past glories: this collection from Russian soprano Anna Netrebko, arguably the best-known soprano of the present day, hits the spot and can safely be recommended to newcomers. Netrebko is at her best in core Italian repertory like Casta Diva from Bellini's Norma or Libiamo ne 'lieti calici from Verdi's La Traviata.

Claudio Abbado hat mit diesem Werk seinem Credo alle Ehre gemacht: "Für mich ist Zuhören das Allerwichtigste: einander zuhören, zuhören, was andere Menschen zu sagen haben, auf die Musik hören.“

Verdi can be a challenge both vocally and in terms of acting, but Pavarotti and Marton are sensational, and Milnes was still excellent although clearly near the end of his career. The lyric beauty is there side by side with the dramatic power. (Tony Adams)

This time-honoured production of Verdi's final opera, one that has seen all the greatest Falstaffs of the last four decades hold court at its convincingly shabby Garter Inn and upset the decent folk of its lovingly recreated Tudor Windsor, marked the first appearance at the Met of producer and designer Franco Zeffirelli in March 1964. The Anglophile Zeffirelli had by then made his Shakespearean reputation with a revelatory Romeo and Juliet in London - his films of this play and of The Taming of the Shrew were shortly to follow - as well as with a similar production of Falstaff at Covent Garden, and the attention to visual and psychological detail displayed in his Met Falstaff won it high praise: “a milestone in the history of operatic production in this city" was the judgement of the New York Herald Tribune.

Verdi and his librettist had originally intended that The Masked Ball would be set in the late 18th Century setting of the court of Gustavus III of Sweden. However this was not acceptable to the censor and it was changed to an imagined colonial Boston. In this production the opera has been set in its intended Swedish setting and appropriate changes made to the text. The staging reflects the setting and the scenery has a deliberately heavy feel which accentuates the sombre atmosphere of the opera. Nonetheless, all sets and costumes are lavish – clearly the ‘Met’ does not penny pinch with its productions. In particular the final scene "A large and sumptuously decorated ballroom" accurately reflects the description and the fancy dress costumes are really splendid.

While all four solo performances are superb, one has only to sample the finale to Act I to discover what an electrifying team they make…If Pavarotti dominates by the sheer ardour of his singing, overall this is a totally gripping performance, unlikely to be surpassed on DVD. (The Penguin Guide)

La Traviata, Giuseppe Verdi very personal opera, was premiered in 1853 at the Teatro La Fenice in Venice. The first night was a fiasco, but after a few revisions the opera set out to conquer the world. La Traviata offers no scope for grandiose crowd scenes or historical pomp. In keeping with the intimate nature of the action, Verdi’s music reflects the inner feelings of the protagonists. The heroine, whose emotional state is determined by external circumstances, is in the centre of the story of emotional upheavals. Jürgen Flimm haunting staging stays close to Verdi’s intent. He focuses on the protagonists, showing their shakiness, emotions, despair, love, sacrifice and tragedy rather than concentrating on the abysses of the Parisian demi-monde. Eva Mei and Piotr Beczala are a perfectly matched couple. Her soft and flexible soprano and his lyrical tenor, marked by excellent diction, work very well together, joined by the “golden” voice of outstanding Thomas Hampson.

One of the most acclaimed musicians of his era, Toscanini was a conductor of the "old school" - aristocratic, perfectionistic and something of an autocrat on the podium. After a brief flurry of interest in Fascism in the 1910s, he rapidly became disillusioned with the movement and indeed became a personal rival of Mussolini, repeatedly antagonising him through acts of artistic defiance such as refusals to open concerts with the Fascist anthem Giovinezza.

Giuseppe Verdi was commissioned by the Paris Opera to write a grand opera for the Great Exhibition of 1855. The opera's subject was to be the Sicilian Vespers, the infamous massacre of the French by Sicilians in 1282 Palermo. Verdi's librettist for the work was Eugène Scribe and difficulties arose at once. Verdi, who favored lean realistic drama, was handcuffed by the French grand opera formula with its five act form, lavish choruses and ballet. The work with its original French title, 'Les Vêpres siciliennes' premiered to great acclaim but Verdi was never pleased with it. Eventually it was translated into Italian and this is the version that has survived.