The performance here of Samson is definitive. It is lively, colourful and highly dramatic. There is no comparison with the tedious performance by the Sixteen on Coro. The performance of the Messiah with limited modern instrumental forces of the English Chamber Orchestra and Chorus with very good soloists doesn't sacrifice grandeur nor does it go to the other extreme of over-blown pomp. It is a very good performamce on modern instruments under the direction of the Baroque music specialist conductor Raymond Leppard.

Rossini liked to write operas about women (specifically mezzo-sopranos) who were smarter than the men around them, such as Rosina in "The Barber of Seville" and Angelina in "La Cenerentola." This charming, melodious bit of operatic fluff, composed before either of those two better-known operas, is dedicated to the proposition that an Italian woman is a match for any man or group of men. The thesis is tested in an extreme situation; Isabella (Larmore) is shipwrecked on the coast of a place where shipwrecked Europeans were routinely enslaved and, if they were women, consigned to a harem.

Diana Damrau gave her first performance as Donizetti's Lucia di Lammermoor at the Metropolitan Opera in October 2008, to much critical acclaim. This recording with the Munich Opera followed almost five years later, in July 2013, showing that she has staying power in the ultimate coloratura role. The Munich performance was conducted by Jesús López-Cobos, and Damrau was joined by an exceptional cast, which included Joseph Calleja as Edgardo, Ludovic Tézier as Enrico, and Nicolas Testé as Raimondo.

Seeking to exorcise the failure of his current love affair, the poet Hoffmann tells the tales of his three past loves - the doll-like Olympia, the high-class courtesan Giulietta, and the ambitious but delicate Antonia - and recalls how each was thwarted by the evil influence of his rival. Jacques Offenbach's opera is performed at the Paris National Opera, directed by Robert Carsen, and the cast includes Neil Shicoff (as Hoffmann) and Bryn Terfel.

This live recording from Paris in 1972 has two main attraction: the chance to hear a very young - 25 years old, in fact - José Carreras at the outset of his career and, more importantly, I think, the opportunity to hear Vasso Papantoniou, an excellent soprano largely unknown outside her native Greece where she has made her career and who at times sounds uncannily like her compatriot, Maria Callas, especially in the middle of her voice and in her deployment of highly expressive downward portamenti. Her vibrato is faster and, like Callas, top notes can be shrill, be she is a complete artist who obviously impressed the Parisian audience. To hear her at her best either her opening or closing aria will do; listen to her from "M'odi, ah! mo'di" to the end of the opera, where she opts to use the virtuoso aria Donizetti wrote especially for diva Henriette Méric-Lelande and very good she is too.

Passion, loyalty and political conspiracy are the three pillars of Un ballo in maschera (1859), the ‘most operatic of all operas’. Set in 19th-century Boston, Mario Martone's atmospheric production for the Teatro Real brings out all the innate theatricality and drama of Verdi's work. World famous Argentinean tenor Marcelo Álvarez, in the role of Riccardo, leads a fabulous cast including Lithuanian soprano Violeta Urmana as his lover Amelia, and Elena Zaremba as the witch Ulrica. Jesús López Cobos conducts the Chorus and Orchestra of the Teatro Real in a performance that emphasises the lyricism and majesty of this wonderful work, in which grand opera and opera comique are woven together with classic Italian style.

Norah Amsellem as Violetta leads a cast of outstanding talent in Pier Luigi Pizzi’s beautiful production filmed with High Definition cameras and recorded in multi-track surround sound. Jesus Lopez Cobos conducts the Chorus and Orchestra of the Teatro Real (Madrid Symphony Orchestra and Chorus) in an acclaimed reading of one of Verdi’s greatest works.

Composed for the coronation of Charles X in Rheims Cathedral, this pièce de circonstance was to remain Rossini's last Italian opera. It contains some of the most inspired and brilliant vocal writing the composer ever produced. Most experts and analysts agree that this is an unconventinal opera, light and ironic, festive and exuberant, with a plot as simple as it is extrvagant, a work full of musical references which almost turn it, very subtly, into a "metaopera," or an "opera about opera."

Set in Egypt, Massenet's drama 'Thais' (1894) traces the ill-fated attempt of the monk, Athanaël, to rescue the soul of the celebrated Alexandrian courtesan, Thaïs. Though she is presently living with his wealthy friend Nicias, Athanaël persuades her to renounce her way of life and riches, but as she dies in the desert in a state of grace, he realises he has succumbed to her worldly charms and begs God for mercy. Renée Fleming triumphs as the glamorous courtesan Thaïs in Massenet’s romantic tragedy set in fourth century Alexandria and the Egyptian desert. The timeless struggle between earthly desire and spiritual redemption finally destroys the resolve of the monk Athanaël (Thomas Hampson), just as the newly penitent Thaïs ascends heavenward. Jesús López-Cobos gives a masterly performance of Massenet’s sensuous score, with concert master David Chan contributing a ravishing ‘Méditation’.

"This Bohème is a glorious vindication of traditional staging at its imaginative, re-creative best. Giancarlo Del Monaco here turns his attention to the much more popular work and comes up with a humdinger of a production, beautifully set by Michael Scott in period, fast-moving and full of pertinent detail." (Gramophone)

From the opening notes of the overture to the final curtain, Emilio Sagi’s classic, triumphant production fully brings to life all the elegant wit and theatricality of Mozart’s comic masterpiece.
Leading baritone Ludovic Tézier shines as the lustful Count Almaviva who attempts to obtain the favours of Figaro’s bride-to-be, Susanna (Isabel Rey), while Luca Pisaroni gives a feisty performance as Figaro. Conductor Jesús López Cobos masterfully captures the enchanting score. A witty yet profound tale of love, betrayal, and forgiveness.