The Florentine sculptor and silversmith Benvenuto Cellini rapidly attained a degree of renown that went beyond the confines of Italy. Invariably embroiled in conspiracies, intrigues and quarrels, Cellini is commissioned by the Pope to cast a large sculpture of Perseus. He is loved by Teresa, but she is promised to Fieramosca, an academic artist who has not been favoured with a papal commission. Terry Gilliam’s exuberant production draws the protagonists into a delirious and joyful yet claustrophobic and megalomaniac world: a flaring up of contagious madness.

"This is a family tragedy, and in many ways, it is a very contemporary story." This is how Robert Wilson described Il trovatore, or Le Trouvère in its French version, commissioned from Verdi after the incredible success of the premiere of his Italian version in 1853. With a few changes and alterations to the original music, this version was first performed in 1857 at the Paris Opera. A light show unique to the stage director unfolds in the cold architecture, creating the perfect framing for Verdi’s music, dramatic and dark in this timeless opera.

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Early recordings of Franco Zeffirelli's 2006 production of Verdi's opera which saw Roberto Alagna's high-profile exit during the second performance. Egypt and Ethiopia are at war. Radames is appointed commander of the Egyptian forces by the King, whose daughter, Amneris, loves Radames. It is in fact Amneris' Ethiopian slave Aida whom Radames loves. Ramades wins the war against the Ethiopians, capturing Aida's father Amonasro in the process. On his return to Egypt he faces a choice between marrying Amneris or betraying his country through his love for Aida.

Live performance at Teatro La Fenice, Venice, September 25-28 2010. Myung-Whun Chung conducting Orchestra e Coro del Teatro La Fenice. Directed for the stage by Daniele Abbado.

As Aragon descends into unrest, a count jealously fights for a noble lady's heart. But she has already given it to a passionate troubadour whose mother holds a terrible secret.

In Italy, in Mantua and its surroundings, in the 16th century. Although newly in love, the Duke of Mantua extols infidelity. His court jester, Rigoletto, mocks the elderly Monterone, who has come to demand the return of his daughter, whom the Duke has seduced. Monterone casts a curse on Rigoletto. The hitman Sparafucile offers his services to the jester, as a man is lurking around the young woman he is protecting. Rigoletto reflects on his dual role as jester and tormented father, for this young woman—whom the courtiers believe he is hiding a romantic affair with—is in fact his own daughter, Gilda. “Rigoletto” is an Italian opera in three acts and four scenes by Giuseppe Verdi, with a libretto by Francesco Maria Piave, based on Victor Hugo’s 1832 play “Le roi s’amuse.” It premiered on March 11, 1851, at the Teatro La Fenice in Venice. From the “Tutto Verdi” box set of 27 Verdi operas. Recorded live at the Teatro Regio in Parma on October 16, 20, and 22, 2008.

Puccini's masterpiece La Bohème is by far the most represented opera in the world. At the famous Puccini Festival in Torre del Lago (2014), where Puccini composed his main operas, La Bohème is directed by one of Italy’s greatest film directors: Ettore Scola, the creator of a high number of award-winning seminal films. As he explains in the programme notes, as soon as he was approached to stage La Bohème he had to fight hard to resist the temptation to give life to his “revolutionary” ideas; in the end, he decided for a traditional looking, rich, grandiose and detailed Bohème. Together with the exceptional cast of Daniela Dessì, Fabio Armiliato, Alessandro Luongo, Marco Spotti and Alida Berti, this production makes for an incomparable great performance.

Puccini’s melodrama about a volatile diva, a sadistic police chief, and an idealistic artist has offended and thrilled audiences for more than a century. Critics, for their part, have often had problems with Tosca’s rather grungy subject matter, the directness and intensity of its score, and the crowd-pleasing dramatic opportunities it provides for its lead roles. But these same aspects have also made Tosca one of a handful of iconic works that seem to represent opera in the public imagination.

Teatro Regio’s 2013 revival of their highly successful 2006 production of Verdi’s Don Carlo celebrates the 40th anniversary of the theatre’s reopening in 1973. With traditional staging and lavish costume design, the production garnered high acclaim in the national and international press, with GB Opera commending the ‘sumptuous’ setting and French online music magazine ResMusica praising director Hugo de Ana’s decision to revive the show ‘in all its splendour’. Shown here in the four-act version, Don Carlo is the fascinating tale of father-son power struggles, adultery and love that borders on incest. The cast – under the powerful baton of Gianandrea Noseda – is headed by renowned Mexican tenor Ramón Vargas, and also features Ludovic Tézier, who has been hailed as ‘one of the best Verdian singers of our time’

Rare production of the opera which immediately preceded Lucia di Lammermoor in Donizetti’s oeuvre. This performance was taped live at the Teatro Regio di Parma, January 5, 2002.