Herve Rossini is a renowned artist who expresses himself through his surrealist garden.

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In a beautiful garden called Ecos, there are a variety of creatures there who neatly fulfill vital roles in the healthy ecological system of the area. However, this state of reasonable environmental harmony is disrupted when a new species of grub like creatures begin to ravish the land of a needed fruit. This folly leads to the disruption of the environment of the garden while this greed leads to a series of events that have tragic consequences.

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When Rossini’s opera Le Siège de Corinthe was premiered in 1826 in Paris it became a huge success all over Europe. The Rossini Opera Festival presents the opera in a new production from Carlus Padrissa of the Barcelona collective La Fura dels Baus, “which here has one of its most interesting shows” (connessiallopera.it). Artistically “Roberto Abbado holds the ranks excellently and supports a well-cohesive and balanced cast” (L’ape musicale) “where bass-baritone Luca Pisaroni growled fearsomely as Sultan Mahomet, tenor Sergey Romanovsky as Néoclès matched a warm tone with pinging top notes, and tenor John Irvin was self-assured as Cléomène, but soprano Nino Machaidze as Pamyra thrilled most of all, as she purred effortlessly through pyrotechnic coloratura” (Financial Times).

An funny, witty and bright biopic by the master of italian comedy Mario Monicelli about the famed italian composer Gioacchino Rossini, here portrayed in a wonderful way by famed actor and later director Sergio Castellitto.

Marylou and Robinson (aged 17 and 18) break down in front of the gates of the Jardin des Plantes. There, they meet César, a tiger. By staring at him, playing with him, and provoking each other, they awaken the evil that lies dormant within him. Robinson ends up inhabiting him.

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Cemeteries are natural open-air theaters with their own codes, aesthetics, vegetation, visitors, and organization, which deeply reflect the culture and beliefs of the people who live around them. This constant juxtaposition of death and life is what gives them their dynamism, their strangeness, but also their photogenic power. Behind their walls, we can discover stages of life, unique destinies, and intimate stories that we try to capture in the rhythm of the seasons. In "The Eternal Garden: Père Lachaise Cemetery in Paris," we also encounter the most famous graves of Oscar Wilde, Edith Piaf, and Jim Morrison.

This new disc from the Zurich Opera presents just about as thoughtful and coherent account of Rossini's Otello as one could hope for. This isn't the first time the company has made something of a splash with the bel canto repertory. Some will remember their CD release, a few years back, of Bellini's Norma, also featuring Bartoli. That set got very mixed reviews, and those who hated that will probably hate this too, no doubt before they even watch it. But for those not initiated in the trench warfare that music loving often attracts, this disc will be most welcome. The world class cast, led by Cecilia Bartoli and tenor John Osborn, are (mostly) young, committed and talented. They deliver, here, an intense performance that makes a very strong case for this neglected opera.