Maestro Riccardo Muti returns to the podium of the Orchestra and Chorus of the Teatro Regio di Torino for a new production of Macbeth directed by Chiara Muti. Set design by Alessandro Camera and costumes by Ursula Patzak.

Puccini’s operas are among the most beloved and best-known works in the classical repertoire, but Edgar may be unknown even to aficionados, at least as it is presented here. This original four-act version of Edgar, first performed in 1889, was believed lost for over a century when Puccini’s granddaughter Simonetta discovered the score fully intact in 2008. In addition to the third act’s funeral music, which Arturo Toscanini conducted at Puccini’s funeral in 1924, listeners may recognize the duet from the now-restored fourth act, cut by Puccini in subsequent revisions of the work: it bears more than a passing similarity to the third-act duet in Tosca.

With its lively dances, ghost scenes and touching arias, Hamlet was Ambroise Thomas’s single great success of the Paris Opera, remaining in its repertoire for decades after the 1868 premiere. On the opening night, the title role was sung by a baritone, as has become the custom ever since. With the rediscovery of the original score in recent years, it transpires that Thomas originally scored the role of Hamlet for a tenor. In this new production of Teatro Regio Torino, the tenor John Osborn is the tormented prince, singing the celebrated monologue “To be or not to be” (“Être ou ne pas être”). Sara Blanch sings Ophélie, whose pyrotechnic aria in the mad scene is a pièce de résistance for a coloratura soprano. Under the musical direction of Jérémie Rhorer, the production is directed by Jacopo Spirei.

"Despite the multitude of characters and situations, the plot is simple: the eternal flow of life. It is based on Les contes fantastiques d’Hoffmann, a play by Jules Barbier and Michel Carré, who were inspired by some of the stories of the German E.T.A. Hoffmann. On a drunken night in the city, Hoffmann tells how he courted and lost three girls, his impossible loves: Olympia, a mechanical doll that only he believes to be truly human; Giulietta, the courtesan who steals his reflection in a mirror; and Antonia, a young woman who sings until she literally dies."Venue & Opera Company: Teatro Regio di Parma Recorded: 1988Singers: Alredo Kraus, Ruth Welting, Jonathan Omilian, Barbara Hendricks, Elena Zilio, Nicola Gjiuselev, Bruno Buulgarelli, Francis Egerton, Aldo BottionOrchestra: Orchestra Sinfonica dell'Emilia-Romagna "Arturo Toscanini" Chorus: Coro del Teatro Regio di Parma Chorus Master: Adolfo Tanhzi Stage Director: Beppe de Tomasi

Captured live from Naples’ splendid San Carlo Theatre – the world’s oldest continuously running public opera venue – where it opened the company’s theatrical season, acclaimed director Dmitri Tcherniakov stages a new production of Dvořák’s beautiful, supremely romantic opera about a water sprite Rusalka who longs to find love.

New production of Rigoletto at the Teatro Massimo in Palermo, co-produced with the Teatro Regio in Turin, the Opéra de Wallonie Liège, and the Shaanxi Opera House. Libretto by Francesco Maria Piave.

Princess Aida has been kidnapped: a valuable prize in a war between Egypt and Ethiopia. The ambitious soldier Radames wrestles with his feelings for her. As they draw closer together, each must make a painful choice between their loyalty to home, and their love for each other. his new production of Rome combines the colossal and the intimate. For Michele Mariotti, conductor and music director of Teatro dell’Opera di Roma, Verdi’s genius lies in his managing to combine spectacular, triumphal elements with a love story that unfolds far from public space in delicate pianissimi and sotto voce singing.

To open the 2023–24 opera season, the Teatro dell'Opera di Roma presents a new production of Mefistofele. This opera, in a prologue, four acts, and an epilogue by Arrigo Boito, is inspired by Goethe’s Faust. The production is directed by Simon Stone, with Michele Mariotti conducting.

An exclusive behind-the-scenes look at Mattia Torre’s plays adapted for television, under the artistic direction and direction of Paolo Sorrentino.

A monologue that chronicles a month in a woman’s life, through the four phases of the menstrual cycle. A woman who leads a routine life, marked by habits that repeat themselves every day, and who, like all of us, struggles to make her way in the world.