Latest News:

  • 22.02.2018 - Olga Peretyatko: Lucia at the Metropolitan Opera

  • Olga Peretyatkoi returns to the Met to sing the role of the fragile title heroine who teeters between love and madness in Donizetti's tragic Lucia di Lammermoor. Vittorio Grigolo plays the role of her lover in this chilling production by Tony Award-winning director Mary Zimmerman. Ms. Peretyatko's performances take place from March 22 until April 7. Roberto Abbado conducts. For more information and tickets, click here.

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  • 22.02.2018 - Rolando Villazón: March performances

  • Rolando Villazón travels with L'Arpeggiata to Budapest to sing a concert performance of Monteverdi's L'Orfeo on March 10. He then sings two Mozart concerts with the Orquesta Filarmónica de Medellín, a solo concert in Winterthur on March 16 and one in Lucerne on March 18, where he is joined by soprano Fatma Said.

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  • 22.02.2018 - Rolando Villazón directs Die Fledermaus in Berlin

  • Following his success with Puccini’s La Rondine, Rolando Villazón returns to the Deutsche Oper Berlin as the director slated to stage Johann Strauss' operetta from April 28 until June 8.  Donald Runnicles leads a wonderful cast featuring Thomas Blondelle as Eisenstein, Annette Dasch as Rosalinde, Nicole Haslett and Meechot Marrero who share the role of Adele and Angela Brower as Orlofsky. Click here for more information and tickets.

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  • 22.02.2018 - Anna Netrebko sings Lady Macbeth in London

  • Anna Netrebko returns to the Royal Opera House as Lady Macbeth in Verdi's opera based on Shakespeare's tragedy. Ms. Netrebko sings five performances from March 25 until April 7 and is joined by a magnificent cast including Željko Lučić in the title role, Ildebrando D'Arcangelo as Banquo and Yusif Eyvazov as Macduff. Antonio Pappano conducts. For more information and tickets, click here.

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  • 20.02.2018 - Yusif Eyvazov: Andrea Chénier review

  • Azerbaijani tenor Yusif Eyvazov, as Chénier, gave one of the finest performances of his career. His voice commands the ample range and volume needed for the poet, and his singing evidenced greater refinement and beauty of tone than has often been the case in the past, with registers blended skillfully and tones emerging ronded and limpid in every phrase, enhanced by equally well-honed diction. - Stephen Hastings, Opera News

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  • 20.02.2018 - Anna Netrebko: Andrea Chénier review

  • Anna Netrebko's Maddalena was a more audience-conscious performance - the luxuriant top B that crowned "La mamma morta" was delivered directly to the gallery - and more traditional in its rhetoric, relying on generosity of tone rather than subtlety. - Stephen Hastings, Opera News

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