Part of Tutto Verdi series - Un giorno di regno (2010) Parma. 'Un giorno di regno, ossia il finto Stanislao' ('A One-Day Reign, or The Pretend Stanislaus', but often translated into English as 'King for a Day') is an operatic melodramma giocoso in two acts by Giuseppe Verdi to an Italian libretto written in 1818 by Felice Romani. Originally written for the Bohemian composer Adalbert Gyrowetz, the libretto was based on the play 'Le faux Stanislas' written by the Frenchman Alexandre Vincent Pineu-Duval in 1808.

David McVicar’s inventive hit production of Handel’s most popular opera sets the story of Caesar’s conquest of Egypt—and of its queen, Cleopatra—in the era of British 19th-century imperialism while also including elements of Baroque theater and Bollywood movies. David Daniels in the title role and Natalie Dessay as Cleopatra lead the cast. Christophe Dumaux is Ptolemy, Cleopatra’s brother, and Alice Coote and Patricia Bardon star as Sesto and Cornelia, son and widow of Caesar’s opponent Pompey. Early music specialist Harry Bicket conducts and plays harpsichord continuo.

Mozart's second collaboration with the mercurial librettist Lorenzo da Ponte is among the very blackest of black comedies. Glyndebourne welcomes back the winning team of director Jonathan Kent and designer Paul Brown, while the music is conducted by Vladimir Jurowski. In the title role, the bass-baritone Gerald Finley, joined by Luca Pisaroni, Kate Royal and the young Russian soprano Anna Samuil.

In the aftermath of the Trojan war, a series of unrequited loves threatens to destabilise the fragile peace. But for a spurned Spartan princess, there are only two options left: forgiveness and murder. The most ambitious and innovative of all Rossini’s operas, Ermione was a calamitous failure on its opening night at the Teatro di San Carlo 200 years ago. It now returns to the Neapolitan theatre in a new production by Italian director Jacopo Spirei starring American soprano Angela Meade in the title role.

The production bears the imprint of the conductor, Marko Letonja, and the director, Tobias Richter, whose understanding is ideal: both breathe a troupe spirit - specific to comedy - into this heterogeneous cast, which brings together young and old. Both give as much importance to recitatives as to arias and ensembles.

A handsome prince falls in love with an abducted princess. Armed with musical instruments, he and his singing sidekick mount a rescue mission that tests their commitment to truth, love and humanity itself. Staging a mass revolt against the powers that be, British director Graham Vick has enlisted a good hundred locals and immigrants as demonstrators occupying makeshift camps on the flanks of Sferisterio's impressive open air stage. Sung in simple, modern Italian, Mozart's famous Singspiel takes on a liveliness and spunk that stresses the opera's folk roots and conveys the sense that the action is unfolding around us today.