Considered by some to be the greatest opera ever written, Don Giovanni was the second product of an incredibly fruitful collaboration between two geniuses: the legendary W.A. Mozart and the talented Italian librettist Lorenzo da Ponte. Based on Molière's Don Juan, the two-act dramma giocoso premiered in October 1787 at Prague's state theater to rave reviews. The 2017 Festival d'Aix-en-Provence brought Mozart's fabulously devious work to the stage once more in a production by stage director Jean-François Sivadie. Starring Philippe Sly (Don Giovanni), Nahuel di Pierro (Leporello), and Eleonora Buratto (Donna Anna), the excellent performance featured the acclaimed maestro Jérémie Rhorer at the head of the period instrument ensemble Le Cercle de l'Harmonie.

Don Giovanni prides itself in being a dramma giocoso. Not an easy expression to translate, given how starkly contradictory the terms would appear to be. But dig below the surface and you are plunged into a delightful swirl of ambiguities. Nothing here is set in stone: the libertinage is passionate, but couples meet and part. Fate plays tricks with masks, right up until the final challenge.

A philandering nobleman lives without a care for the consequences of his actions. But when one of his conquests ends in murder, he finds himself on the run, pursued by disgruntled ex-lovers, fiancées and a force from beyond the grave. Following his recent spectacular production of Paria, the renowned British director Graham Vick makes a welcome return to OperaVision with this new Don Giovanni from Rome. Italian baritone Alessio Arduini plays the dishonourable Don alongside Georgian soprano and Moniuszko International Vocal Competition winner Salome Jicia as Donna Elvira. This performance is part of OperaVision’s events celebrating the inaugural World Opera Day on 25 October 2019.

In this new "Marriage of Figaro", Jérémie Rhorer revisits this composer and US film director James Gray makes his first foray into opera. This opera is recorded for broadcast by Louise Narboni.

At the end of 2013, the year that marked the 50th anniversary of Francis Poulenc’s death, his gripping and moving operatic masterpiece, Dialogues des Carmélites was staged in Paris by director Olivier Py with a cast featuring some of France’s finest female singers – Patricia Petitbon, Véronique Gens, Sandrine Piau and Sophie Koch – under the baton of Jérémie Rohrer. Le Figaro described the production as “a thing of wonder,” while Le Monde called it: “A masterpiece ... the most exciting and consummately achieved show to have been seen on a Parisian stage in a long time … This was great work, magisterial and unforgettable.” “The memorable Dialogues des Carmélites at the Théâtre des Champs-Elysées marked the climax of commemorative activities for the 50th anniversary of Poulenc’s death,” wrote Opera magazine of the production of Poulenc’s gripping and moving opera that was staged by the French director Olivier Py in Paris in December 2013.

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.