This opera semiseria is late Donizetti, composed a good ten years after the popular L’elisir d’amore, a work whose charm it emulates, though its score is less consistently inspired. A huge success at its 1842 premiere in Vienna, Linda never completely disappeared from the international repertoire, and ought to be seriously considered by British opera houses. Serafin conducts a great performance, with a first-rate all-Italian cast of Fifties favourites.

Following his Rossini recital (Alpha 791), Florian Sempey shares another of his passions: his enthusiasm for the world of knights and medieval narrative. For him, “a mysterious force emanates from castles and other antique buildings; their ancient stones have always fascinated me.” Ferrum Splendidum (the Latin for ‘Resplendent Metal’) recalls the singer’s ancestors, who were blacksmiths in the Périgord region. Though not following in that family tradition, Sempey concentrated instead on forging and moulding the metal of his brilliant baritone voice.

A red hot ticket at the Metropolitan Opera in 2010/2011 was Donizetti’s comic gem, Don Pasquale, with Anna Netrebko reviving Norina, the part that made her a star in New York. Opera summed up the simple truth: “. . . everyone adored her”.

Donizetti considered Dom Sébastien, Roi de Portugal (1843), his final completed opera written for the Paris Opéra, to be his masterpiece. In spite of its relative obscurity, on the basis of this recording, one is inclined to agree with him. The opera has several attributes that in the past have proved to be obstacles to its popularity. The first is its length – it's in five substantial acts and lasts three hours, but that's not so onerous for contemporary audiences accustomed to Wagner and Strauss. Besides, the composer created an abbreviated version for Viennese audiences, who at that time wanted to be out of the theater by 10 p.m., and that version could be used if necessary.

American tenor Stephen Costello's meteoric career has taken him to the stages of the world's top opera houses. In this, his first recording for Delos, he performs a glittering assortment of arias that will appeal strongly to any opera lover, but that will be a particular treat for fans of the bel canto repertoire. While it mainly showcases classic arias by Gaetano Donizetti, we also hear single selections by Vicenzo Bellini and Giuseppe Verdi. Polished and sensitive orchestral collaboration comes courtesy of Maestro Constantine Orbelian and his vaunted Kaunas City Symphony Orchestra. The Associated Press has called Stephen Costello ''… a prodigiously gifted singer whose voice makes an immediate impact.''

Imelda de'Lambertazzi (1830) was written just before Donizetti's first great international success, Anna Bolena, and it remains one of his many operas that has never made it into the repertoire. In his illuminating program notes, Jeremy Commons argues that Imelda was probably Donizetti's most forward-looking, even avant-garde opera; the composer was determined to create music that matched the demands of the drama, and therefore ignored many of the operatic conventions audiences had come to expect. It's no surprise, then, that it was badly received, and has rarely been revived.

Hailed as ‘remarkable’ by The Daily Telegraph, Matilda Lloyd is a young instrumentalist with exceptional poise and musicality. She studied music at the University of Cambridge, Royal Academy of Music, and with HAkan Hardenberger at Musikhogskolan i Malmo. She has since captivated audiences and critics alike with her artistry, communication, and, in the words of Saarbrucker Zeitung (March 2020), ‘flawless sound and virtuosic technique’, with which she brings a unique flair to every performance.

Operatic powerhouse Olga Peretyatko is accompanied by the Munchner Rundfunkorchester (Munich Radio Orchestra) conducted by Miguel Gomez-Martinez on this high-quality album of (coloratura) soprano favorites. With an able, keen orchestra behind her, Peretyatko is free to demonstrate her considerable talents. Two arias are by opera legend Rossini. One, his "Non si dà follia maggiore," begins the album, and Peretyatko interprets it in a way that leaves the listener entranced. Peretyatko's voice is clean, bright, and full of vibrato. Her interpretation is also highly dramatic.

This selection of scenes and arias, all very familiar items, is distinguished by the imaginative accompaniments under Evelino Pidò. …here we have one of the great opera personalities of our time - it's a lovely voice, used with a formidable technique.

Mosuc takes few prisoners on this bel canto CD…her singing can be viscerally exciting…There's a thoughtfulness about Mosuc's singing, too…Not all of Mosuc's characterisation is as elegantly characterised [as her Maria Stuarda]…Yet the excitement of hearing a dramatic coloratura soprano singing with such intelligence and accuracy generally outweighs such reservations.

On her second solo album Lisette Oropesa has combined two of her greatest loves, the French language and Italian bel canto. This recording with the Dresdner Philharmonie under the baton of Corrado Rovaris showcases the variety of lesser-known and more popular works by Rossini and Donizetti, featuring arias that contain coloratura, lyricism, drama, heightened emotion, and even comedy.

Donizetti's opera "Poliuto", based on the play "Polyeucte" by the French composer Pierre Corneille, is now one of the rarest works in the classical opera repertoire. However, this live recording, recorded in the Vienna Konzerthaus in 1986, impresses her with an impressive cast: star tenor José Carreras in the role of Poliuto is accompanied by Italian soprano Katia Ricciarelli as Paolina, who is an absolutely equal star in this recording. The choir of the Wiener Sängerakademie sings, accompanied by the Wiener Symphoniker under the direction of Oleg Caetani.

Anna Moffo, as the young and vulnerable heroine Lucia, produces a wonderfully sincere, yet highly romantic performance in this classic recording of Donizetti's Lucia Di Lammermoor. Featuring Georges Prêtre conducting the RCA Italian Opera Chorus and Orchestra, the recording features a stellar cast of singers, including the incomparable Carlo Bergonzi, Mario Sereni, and Ezio Flagello.

Revived after 171 years in oblivion, the staging of Rosmonda dInghilterra at Bergamos Teatro Donizetti proved fascinating for the Italian public. From the excellent cast of singers, Jessica Pratt and Eva Mei gave standout performances. The opera revolves around a tale of love and intrigue surrounding the main protagonists- the famous Queen Eleanor of Aquitaine, her husband Henry II of England, and the fair Rosamund de Clifford. Rosmonda is the quintessential innocent, unaware that the man she loves is the King of England and that she has unwittingly become a rival to the much-feared Queen Eleanor of Aquitaine. Eleanor, having already had her first marriage annulled for reasons of consanguinity, is unwilling to se her second marriage also fail.

Star tenor Javier Camarena makes his Pentatone debut with Signor Gaetano, together with Gli Originali under the baton of Italian opera specialist Riccardo Frizza, presenting a carefully-curated exploration of Donizetti's greatest tenor arias. Besides famous excerpts from L'elisir d'amore, Don Pasquale and Roberto Devereux, this project focuses on hidden gems from rarely-recorded works such as Betly, Maria de Rudenz and Il giovedì grasso. Camarena and Frizza's exceptional sense of style is enhanced by the period instrument playing of Gli Originali.