It was hard to muster much enthusiasm for Welser-Möst’s soft-grained, untheatrical approach to Mozart’s score and his careful avoidance of appoggiaturas, though it has to be admitted that the clarinet and basset-horn obbligatos — their players not credited in the program — sounded ravishing. Welser-Möst’s beat could certainly have been fueled by some extra zest, his syncopations by stronger incisiveness. Little was made of the explosive clashes of contrasting keys, Welser-Möst’s opera gentile dallyings replacing Mozart’s needed opera seria gravitas.

This stylish and beautifully sung and acted 2006 performance of Don Giovanni from the Zurich Opera House should be of strong interest to anyone who loves the opera. The production, directed by Sven-Eric Bechtolf with costumes by Marianne Glittenberg and particularly striking sets by Rolf Glittenberg, is visually and dramatically dazzling. The timeframe is contemporary, but the clever trompe l'oeil set suggests the infinitely receding stage depth that flourished in 18th century scenic design. Don Giovanni's palace is a cosmopolitan playboy's penthouse, and the costumes clearly define the social standing of the characters in modern terms.

William Christie’s account on Erato is probably now a first recommendation… he has marshalled expert singers; Alan Ewing’s Polyphemus is particularly good, well characterized and spirited. Indeed, the whole performance is full of life and personality, and Christie holds everything together with finesse and grace.

Nikolaus Harnoncourt The Complete Sony Recordings brings together for the first time Harnoncourt s complete recordings from 2002-2015 with his Concentus Musicus Wien, the Wiener Philharmonike, the Chamber Orchestra of Europe and the Symphonieorchester des Bayrischen Rundfunks. The Sony Classical edition features his famous symphony recordings of Mozart, Haydn, Beethoven and Bruckner, alongside his celebrated performances of great choral works such as the Verdi, Brahms and Mozart Requiems and Haydn's Die Schöpfung, as well as Mozart's opera Zaide, Haydn's Orlando paladino and Gershwin's Porgy and Bess. Also included are previously authorized but unreleased recordings of J. S. Bach s Cantatas Nos. 26 & 36, Beethoven's Christus am Ölberge and Dvorák's Stabat Mater.

Make no mistake, this is not William Shakespeare's Romeo and Juliet. This version, by Vincenzo Bellini with a libretto by Felice Romani, has often been dismissed for its story line, which is very different from the familiar tale of the star-crossed lovers. Actually, as noted by musicologist-bel canto answer man Philip Gossett in his liner notes, Bellini and Romani hadn't read Shakespeare when they composed the opera. They had, however, read the sources on which Shakespeare based his play, but while both they and the Bard departed from the original, they departed in different directions. No matter: the opera has some gorgeous music, and it's given some gorgeous performances here by some very fine singers.

Axur, re d'Ormus is an operatic dramma tragicomico in five acts by Antonio Salieri. The libretto was by Lorenzo da Ponte. Axur is the Italian version of Salieri's 1787 French-language work Tarare which had a libretto by Pierre-Augustin Caron de Beaumarchais. Axur premiered at the Burgtheater in Vienna on 8 January 1788, the title role being sung by Francesco Benucci, Mozart's first Figaro. It became one of the most famous operas in Vienna, being performed much more frequently than Mozart's Don Giovanni, which was first performed in Vienna on 7 May 1788.

TDK presents a remarkable staging of one of Bellini’s opera masterpieces on DVD: The wonderful singer-actor and coloratura soprano Eva Mei presents one of her showpieces - Amina, the sleep-walking heroine. She has sung the role all over Italy, from Palermo to Turin and has been loved by audiences all over the world for her clear voice and her stage personality. Beside her, the Catalan tenor José Bros, a renowned Bellini specialist, repeats what Il giornale della musica described as his “secure and committed” performance in the role of Amina’s fiancé Elvino. But the show belongs to the heroine, and Eva Mei was praised in the same periodical for her “bel canto skill, her pure, radiant top notes and the resolute, yet unaffected and elegant way she dominates the stage.” This performance at the Maggio Musicale Fiorentino in 2004 is lead by the superb opera conductor, Daniel Oren, who has a long alliance with Italian opera houses and regularly conducts at the Arena di Verona.

Most of Schubert’s operas were written without a specific commission, in the hope that, once completed, some theatre might find them interesting simply by virtue of their musical value. This unrealistic optimism proved almost always wrong and Schubert suffered bitter disappointments, very often working for nothing. Begun on 20th September 1821, Alfonso und Estrella was completed on 27th February 1822 but was first staged, on the initiative of Franz Liszt, only in 1854, after Schubert’s death. Alfonso und Estrella has the characteristic climate of a romantische Oper. If it is true that Schubert lacks the sense of theatre which is typical of the best operatic composers of his day (for example Weber), the power of his creativity and beauty of many arias cannot be denied.

Mozart’s Die Entführung aus dem Serail (The Abduction from the Seraglio) is an opera „Singspiel“ in three acts with spoken rather than sung dialogue. This DVD shows the impeccable performance of the majestic Teatro della Pergola Florence. The tenors Rainer Trost (Belmonte) and Mehrzad Montazeri (Pedrillo) sing with convincing excellence. The most demanding parts are sung with effortless passion by Eva Mei (Constanze). Her aria ‘Martern aller Arten’ is overwhelming; with the singer’s voice fusing beautifully with the solo instruments. This Italian production is admirable with all its colourful decorations and costumes in an oriental style.

Nikolaus Harnoncourt presents his reading of “La Finta giardiniera”, a long-forgotten wonderfully tragicomic opera by the young Mozart. Almost a quarter of a century ago Harnoncourt presented his reading of the rediscovered work on CD, but in this version from the Zurich Opera, the great Mozart magician conducted a staged production for the first time, making the premiere an event in itself.

Though Harnoncourt may be a little over-cautious, what's lost in joie de vivre is gained in clarity and nuance. Similarly, the singers have plenty of space to enunciate and cherish every rolling phrase. Although Carlos Chausson makes an appealing everyman character as Figaro, he and everyone else must perform (sometimes literally) in Rodney Gilfry's domineering shadow. Gilfry's Alamaviva is a swaggering counterpart to his Don Giovanni, with the same almost overwhelming sexual presence and charisma; no wonder, then, that Eva Mei's Countess is so jealous, or that Isabel Rey's Susanna seems genuinely attracted despite her better judgment. The ensemble cast are uniformly delightful and, unusually, are all good actors: when the Count and Countess squabble, Gilfry and Mei really work themselves into a fine passion.

– Mark Walker

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. Only the faithful page Arturo, secretly in love with Rosmonda, knows that the Queen is aware of her husbands betrayal; but he too is embroiled in this game of deceit hoping that he will end up winning the girl. The emotional and dramatic development is very effective. There is not a page in this score without some example of brilliant writing, a captivating theme, a moving passage. It all goes to prove how deeply original Donizetti was and how much there is still to be discovered about this underappreciated composer.

La Traviata, Giuseppe Verdi very personal opera, was premiered in 1853 at the Teatro La Fenice in Venice. The first night was a fiasco, but after a few revisions the opera set out to conquer the world. La Traviata offers no scope for grandiose crowd scenes or historical pomp. In keeping with the intimate nature of the action, Verdi’s music reflects the inner feelings of the protagonists. The heroine, whose emotional state is determined by external circumstances, is in the centre of the story of emotional upheavals. Jürgen Flimm haunting staging stays close to Verdi’s intent. He focuses on the protagonists, showing their shakiness, emotions, despair, love, sacrifice and tragedy rather than concentrating on the abysses of the Parisian demi-monde. Eva Mei and Piotr Beczala are a perfectly matched couple. Her soft and flexible soprano and his lyrical tenor, marked by excellent diction, work very well together, joined by the “golden” voice of outstanding Thomas Hampson.