The Berlioz Te Deum has been relatively neglected on disc in comparison with his other major works. This latest version has John Nelson as an incisive, understanding conductor of Berlioz, revelling in the weight of choral sound, balancing his forces beautifully. He's helped here by fuller, more detailed digital sound than on previous versions.

With "Seigneur", Roberto Alagna delivers an album imbued with spirituality. Between faith, love and hope, the tenor pays a highly personal tribute to the immense cathedral of lyric art to which he regularly adds his stone.

After three decades of Carmen in opéra comique-style, each one offering its own brand of authenticity, here we are back in the 19th century with the old grand opera version, with the Guiraud recitatives, tacked on after Bizet’s death. This was the way Carmen was usually performed until the 1950s, when producers and scholars started to reconsider the original.

Charles Mackerras teases the romantic beauty from Gounod's score, which has been widely admired since its first performance at the Théâtre Lyrique, Paris, in 1867. In this 1994 recording, the youthful Roberto Alagna as Roméo and Leontina Vaduva as the unattainable Juliette lead an excellent cast in this touching portrayal of impossible love, based on Shakespeare's play.

Angela Gheorghiu stars as Marguerite alongside a divine cast of operatic superstars, including Roberto Alagna, Bryn Terfel, Simon Keenlyside and Sophie Koch, in David McVicar's spectacular 2004 production of Gounod's best known opera, Faust, for the Royal Opera House in London. This production was the Royal Opera Company's first performance of Gounod's Faust in 18 years. Gounod's Faust is the story of a scholar who sells his soul to the Devil in exchange for unlimited knowledge and worldly indulgences. McVicar's innovative production sets this story around the time of the Franco-Prussian War (1870) in the gothic, seamy underbelly of Paris. He characterizes Faust, performed by Roberto Alagna, as a man both torn between the theater and religion, and grappling with his own sexuality.

This is a 1996 all-star-cast version from Paris of the original French version of Verdi's epic five-act opera, Don Carlos. First produced in 1867, only Wagner would write musical drama on a grander scale, and due to the three-and-a-half-hour running time most subsequent productions have made substantial cuts. This is therefore a rare opportunity to witness Verdi's tragedy in its entirety.

World-renowned tenor Roberto Alagna stars in the most passionate of French operas, conveying the young poet’s journey from naïve hope to the agony of the much-loved aria ‘Pourquoi me réveiller?’ and the shattering final tragedy.
Massenet’s glorious opera, based on a novel by Goethe, is regularly performed all over the world and its central role is one in which Roberto Alagna has been celebrated for more than a decade. The role of Werther’s beloved Charlotte is sung by American mezzo Kate Aldrich (an acclaimed Carmen at ‘The Met’), who has sung the role to critical acclaim in Europe and Japan. Filmed live at the Teatro Regio in Turin, the powerful stage production is the work of another member of the Alagna family – the tenor’s younger brother, David.

Voici une représentation filmée au Teatro Filarmonico de Vérone en février 2002 dans une mise en scène de la famille Alagna. Paillasse (en italien Pagliacci, qui signifie « Les clowns ») est un opéra en deux actes écrit et composé par Ruggero Leoncavallo, créé le 21 mai 1892 au Teatro Dal Verme à Milan. L’opéra évoque, à travers la vie d'une troupe de commedia dell'arte, la condition des comédiens de théâtre qui doivent en toute circonstance faire bonne figure en scène, quelles que soient les difficultés de leur vie privée.

This is, by operatic standards of fidelity, a very faithful musical treatment of Edmond Rostand's classic drama about the swashbuckling poet and swordsman with the big nose. The music is competent but not spectacular; that quality is found in the libretto. The title role is expertly filled by Roberto Alagna, who not only has the best tenor voice in France but also turns out to be an accomplished actor in a demanding role. He is well-supported by a cast that clearly loves the story, its various characters and its often brilliant dialogue.

Retrouvez les grands standards de la musique sud-américaine interprétés par Roberto Alagna, enregistrés dans le cadre exceptionnel de l’Opéra Royal de Versailles. Une extraordinaire promenade dans le boléro cubain, la ranchera mexicaine et le tango argentin et pas question de dénaturer ces chansons auxquelles il est très attaché car « ces chansons ont toujours fait partie de ma vie ». En préservant l’authenticité de ces morceaux, notamment grâce à des arrangements qualifiés d’ethniques » par Yvan Cassar, mais sans hésiter à secouer des standards comme « La Cumparsita », Roberto Alagna explore ce répertoire avec lequel il a une proximité instinctive.

Arvo Pärt is one of the greatest and most performed of living composers. Slow and meditative, often religious, reflecting his mystical experiences, Pärt’s works are unmistakeable. Here Morphing Chamber Orchestra, under its artistic director Tomasz Wabnic, performs some of the Estonian composer’s finest instrumental works, Fratres, Spiegel im Spiegel and Summa, together with one of his vocal masterpieces, the Stabat Mater, presented here in a new arrangement, sung by three of today’s greatest operatic voices, Roberto Alagna, Aleksandra Kurzak and Andreas Scholl. Several shorter pieces, marvels of poetry and purity, sung by Andreas Scholl, complete this programme.

New Year’s Eve Concert 1997 – A Tribute to Carmen The program of the Berlin Philharmonic bore the title «Dances of Life, Love, and Death», and it was hardly coincidental that it was meant as an homage to Carmen. The recording of the Berlin Philharmonic Orchestra’s traditional New Year’s Eve Concert, conducted by Claudio Abbado, offers not only a cross section of worldfamous melodies from George Bizet’s opera, but also famous dance music that was intensely or subtly influenced by it. With: Anne Sofie von Otter, Bryn Terfel, Roberto Alagna, Gil Shaham, Mikhail Pletnev.

Discs of this type featuring star soloists, more often than not a tenor, are not in short supply. This one, recorded a decade ago as a vehicle for Roberto Alagna and first issued by EMI, scores over many alternatives because of two factors: the programming and the quality of execution. Any programme focusing on French chants sacrés of the nineteenth and early twentieth centuries is almost bound to include Gounod’s often performed Ave Maria, written after Bach’s famous prelude in the ‘Well-tempered clavier’. To place it at the beginning – as here – is apt and allows the musical content to diversify from that point. Gounod’s representation is extended with three further contributions that pay testament to the importance not only of his compositional voice but also his deeply felt beliefs, which he sought to convey through his music.

Frank Dunlop's witty, unvarnished view of Donizetti's country comedy, updated to the 1930s, is delightful to see, wondrous to hear. Gheorghiu and Alagna make an ideal partnership as capricious girl and shy bumpkin. They both act and sing their roles to near perfection in a staging that exposes the heart and heartlessness as much as the fun of this work.