Verdi La Traviata

Nabucco - live from Metropolitan Opera, June 2002. On its surface, Nabucco is about the epic struggle of Zaccaria and the Jews suppressed by Babylon’s King Nebuchadnezzar and his vengeful daughter, Abigaille. But to Italians fighting for their freedom from Austria, Verdi’s first great opera was an inspiring call to arms.

Written 20 years after Madame Butterfly (1904), Puccini's version of an 800-year-old fairy-tale is set in a legendary Peking and scored on a grand scale, incorporating not only Chinese musical techniques but a vast range of oriental percussion. Puccini draws heavily on the chorus, and as ever makes intense demands on his heroine, to which Eva Marton rises powerfully, very well complemented by the tenor Michael Sylvester as Calaf. However, what makes this 1994 San Francisco Opera version so enchanting as a visual experience is the realisation by David Hockney, who not only designed the sets and costumes but also directed the production. His vision is highly stylised, richly imagined, atmospheric and very beautiful, and it is a testament to how well this version is directed that much of the original magic is communicated through the confines of a TV screen.

In the awe-inspiring Teatro Olimpico,Vicenza, Cecilia Bartoli, recognised as one of the best singers of our time, gives the most outstanding recital of work from a variety of composers such as Caccini, Schubert, Handel, Vivaldi, Bellini, Donizetti,Mozart, Rossini, Viardot and Bizet.

A production of Mozart's opera recorded live at Zurich Opera House in 2000. Cecilia Bartoli leads an all-star cast including Roberto Saccà, Liliana Nikiteanu, and Agnes Baltsa. The conductor is Nikolaus Harnoncourt. Filmed live at the Zurich Opera House in February 2000 on a set which visualises the subtitle "The School for Lovers", the plot revolves around two army officers arguing about the fidelity of their brides, then setting out to test their chastity. Despite the often playful humour, this is not only psychologically telling music-making, but reveals Mozart exploring the structure of opera, discarding convention to mix large ensemble sections with arias for as many different combinations of singers as possible. With Liliana Nikiteanu attractively contrasted with Bartoli, and thoroughly convincing performances by Roberto Sacca (Ferrando) and Oliver Widmer (Guilelmo), this Così has a freshness and flow which, coupled with the timeless romantic themes, feels very contemporary.

Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.

Flemings voice might have been made for Ariadne and she achieved a great personal triumph in this production: The chief glory of the evening was hearing Renee Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strausss enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...

Live performance from the Metropolitan Opera, 27 February, 1996.

Live from the Met 1997

Taped live in Barcelona's Gran Teatre del Liceu on January 31, 2002, this L'Orfeo is both a visual delight and a musically satisfying representation of Monteverdi's opera

This superb 2006 production of the Los Angeles Opera's La Traviata stars Renée Fleming, who joins the ranks of the elite handful of sopranos whose vocal and acting talents make their portrayals memorable. Her Violetta Valéry is a vulnerable figure torn between self-indulgence and love, sacrificing personal happiness to become a victim of the social mores of mid-19th-century bourgeois France. Fleming's acting captures the complexity of the character and her vocalism is flawless. She negotiates the wild coloratura of Act One with aplomb, and is stunning in the lyric passages that pervade the opera, and touching in her scenes with her lover, Alfredo, and his father. Her singing is free of the mannerisms that have sometimes crept into her work and at the same time she brings countless personal touches to the role, phrasing and verbal emphases that shed fresh light on the character.

Washington National Choir and Orchestra