Sonia Milan

The Verdi Messa da Requiem is probably the best known Requiem in the repertoire. Many great conductors have recorded it. I’m thinking of Toscanini at New York/1951, Victor De Sabata at Milan/1954 and probably the best known of all Carlo-Maria Giulini at London/1964-65. Some more recent versions have proved popular notably John Eliot Gardiner using period instruments in London/1992, Claudio Abbado at Berlin/2001 and also Nikolaus Harnoncourt at Vienna/2004.

TDK presents an impressive staging of one of Rossini’s opera masterpieces. This production, staged by La Scala Milan is conducted by Riccardo Muti. Moïse et Pharaon - Rossini’s re-adaptation of the story of Moses in Egypt - emphasizes the dramatic moments of the biblical account beautifully and also demonstrates the composer‘s mastery of the French tradition: solos and choral work are superb compositions, the duets are expressive and touching. Including an extensive ballet scene at the beginning of Act III and featuring a preeminent international cast of singer-actors – Erwin Schrott, Barbara Frittoli, Sonia Ganassi - this recording brings a Rossini experience of the highest rank onto the screen.

National Theatre director Nicholas Hytner’s new staging of Verdi’s grandest – and arguably greatest – opera, Don Carlo, was the highlight of the 2007/2008 Royal Opera House season. This new production marked Rolando Villazón’s much anticipated, triumphant return to the house.

Considering that Rossini's opera buffa "La pietra del paragone" (The Touchstone) is hardly ever staged and that its title is not even known through its overture, like "La scala di seta" or "La gazza ladra," music lovers can be forgiven for being in the dark about this sparklingly luminous work. One of Rossini's first operas, it was written for Milan's La Scala and premiered there in 1812. It was a resounding success - in spite of its standard libretto filled with disguises, mistaken identities and trials of love and loyalty. But it boasts a splendidly varied orchestral writing, which includes dramatic hunt and storm scenes, and betrays a love of language and wordplay which presages Rossini's later works. For this alone, it deserves an above-average treatment.