Friday 31 December 2010

A Happy New Year from the opera - 30.12.2010

Almost New Year's Eve in the Opera. Tosca is one of my favorite operas, and Maria Guleghina is one of my favorite opera singers. I sat in 3rd Balcony almost in the middle. I could see the whole stage all the time.

Paul Curran had the Regie for this Tosca. It was a traditional production with much attention to the details. Puccini's music had already decided much of the timing and the action. Naturally it is hard to get all the details right in every performance. But for the first time I noticed that Puccini had put Angelotti's heavy breathing when he finally was in the church and could relax, when he composed it. It is unfortunately that many directors seem to overlook these clues in the music when they make their "regie". What we now often call Regie-Theater is neither Regie nor Theater, it is a director creating his own play while ignoring most of what would make the opera or theater a living breathing truth appearing before our eyes. So this Tosca production proves that a tradional setting of an opera, where one put it in context and in its own time need not be Old and Boring.

Attention to detail made Tosca real and interesting. From the beginning when Angelotti came in exhausted and till Tosca leapt to her death it was all believable and interesting. And the music was excellent, singers, orchestra was all together to make it opera-magic. Not one person on stage was un-real. But only in the movies could you make sure that everything would happen on the right Puccini note. This was real theater, no editing of false moves was possible. I think it must be absolutely impossible in a theater to close the door at the precise time at the cantata in act 2. Impossible! But it was so close that I would say that the impossible was achieved.

It is seldom one really feel that Cavaradossi and the Sagrestano is really preparing the colors when Cavaradossi sings "Recondita armonia" but of course here one knows it. Miroslav Dvorsky was a Cavaradossi who was really a painter, a revolutionary, a lover of Tosca, a smart man. The interaction of Cavaradossi with Angelotti was also interesting with Angelotti recognizing Cavaradossi and hugs him, but the painter does not recognized him and rejects him to the floor. So real... But then Cavaradossi understands that it is Angelotti who has escaped prison and promise to help him even it can mean his death, which in the end it does.

Mario Cavaradossi still has his head with him even if Angelotti looses his wits and his bags of women's cloths. He picks the bag up but misses the fan. Again something we seldom see so clearly as in this production. Tosca comes. Maria Guleghina is Tosca and one does fall for her spell. Paul Curran had made his choices in how to portray the relation of Cavaradossi and Tosca. I might disagree about making Tosca a little too fickle but when it works and really has foundation in the opera, then it can be true, too. This production is the first production I have seen where Tosca not only comes with flowers but also lays jewels at the Madonna. Attention to details is everywhere in this production. How happy I am to see a Tosca performance where the timing of when Tosca notices la Marchesa Attavanti is the Maddalena that Cavaradossi is painting, is correct.
It was a lovely love duet between Miroslav Dvorsky and Maria Guleghina.

The situation that Angelotti is in, is grave. It is serious business, and when Tosca has left and Angelotti and Cavaradossi meets again, Cavaradossi is taking care of things not like it is only theater but as a life and death situation. They leave. The Sagrestano comes in with a lot of people. And there is a Baccano in chiesa. As a lively scene play out with children, priests, nuns, men and women, the stage is prepared for the Te Deum with women taking the paper bits that Tosca teared up the Cavaradossi drawing of Attavanti, and priests takes away the painter's things. Everything that happens on the stage seem natural and organic... Then Scarpia and his minions appears. It is true as the opera says that this Scapia is feared by Rome's inhabitants. Even the children knows that this is a dangerous man. His minions is also recognized as unfriendly and to be feared. They are all relieved to be allowed to go. But the poor Sagrestano must stay. When Scarpia seem to forget him for a moment, he tries to escape, but the Scarpia's minion's punished the Sagrestano with violence in a corner of the church. Scarpia care not for him. Then Tosca comes in looking for Cavaradossi and the Sagrestano mocks her and is seized by Scarpia's men and pulled away. Scarpia stalks her, pretending to want to offer her Holy Water. Scarpia had planned this since he understood that Cavaradossi, Tosca's lover, was involved in the Angelotti affair. Tosca's jealousy was roused by Attavanti's fan that Scarpia supposedly found with the painter's things. When Tosca leaves Scarpia arrange for 3 spies and one vehicle to follow Tosca. The Te Deum is in progress, an impressive affair. This Scarpia leaves then by almost crashing the whole procession.

Act 2. The best Vissi d'arte ever.

Act 3. A wonderful E lucevan le stelle and a perfect Love Duet by Miroslav Dvorsky and Maria Guleghina.

What can I say? It was perfect.

For more reviews from my travels, see

Wednesday 29 December 2010

A Happy Birthday in the opera with Maria Guleghina

My Christmas Holiday started with a 7 hours long ride by bus to Oslo. Unfortunately the bus was overheating and I was stuck near the oven. It was too hot to sleep and I could not move because the bus was full. When I finally was in Oslo I was so eager to get out that I promptly forgot my mobile phone. It was near-disaster but luckily the bus was still at the terminal so I got my phone back and could take next bus home to my parents. When I texted my mother to say that she did not need to meet me, I would take a taxi from the train station because the wheels of my luggage did not work, she mis understood it. My mother thought that I needed to take taxi all the way home from Oslo. It was my fault, my text message was confusing, and the wheels was just frozen so after the ride from Oslo and home they worked. Still, I did have too much luggage and it was good to just sit in a taxi and relax instead of struggeling with all my bags and luggage.

I was finally home. It was Wednesday before Christmas. Everything should be tip top. 7 hours near the hot oven in a crowded bus and my eczema flaired up. It was everywhere. Later I got pain where my eczema had been. Worst was the pain in my hands and shoulders. It began to be doubtful if I would go to Oslo to see Maria Guleghina as Tosca in Oslo for my Birthday.

So Little Christmas Eve, Christmas Eve and Christmas Day could have been better. With good food and iPad everything feels brighter. 2nd Christmas Day it was hardly better. But finally on Monday the 27th I felt normal. Hope for my Birthday shone. And then finally it was the 28th and I was back in Oslo. So many people everywhere...

I had thought to shop something but I decided to go straight to the opera. This time it was not too cold in Oslo. Both Greer Grimsley (Scarpia) and Miroslav Dvorsky (Cavaradossi) seemed to have been affected by the weather but Maria Guleghina (Tosca) was as her usual self. I was sitting on 3rd balcony on the right side. I could see more of the stage than on December 19 when I sat on Parkett right. From the beginning I could hear that Miroslav Dvorsky was not in his best form but that did but that did not hinder him from singing a fine Recondita armonia and an exceptional E lucevan le stelle. Only in the last duet it happened he lost his voice painfully. Luckily at his side a great collegue, Maria Guleghina who grasped his hands and comforted the tenor with her presence and her big voice and as a miracle the tenor found his voice back and that made the last duet even more moving. Tenor and soprano make it part of the opera. It was a happy opera night for Maria Guleghina who sang one of he finest Vissi d'arte. Maria Guleghina's interpretation of Tosca is always something to admire. She put her heart and soul into every part she sings. At this moment it is her Tosca and her Abigaille that I most admire.

After the opera I found the stage entrance and I went in to wait for my idol. I was alone, people left the opera house and there she was, the Diva with her beautiful assistant. Maria Guleghina and I are friends on Facebook but I never thought the Diva would look at me and say "it is your birthday, isn't it?". And then she sang me Happy Birthday in a natural, un-operatic way. And her assistant took a photo of me with Maria on my Birthday. O lucky day!

If I did not have to change my stoma in the interval of act 2+3 and again when I was home before midnight everything would have been perfect. But who cares, I met Maria, and she knows me, yeah, yeah, yeah.

Hurrah for me and la Guleghina!!
For more reviews from my travels, see

Monday 20 December 2010

December 19, 2010: First Tosca with Guleghina in Oslo

2010-12-19 Tosca (G. Puccini), Den Norske Opera & Ballett

Floria Tosca = Maria Guleghina
Mario Cavaradossi = Miroslav Dvorsky
Scarpia = Greer Grimsley
Sakristanen = Ketil Hugaas
Angelotti = Yngve André Søberg
Sciarrone = Andreas Franzén
Spoletta = David Fielder
Fangevokter = Øystein Skre
Gjetergutt = Henrik Enger Holm
Dommer = Steinar Zahl
Roberti = Øivind Solberg

John Helmer Fiore, conductor

Music Giacomo Puccini
Libretto: Giuseppe Giacosa og Luici Illica
Conductor: John Helmer Fiore
Regie: Paul Curran
Scenography / costumes: Kevin Knight
Light design: David Jacques

Cooperation with Canadian Opera Company.

This production premiered by Canadian Opera Company 26. January 2008, Norwegian National Opera 26. August 2010.

On December 19th, 2010 it was matinee at 1500. It was Maria Guleghina first time as Tosca at Norwegian National Opera, Oslo. It was the fourth time for me since I have earlier seen her as Tosca at Vienna State Opera, Deutsche Oper Berlin and Opernhaus Zurich.

I loved the production by regisseur Paul Curran. It was as historical as an opera can be. I sat on right so I could not seen the whole stage but that did not prevent me from enjoying this Tosca. Paul Curran used minor characters and statists to liven up things but never at the expense of the opera.

Maria Guleghina was the perfect Tosca even though she sometimes sang too quietly but I always felt she did it to be true to the person she acted. Miroslav Dvorsky sang and acted a fine Cavaradossi. It was sad that the conductor only stopped the music for applause for the aria in the first act and not for the 3rd act bacause his E lucevan le stelle was really great where Recondita armornia he was more like he was still warming up a bit. The audience really yearned to applaud so it applauded Maria Guleghina and Miroslav Dvorsky in the middle of their 3rd act duet.

The applause for Recondita armonia seemed to be an automatic response to the conductor pausing the orchestra. The act 1 duet applause came more from the heart of the audience. But the applause after Vissi d'arte had the feeling of the audience going wild for Maria Guleghina, and the applause after the opera was "endless".

Greer Grimsley was Baron Scarpia. Just perfect. Maybe too perfect. Or maybe I have seen too many Tosca performance. The chorus, orchestra, statists and the other singers were also wonderful. Paul Curran must be so proud. Maria Guleghina clearly loved the production and Paul Curran.

What else happened on this weekend (Saturday 18th December and Sunday 19th)
I finally bought an IPAD (64GB with Wifi and 3G) on Sunday the 19th because of Christmas the shops in Oslo City was open and I bought it approx 1945. The shops closed at 2000. Other than that my ostomy pouch and associates gave me much trouble even as I was on my own doorstep. I was worried that I would not have enough equipment for the Christmas but luckily it came today. I had thought to stay at a hotel but I went to my parent's for a short night's stay. It was cold in Oslo and windy too. The snow was no longer snow but some bad brown stuff. Yuck. I am so glad to be back where the snow is white even if it is slippery some places. Soon Christmas holiday for me. I will be off from work from December 22nd till January 2nd. I am just so lucky.....

For more reviews from my travels, see

Wednesday 8 December 2010

Advent December 8: Guilt or action?

This reminds me of President Obama's The Audacity of Hope. I never liked that title. It was too passive. Hope is not an action-word. Hope is more a feeling than an action, just like guilt is a feeling. One can feel hope or guilt and as any feeling it can make you act. Action speaks louder than words, thus goes the saying. Action also speaks louder than feelings.

Should we feel guilty? Is there hope to believe in? We should never just passively hope for a better world and not work towards that goal. We should never just feel guilty about the wrongs without act to remedy hurt and injustice.

Never/Always is words that should inspire to action but seldom does. They are just too absolute. We just give up because it is impossible. But then we are just left with our hope or guilt and no action plan. A more human idea is needed.

How can we change the world? We can do it little by little. Sometimes it can come in big jumps. Small steps that works is better than large ones that fail. The world is changing action by action, from one person to the next, one city to another, one country to another, one continent to another.

It is in vain, they say. The expert say that what one person does, does not change anything. They are wrong. In the big picture we all matter. Climate change, whether human-made or not, is going to make our life difficult. Why not believe we can undo some of our damage? Does it hurt us to not make so much waste, and some of it is really dangerous waste? Does it hurt us to make sure than we are not killing more animals, destroying more land than is really necessary?

We can make changes that are not only good for our world but it is good for us. Then there is the small changes we can do when we interact with each other. We can be kinder. We can work to stop hatred. First we battle the hatred in our own hearts. Then we find love for ourselves and the humankind.

For more reviews from my travels, see

Thursday 2 December 2010

Advent December 2: Privilege

Privilege: Born in a good time in history (1967)
Privilege: Living in Norway
Privilege: My parents had jobs, and we rich enough for holidays etc.
Privilege: Free Health Care
Privilege: Health (20+ years with Crohn's and an ostomy, but I am OK)
Privilege: Education
Privilege: No debt
Privilege: A job that I enjoy
Privilege: White. So I am simply Norwegian.
Privilege: Cisgender. Born a girl, simply becoming a woman.
Privilege: Freedom to travel'
Privilege: Enough money. Even for a rainy day.

And I think I have more privileges that I just cannot remember at the moment.

As a feminist I wish for a better world. It is not just a better world for women. I surprised and depressed that some feminists see feminism is for white cis-gendered women. But Feminism should not only attack Sexism, but also Racism, Poverty, Homophobia, Transphobia, in fact all Discrimination should be attacked by Feminism. My Feminism is about a better world for ALL.

My rights are not RIGHTS if not shared with the rest of the world.

For more reviews from my travels, see

Monday 29 November 2010

Manon Lescaut in Vienna 2010-11-27

It was José Cura's role debut as Des Grieux in Wiener Staatsoper. He was a wonderful Des Grieux. Olga Guryakova sang Manon.

This Manon Lescaut was updated to our times. The director, Robert Carson is a clever man that respects opera, but the production is too clever for its own good. This was the 29th performance of this production but the first with José Cura as Des Grieux, Olga Guryakova as Manon, Sorin Coliban as Geronte de Ravoir and Ho-yoon Chung as Edmondo. So it was the night of 4 role debuts at the opera.

José Cura was the real event here. He was the one that made sense of it all. And he was in glorious voice, too. Olga Guryakova was a good Manon Lescaut but then it was the production. The production seemed be more about the society that is vain and cruel than about the love story between Manon and Des Grieux. Edmondo's role has been expanded. I am sure every Edmondo would love to be more onstage and sing more, and that opera houses are happy to employ one person and not 3.

Act 1. In Amiens. A *****Hotel, an avenue with glass windows of model dolls wearing expensive women's dress. Students with beer bottles. Both men and women. Edmondo is photographing the students. Then they all dance the typical MTV type dance. (gosh, that is so stupid, I am getting embarrassed as I sit and see). JOSE CURA, good-looking in black. Finally a human being. This Des Grieux is a bit naive, but can bite back, in good humor, with "Tra voi, belle, brune, bionde". Edmondo acts almost like he is Des Grieux' friend but during the performance we see that this Edmondo is no one's friend.

Then the stage coach arrives in Amiens. In this updated version it must be a train and what else people dressed up and with mobile phones. It is getting old this theme of using mobile phones to say it is our century. Old, not edgy. Manon is dressed as a young girl. Too young to be "Donna non vidi mai". Lescaut her brother (Ejiro Kai) dressed as a soldier, obviously much older than Manon. Then it was Geronte de Ravoir and his handlers. So here he is the "old man" but he does not look old. That does not make good sense. Actually we see no old people in this production. It is a new world, of course, only young people may apply. Naturally the horses in the opera has become cars. A Lexus drives the young couple to Paris. Edmondo, naturally, informs Geronte of this. In a traditional production he does it because he is a clever students who loves pranks but here Edmondo is a more sinister person. The opera is updated but the action of people is not. Would it really be possible that Geronte, the very rich man would have no other car or no other means to get a car? No.

Act 2. Paris. Geronte's penthouse apartment.  Manon has many dresses and many people to help her get dressed. She is drinking champagne. Lescaut is still drinking from beer cans. Then Madrigal singers appears with naturally the videographer, sound mixer etc. Manon is making a MTV video of "Sulla vetta tu del monte". Naturally in this world of today any rich man would not only want Manon as his mistress but also to become a star. Manon is the lead singer here with the madrigalists and her back choir. It works in this production. Then Edmondo appears (the traditional Manon Lescaut's dance master is replaced with Edmondo, the photographer). Geronte has decided Manon is to be a star. So he and his friends is there to see Manon having her publicity photos shot. Good! Then they all leave and Des Grieux arrives. Wonderful duet!!! Then Geronte arrives (Edmondo took photos in secret of Manon & Des Grieux). He exists after promising to come back soon. Then Lescaut alerts them of Geronte's plan. Naturally Manon cannot leave without all her stuff. Her servant rush out with several suitcases and try to fill them with all the jewelery and dresses. Then Geronte and the "police" sergeant come. Des Grieux is detained by some of Geronte's men and Geronte sardonic with Manon. And what new opera production does not have a little rape or sexualt assault. The female servants of Manon is assaulted by "the police". O crudel mondo = showing not really necessary violence (especially towards women).  No like for that!

Act 3 Le Havre. Geronte's apartment is suddenly a prison, or is it. Des Grieux and Lescaut is plotting Manon's release. Edmondo, the photographer, is singing the night watch song ("O, Kate ripose al re"). He is with Geronte. Manon and Des Grieux cannot hide from Edmondo who photographs them and so the attempt of getting Manon free is foiled. Geronte talks to the man that Lescaut has bribed and then shoots him in the back. This happens just behind the back of Des Grieux and Lescaut so it makes no sense that they have no idea what happens. Stupid production. At the role call for women exiled to America a crowd is gathering, it is Geronte's friends and some photographers. Then they come Rosetta, etc. The exiled women is dressed as models, walk like models but are handcuffed. Geronte's friends who are there for the entertainment and the photographer are taking photos of the model/prisoners. Then Manon is there, and are we really to believe that Geronte's friends does not know her and could have pity for her and believe that Des Grieux is her husband. NO. There is no sign of a harbour in this production and no ship. And the sergeant is now is captain, or. Geronte is in this production singing some of the captains lines, or so it seemed to me. Naturally Des Grieux and Manon is threatened with death by Geronte's gun. Then Manon's handcuff is off and Des Grieux can follow Manon to America....

Act 4. Near New Orleans. But in this production we are back to another avenues. They are alone except the window with model dolls is expensive dresses. Manon dies after great singing of José Cura and Olga Guryakova.

Olga Guryakova sang and acted well. "In quelle trine morbide" and "Sola, perduta, abbandonata" were very good. But the gold goes to José Cura who made it all worth while.

Manon Lescaut is a great opera. It is really hard to kill this one.

For more reviews from my travels, see

Tuesday 23 November 2010

Romanian Soprano Roxana Briban Dead In Suicide

As I was in Zürich to see La Fanciulla del West Roxana Briban died in her home in Bucuresti. Her husband said the soprano had attempted suicide in the past and had been following treatment (

Obituary Roxana Briban with Guestbook to share memories, condolence...

For more reviews from my travels, see

Monday 22 November 2010

2010-11-20 La Fanciulla del West in Zurich

2010-11-20 La Fanciulla del West (G. Puccini), Opernhaus Zurich

Dick Johnson (Ramirez) = José Cura
Minnie = Emily Magee
Jack Rance = Ruggero Raimondi
Harry = Shinya Kitajma
Jake Wallace = Davide Fersini
Nick = Martin Zysset
Ashby = Daniel Henriks
Sonora = Cheyne Davidson
Sid = Tomasz Slawinsky
Trin = Pablo Ricardo Bemsch
Bello = Kresimir Strazanac
Joe = Boguslaw Bidzinski
Happy = Thomas Tatzl
José Castro = Valeriy Murga
Larkens = Aaron Agulay
Billy Jackrabbit = Thomas Forde
Wowkle = Bettina Schneebeli
Un Postilione = Simon Wallfisch

Massimo Zanetti, conductor

This David Pountney production of La Fanciulla del West by Giacomo Puccini is growing old and is no longer inspiring. Once upon a time the use of movie was innovating like in 2004 when I first saw this production I found it pure genius. But the times has changed and it is after all my 10th Fanciulla.

It is nothing new here. The Girl of the Golden West (LA FANCIULLA DEL WEST) is the Spaghetti Western as opera. Was it necessary to make the stage so steep and did the screen really have to be hung in a slope. It just seemed so sloppy. Every time the movie was playing or the backdrop was changed to another photo reminding us about the time of gold digging in California it was like the director took the audience as utter fools. It is the usual story of opera directors not daring to let the opera speak for it self.

When I compare to the other Fanciulla productions that I have seen at Royal Opera House (London), Deutsche Oper Berlin, Den Norske Opera (Oslo) then Opernhaus Zürich production seem to be the oldest and dullest one.

The cast was incredible. Still I was bored and not really tuned into the action. I just know that Emily Magee was the perfect Minnie and José Cura was perfect as Dick Johnson. Ruggero Raimondi was also great. But the production let this opera down.

For more reviews from my travels, see

Thursday 18 November 2010

Soon off to my 10th Fanciulla del West

LA FANCIULLA DEL WEST by Giacomo Puccini Photos

Opernhaus Zurich 2004-05-07
Sylvie Valayre / José Cura

Opernhaus Zurich 2004-05-09
Sylvie Valayre / José Cura

Royal Opera House 2005-09-15
Andrea Gruber / José Cura

Royal Opera House 2005-09-18
Andrea Gruber / José Cura

Deutsche Oper Berlin 2006-09-24
Sylvie Valayre / José Cura

Royal Opera House 2008-09-26
Eva-Maria Westbroek / José Cura

Royal Opera House 2008-09-29
Eva-Maria Westbroek / José Cura

Den Norske Opera & Ballett (Oslo) 2009-12-12
Paoletta Marrocu / José Cura

Den Norske Opera & Ballett (Oslo) 2009-12-14
Paoletta Marrocu / José Cura

It is less than 1 year since my last Fanciulla del West but it is approx. 6,5 years since I saw this production in Zürich. As you can see all my previous Dick Johnson has been José Cura and now I am off to see him in this role for the 10th time.

In May 2004 Juan Pons was Jack Rance, Sylvie Valayre was Minnie. I loved it. I wonder how I feel about it now. Then in 2005 (London) Mark Delavan was Jack Rance, Andrea Gruber was Minnie. That was the classic Fanciulla in Royal Opera House. Then the updated version in 2006 (Berlin) with Sylvie Valayre as Minnie, Marco Chingari as Jack Rance. In 2008 back in London with the classic Fanciulla and Eva-Marie Westbroek as Minnie and Silvano Carroli/Claudio Sgura. And last year, 2009, in Oslo with Paoletta Marrocu as Minnie and Jason Stearns as Jack Rance.

And now it will be JOSE CURA as Dick Johnson, EMILY MAGEE as Minnie and RUGGERO RAIMONDI as Jack Rance. And I can't wait....

For more reviews from my travels, see

Sunday 14 November 2010

On my shelf - DVDs

1. Farvel til en legende - Luciano Pavarotti 1935-2007 (A legend says goodbye) Luciano Pavarotti: The most successful classical artist in the history of the recording industry [DVD Video]

2. Great Composers - Tchaikovsky, Puccini (with José Cura), Mahler Great Composers - Vol. 3 - Mahler / Tchaikovsky / Puccini [DVD] [1997]

3. Duetto - Marcelo Alvarez, Salvatore Licitra Duetto: The Concert at the Roman Colosseum

4. Lesley Garrett - live at Christmas (with José Cura, Guy Barker, Sibongile Khumalo) Lesley Garrett Live At Christmas / Guy Barker, Sibongile Khumalo, Jose Cura

5. José Cura in concert Budapest 2000 Jose Cura: In Concert Budapest 2000

6. José Cura - Palm Sunday Concert In Passione Domini: Sacred Concert / Jose Cura

7. Great Stars of Opera - live in concert (Agnes Baltsa, Neil Shicoff, Lucia Aliberti, Anna Tomowa-Sintow, Kurt Rydl) Great Stars of Opera / Shicoff, Aliberti, Baltsa, Tomowa-Sintow, Rydl, Barcellona, Sasson, Emmerlich, Schwarzhaupt, La Scola

8. Gala Concert 50 anniversary of the Reopening of the Vienna State Opera (Baltsa, Domingo, Gruberova etc.) Vienna State Opera Gala Concert / Domingo, Terfel, Gruberova, Urmana, Hampson, Baltsa, Kirchschlager, Polaski, Struckmann, Schade, Furlanetto

9. The Original Three Tenors Concert (Carreras, Domingo, Pavarotti, Mehta) The Original Three Tenors Concert

10. The 3 Tenors Paris 1998 (Carreras, Domingo, Pavarotti, Levine) The 3 Tenors: Paris 1998

11. The Three Tenors Christmas (Carreras, Domingo, Pavarotti) The Three Tenors Christmas

12. Operahits - music from Madama Butterfly, The Barber of Seville, La Traviata, La Boheme, Carmen & more (featuring José Carreras, Placido Domingo, Shirley Verrett, Jon Vickers & more) Opera Hits / Domingo, Carreras, Vickers, Ewing

13. Concerto di Natale / Christmas Concert - José Carreras Concerto di Natale Christmas Concert with Jose Carreras

14. Johann Strauss Gala (Andrea Rost, José Carreras, Zubin Mehta) Johann Strauss Gala - An Evening of Polka, Waltz, and Operetta

15. José Carreras Around the  World Jose Carreras: Around the World

16. Plácido Domingo - Hommage a Sevilla Placido Domingo: Hommage a Sevilla [DVD Video]

17. European Concert 1992 - Plácido Domingo, Daniel Barenboim European Concert Volume 1: 1991-1995

18. Placido Domingo - My Greatest Roles, the documentary  MY GREATEST ROLES-THE DOCUMENTARY

19. Placido Domingo - My Greatest Roles Volume 1 Puccini Placido Domingo Vol. 1: Puccini - Tosca / Manon Lescaut / La Fanciulla Del West

20. Placido Domingo - My Greatest Roles Volume 2 Verdi Placido Domingo: My Greatest Roles, Vol. 2 - Verdi (Otello / Il Trovatore / Ernani)

21. Bizet: Carmen, Metropolitan Opera (Agnes Baltsa, José Carrreras) Bizet - Carmen / Levine, Baltsa, Carreras, Metropolitan Opera

22. Bizet: Carmen - Francesco Rosi (Julia Migenes, Plácido Domingo, Ruggero Raimondi) Bizet - Carmen / Maazel, Migenes, Domingo

23. Donizetti: Lucia di Lammermoor (Stefania Bonfadelli, Marcelo Alvarez) Donizetti - Lucia di Lammermoor / Bonfadelli, Alvarez, Frontali, Olivieri, Palazzi, Fournillier, Genoa Opera

24. Giordano: Andrea Chenier (José Cura, Maria Guleghina) Giordano - Andrea Chenier / Jose Cura, Maria Guleghina, Carlo Guelfi, Giacinta Nicotra, Cinzia De Mola, Carlo Rizzi, Bologna Opera

25. Giordano: Andrea Chenier (José Carreras, Eva Marton) Giordano - Andrea Chenier / Jose Carreras, Eva Marton, Piero Cappuccilli, Silvana Mazzieri, Riccardo Chailly, La Scala Opera

26. Massenet: Werther (Marcelo Alvarez, Elina Garanca) Massenet - Werther / Marcelo Alvarez, Elina Garanca, Adrian Erod, Ileana Tonca, Peter Jelosits, Philippe Jordan, Vienna Opera

27. Mozart: Cosi fan tutte (Cecilia Bartoli, Agnes Baltsa, Liliana Nikiteanu) Mozart - Cosi Fan Tutte / Harnoncourt, Bartoli, Nikiteanu, Zurich Opera

28. Don Giovanni - Mozart, Losey (Ruggero Raimondi, Kiri Te Kanawa, Teresa Berganza) Mozart - Don Giovanni / Maazel, Raimondi, Te Kanawa, Paris Opera

29. Mozart - Don Giovanni (Herbert von Karajan) Herbert Von Karajan - His Legacy for Home Video - Mozart - Don Giovanni

30. Mozart: Le  Nozze di Figaro (Agnes Baltsa, Bernd Weikl, Lucia Popp)

31. Offenbach: Les Contes d'Hoffmann (Plácido Domingo, Agnes Baltsa) Offenbach - Les contes d'Hoffmann (The Tales of Hoffmann) / Pretre, Domingo, Royal Opera Covent Garden

32. Puccini: La Boheme (Teresa Stratas, José Carreras) Giacomo Puccini - La Bohème / Franco Zeffirelli · James Levine - T. Stratas · R. Scotto · J. Carreras · MET

33. Puccini: Edgar (José Cura, Amarilli Nizza, Julia Gertseva) Edgar

34. Puccini: La Fanciulla del West (Plácido Domingo, Carol Neblett) Puccini - La Fanciulla del West / Santi, Domingo, Neblett, Royal Opera Covent Garden

35. Puccini - La Fanciulla del West / Daniels, Domingo, Milnes, Croft, Laciura, Fitch, Slatkin, Metropolitan Opera

36. Puccini: Manon Lescaut (Plácido Domingo, Kiri Te Kanawa) Puccini - Manon Lescaut / Sinopoli, Domingo, Te Kanawa, Allen, Royal Opera Covent Garden

37. Puccini: Manon Lescaut (Maria Guleghina, José Cura) Puccini - Manon Lescaut / Cura, Guleghina, Gallo, Roni, Berti, Banditelli, Mori, Bolognesi, Muti, La Scala Opera

38. Puccini: Tosca (Maria Guleghina, Salvatore Licitra, Leo Nucci) Puccini - Tosca / Guleghina, Licitra, Nucci, Mariotti, Gavazzi, Parodi, Muti, La Scala

39. Puccini: Tosca (Fiorenza Cedolins, Marcelo Alvarez, Ruggero Raimondi) Puccini - Tosca

40. Puccini: Tosca (Francesca Patane, José Cura, Renato Bruson) Puccini - Tosca / Morandi, Patane, Cura

41. Puccini: Il Trittico - Riccardo Chailly (Il TABARRO with José Cura)

42. Puccini: Turandot (Eva Marton, José Carreras, Katia Ricciarelli) Puccini: Turandot [DVD Video]

43. Saint-Saens: Samson et Dalila (Plácido Domingo, Olga Borodina) Saint-Saens - Samson et Dalila / Domingo, Borodina, Leiferkus, Fink, Levine, Metropolitan Opera

44. Richard Strauss: Der Rosenkavalier (Anna Tomowa-Sintow, Agnes Baltsa) Richard Strauss - Der Rosenkavalier / Tomowa-Sintow, Baltsa, Perry, Moll, Herbert Von Karajan- Wiener Philharmoniker, Salzburg Opera

45. José Cura - Verismo (DVD audio) Verismo [DVD Audio]

46. Verdi Gala 1991 (Plácido Domingo, José Carreras, José Cura, Marcelo Alvarez) Verdi Gala / Placido Domingo,Jose Carreras,Jose Cura,Marcelo Alvarez

47. Verdi Gala 2004 (Cura, Nucci, Borin, Damato...) Verdi Gala 2004 / Cura, Nucci, Canettieri, Damato, Fabbricini, Rezza, Borin, Casalin, De Grandia, Michailov, Sacchi, Stoyanov, Zanellato, Palumbo, Parma

48. A Passion for Verdi with José Cura and Daniela Dessi Jose Cura - A Passion for Verdi

49. Verdi: Aroldo (Gustavo Porta, Adriana Damato) Verdi - Aroldo

50. Verdi: Il Corsaro (Michailov, Bruson, Damato)

51. Verdi: Don Carlo (Luciano Pavarotti, Samuel Ramey, Daniela Dessi) Verdi - Don Carlo / Pavarotti, Dessi, Ramey, d'Intino, Coni, Muti, La Scala Opera

52. Verdi: Don Carlo (José Carreras, Agnes Baltsa) Verdi - Don Carlo / von Karajan, Carreras, Baltsa, Furlanetto, d'Amico, Cappuccilli, Salminen, Salzburg

53. Verdi: I Lombardi (José Carreras, Ghena Dimitrova) Verdi - I Lombardi / Carreras, Dimitrova, Carroli, Bini, Gavazzeni, La Scala Opera

54. Verdi: Macbeth (Carlos Alvarez, Maria Guleghina) Verdi - Macbeth / Alvarez, Guleghina, Scandiuzzi, Berti, Alberdi, Campanella, Barcelona Opera

55. Verdi: Nabucco (Nucci, Guleghina, Colombara, Sartori)

56. Verdi: Nabucco (Nucci, Guleghina, Dvorsky) Verdi - Nabucco / Leo Nucci, Maria Guleghina, Giacomo Prestia, Miroslav Dvorsky, Marina Domashenko, Goran Simic, Fabio Luisi, Vienna Opera
57. Verdi: Nabucco (Juan Pons, Maria Guleghina) Verdi: Nabucco

58. Verdi: Otello (José Cura, Krassimira Stoyanova) Verdi - Otello

59. Verdi: Requiem (Margaret Price, Jessye Norman, José Carreras, Ruggero Raimondi)
  Verdi - Requiem / London Symphony Orchestra

60. Verdi: Requiem (Anna Tomowa-Sintow, Agnes Baltsa, José Carreras, José van Dam) Verdi - Requiem / Anna Tomowa-Sintow, Jose Carreras, Agnes Baltsa, Jose van Dam, Herbert von Karajan, Vienna Philharmonic

61. Verdi: Il Trovatore (José Cura, Dmitri Hvorostovsky, Yvonne Naef, Veronica Villarroel) Verdi - Il Trovatore / Cura, Hovorostovsky, Villarroel, Naef, Rizzi, Covent Garden

62. Verdi: La Traviata (José Cura, Eteri Gvazava)

63. Verdi: Stiffelio (José Carreras, Catherine Malfitano) Verdi - Stiffelio / Downes, Carreras, Malfitano, Royal Opera Covent Garden

64. José Carreras Collection

65. Plácido Domingo - My Greatest Roles Volume 3 French Opera

66. Puccini: Tosca (Angela Gheorghiu, Roberto Alagna, Ruggero Raimondi) Puccini - Tosca / Gheorghiu, Alagna, Raimondi, Muraro, Cangelosi, Pappano, Royal Opera (2000 film)

67. Cecilia and Bryn at Glyndebourne - Arias and Duets / Opus Arte, Bryn Terfel, Cecilia Bartoli

67. The 3 Tenors In Concert 1994 with The Vision: Making of the Concert (Carreras, Domingo, Pavarotti, Mehta)

68. Plácido Domingo - Great Scenes
For more reviews from my travels, see