| Date and venue | Title |
|---|---|
| 21-Oct-2012 Opéra Bastille | An operatic high-note: Donizetti's La Fille du Régiment comes home to Paris |
 From time to time, audiences are presented with what I consider to be a rare event, a “dream” performer: one so convincing in his or her role that they become an ideal, establishing a standard to which all following interpretations will inevitably be compared – for example, Jacqueline du Pré’s interpretation of Elgar’s Cello Concerto has become a timeless benchmark.
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| 9-Apr-2011 Lincoln Center: Metropolitan Opera House | Met’s ‘Ory’ Bubbles Like Champagne |
 When Franz Liszt conducted Le Comte Ory in Weimar, he said it “bubbled like champagne,” according to the Metropolitan Opera’s program note. It also noted that Liszt arranged for the audience to be served champagne in Act II. Met operagoers didn’t require champagne to feel bubbly, not even during intermission of the New York house’s first-ever production of Le Comte Ory when hundreds of flutes were likely consumed. Like champagne froth spilling over a too-full glass, laughter rippled out of the audience from the opening notes of the overture.
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| 20-Jan-2011 Southbank Centre: Royal Festival Hall | Rosenblatt Recitals: Juan Diego Flórez |
| Juan Diego Flórez is one of the world’s most respected bel canto tenors. He has sung roles from Verdi to Donzetti operas and his performance of Pour mon ame... Ah mes amis from Donizetti’s La Fille du Régiment at La Scala in Milan in 2007 broke the theatre’s 74 year old tradition of no encores.
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