“Siroe” was not one of the great successes of Handel’s London period. But the opera, with its captivating music, is well worth a rediscovery. The authoritative edition from the Complete Edition offers the basis for this.

Should an unfinished Rameau opera be reconstructed or left to languish in the dust of libraries? Of course “Io” had to be made performable on the stage! And a performance has now taken place.

Mascagni’s award-winning opera Cavalleria rusticana is commonly performed with cuts authorized by the composer. Now, opera houses have the opportunity of basing their productions on the original version.

Leonore is no longer a victim. In “Fidelio schweigt” for the Musiktheater im Revier Gelsenkirchen the character who was merely a lover becomes an active subject and in so doing, emancipates herself from the well-known, all-too-familiar subject matter.

Mozart’s “La clemenza di Tito” is very well-known. But Gluck’s setting of the same libretto by Pietro Metastasio with “music of a completely different style, never heard before” offers a good alternative.The opra remained unperformed for over 200 years, even though the libretto was always known through Mozart’s famous work. It was only revived in 1987 in Metz under Jean-Claude Malgoire. Cecilia Bartoli thrilled audiences with this music in 2001 when she recorded a CD with Gluck arias, including several from “La clemenza di Tito.”

The new edition of Handel’s opera “Scipione” reveals two different performance versions of a work which carries an explosive political subject in a musically shattering form.

The new edition of Bizet’s “Carmen” from Bärenreiter-Verlag follows the approach that scholarship shouldn’t decide which version is the right one or the real one – and instead presents an edition containing all the surviving original versions of the opéra-comique. René Jacobs, who conducted the first performances using the new edition, comments on its merits following Paul Prévost's article.