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The film covers a hundred years in the lives of the Ricordi family, the Milan publishing house of the title, and the various composers and other historic personalities, whose careers intersected with the growth of the Ricordi house. It beautifully draws the parallel between the great music of the composers, the historic and social upheavals of their times, as well as the "smaller stories" of the successive generations of Ricordi.
Franco Zeffirelli's magnificient staging of Puccini's final opera - a fairy tale set in a mythical China - is one of the most popular in the Met repertory. In this Live in HD production, Maria Guleghina takes on the title role and Marcello Giordani is Calaf, the unknown prince. Marina Poplavskaya and Samuel Ramey co-star, and Andris Nelsons conducts in his Met debut.
The first words uttered by Carmen mark one of the greatest entrances in the history of opera and express all that need be said: “Love is a rebellious bird that no one can tame…” With a devilish sway of the hips and a hint of Andalusian flair, the beautiful cigar-maker sets her sights on a soldier: Don José. Fate will do the rest.
The Triple Concerto is one of Beethoven's less frequently performed works - probably also because it requires three soloists and makes considerable demands on them. ARTE presents the Concerto for Violin, Violoncello, Piano and Orchestra in C major at the Gewandhaus in Leipzig, performed by an excellent trio of soloists. It is accompanied by the Gewandhaus Orchestra under the direction of Herbert Blomstedt.
Opera lies at the heart of Rimsky-Korsakov's colourful idiom, but performances are few and far between; this realisation of his penultimate and grandest stage work is a very rare and special experience. Kitezh is known as "the Russian Parsifal", which encapsulates its mystical flavour and steady unfolding of a legend of redemption
The film follows the staging of the opera Olimpiade while at the same time exploring the dramatic life of its composer Josef Mysliveček, a friend and teacher of W. A. Mozart.
Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Salzburger composer Wolfgang Amadeus Mozart.
Lyrical biography of the classical composer, depicted as a romantic hero, an accursed artist.
Shows the perils of Mauricio Montoya’s passion for a fading opera singer.
Live broadcast of the opera performance held on November 10, 2012 at the Opéra national de Lorraine in Nancy, performed by five world-class countertenors.
A Ukrainian comic opera with spoken dialogue in three acts with music and libretto by the composer Semen Hulak-Artemovsky (1813–1873). The orchestration has subsequently been rewritten by composers such as Reinhold Glière and Heorhiy Maiboroda. This is one of the best-known Ukrainian comic operas depicting national themes.
Adapted from the opera written by the composer Semen Hulak-Artemovsky.
Richard Jones’ “La bohème” is an important weapon in the Royal Opera’s commercial arsenal. This is its second revival since Jones’ production hit the stage in autumn 2017, replacing John Copley’s beloved 40-year old staging, resplendent with period detail and resolutely naturalist. Jones brings a considerable break with the past in his approach, pointing the way towards thought-provoking possibilities for the work, though it is a clearly a show that defers to the need for regular revival and breadth of appeal.
Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, Jonas Kaufmann plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout and includes the famous Act I Quartet, the Prisoners’ Chorus and Florestan’s impassioned Act II cry in the darkness and vision of hope. Tobias Kratzer’s new staging brings together the dark reality of the French Revolutionary ‘Terror’ and our own time to illuminate Fidelio’s inspiring message of shared humanity.
