Jerry runs into the Metropolitan Opera, trying to evade Tom.
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Mrs. Mouse is reading "A Visit from St. Nicholas" to her brood when a cat tries to break in. The cat overhears them arguing about the existence of Santa, so he dresses up accordingly.
A group of young mice is in the ruins of a church, practicing singing for an upcoming service. After singing an adulterated version of "Hark! The Herald Angels Sing," the mice wonder about the last line, "Good will to men." One of them asks the choirmaster, an old mouse, "What are men?" The old mouse explains that they all killed each other off by building bigger and more destructive weapons, first guns, then missiles, then bombs.
An alley cat is foraging for food when he sees Tom's house and decides it's a rich haul. He dresses as a foundling baby and lands on the doorstep. Tom takes him in and Butch proceeds to raid the fridge between Tom's babying him. What he doesn't know is that Jerry's going to grab the ham Butch swiped every chance he gets.
Tom heads for a big city penthouse to become acquainted with a rich pretty female cat that lives there. He brings her Jerry as a gift and does some humiliating things to Jerry. Jerry, in turn, attracts the attention of another cat who also becomes interested in the female cat. It eventually turns into a fight between Tom and the other cat for the lady's hand but Jerry is the one who gets her in the end.
Tom, a castle soldier in 16th century France, is assigned to guard the food laid out on a banquet table. Jerry and a smaller mouse companion, two wandering "mouseketeers", make the situation miserable for Tom as they abscond with (and occasionally eat) all the food they can.
Tom's in love again, and Jerry's devil conscience reminds him of times this has happened in the past (which, of course, we see, in the form of clips from earlier shorts), and how that's been nothing but trouble for Jerry.
This cartoon follows the misadventures of an eccentric old woman who tries to replace her long lost children by dressing up her cat and dog in human clothes.
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Dark fairytale about a demonic doctor who abducts a beautiful opera singer with designs on transforming her into a mechanical nightingale.
The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina, in this screen adaptation of the beloved Mozart opera. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive.
An aging opera singer looks back on her long life, including her relationships with her vocal teacher and a student.
A short experimental film shot on Super 8, inspired by the music of Richard Wagner.
The great singing actress Nina Stemme gives a heart-wrenching performance in the title role of Strauss’s blazing one-act drama, adapted from the ancient Greek myth. Patrice Chéreau’s acclaimed production—the last staging he worked on before his death in 2013—also stars Waltraud Meier as Klytämnestra, Elektra’s nightmare-haunted mother, Adrianne Pieczonka as Chrysothemis, her sister, and Eric Owens as Orest, their brother, whose return home brings their family story to a terrifying climax. Esa-Pekka Salonen conducts the monumental and highly influential score.
This Italian film version of Verdi's opera stars Sophia Loren on the screen, with Renata Tebaldi providing the vocals.
Dumbo is a baby elephant born with over-sized ears and a supreme lack of confidence. But thanks to his even more diminutive buddy Timothy the Mouse, the pint-sized pachyderm learns to surmount all obstacles.
Sergey Prokofiev's operatic tragedy The Fiery Angel was never performed in the composers lifetime the musics brittle energy, drama and eloquent lyrical tenderness would re-emerge in his Third Symphony. The narrative focuses relentlessly on Renata, who is haunted by an angel who turns out to be the devil. Director Emma Dante describes the opera as an explosive mix of fantastical realism and endless confusion of nightmares, madness, sexual impulses and cultural clashes, and this Teatro dellOpera di Roma production was acclaimed as a presentation of Prokofievs masterpiece which sparkles in all its grotesque glory (operawire.com)
Two agents of the mouse-run International Rescue Aid Society search for a little orphan girl kidnapped by sinister treasure hunters.
Premiered in 1787, “Don Giovanni” exposes the timeless theme of a man hovering between vitality and destruction. Neither morality nor the law can stop this serial lover in his quest to conquer all women as he places his own pleasure above all other principles. Today, the rich depth of Mozart’s masterpiece still astonishes audiences with its mix of comedy and seriousness, pleasure and love, entertainment and murder. At the helm of this new Salzburg Festival production, in a near-live broadcast from the Great Festival Hall, director Romeo Castellucci promises to focus on the ambiguity and inner turmoil of this serial lover whose immoral behaviour condemns him to a deadly solitude. The exceptional cast – featuring Italian baritone Davide Luciano (Don Giovanni), Russian soprano Nadezhda Pavlova (Donna Anna) and Finnish bass Mika Kares (the Commendatore) – is accompanied by the chorus and musicians of the musicAeterna ensemble, conducted by Vitaly Polonsky and Teodor Currentzis.
Take a perfect cast, a great conductor and a groundbreaking staging in-out makes a 'Tristan' for eternity. The 1983 performance in Bayreuth was a great moment for the world of opera. The ensemble performance of René Kollo, Johanna Meier and Matti Salminen with, then as now the Wagner admirer, Daniel Barenboim conducting the Bayreuth orchestra inspired singers and instrumentalists to peak performance. Jean-Pierre Ponnelle created a dream-beautiful stage.
2014 marks a year of celebration recognizing the 150th birthday year of the German late-Romantic orchestral, operatic and lied master composer, Richard Strauss (1864-1949). Arabella (premiered 1933, Dresden) was the last of the half dozen Strauss works to feature a libretto by the great Austrian writer Hugo von Hofmannsthal. This production, from the most recent Salzburg Easter Festival is, after Capriccio, the second of three Richard Strauss operas C Major is releasing in honor of the composers birth, life and work. The star-laden cast includes soprano Renèe Fleming, baritone Thomas Hampson, Albert Dohmen (Covent Garden, Wiener Staatsoper, MET) and Gabriela Beaková (Wiener Staatsoper, Covent Garden). With Christian Thielemann and the Staatskapelle Dresden, the music of Richard Strauss is in the best of hands. (ORF) Thielemann gets the best out of the cast...especially Renée Fleming with her luxurious soprano FAZ
