An operatic film adaptation of the poem by Paul Laurence Dunbar of the same name.
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This May 2010 production of Massenet's 1910 opera "Don Quichotte" marked the opera's centenary and also Jose Van Dam's operatic farewell at the Theatre de la Monnaie, Brussels. It is beautiful in every way--vocally, scenically, sonically, and visually--and a worthy record of Van Dam's farewell. Van Dam is just shy of 70 in this production, but you would never guess it from his singing or stage movements--a consummate artist. His is a noble portrayal and deeply moving. The Act V death scene is a model of beautiful singing and acting.
This set has Edita Gruberova singing in top form, all her scooping cast aside, which one finds in abundance in her Lucia under Richard Bonynge. Here, however, she makes ravishing use of those bits of tone that only she can produce: those instances of coloratura and dramatic legato with little asides and small florishes of style that suggest her intelligent approach and her high degree of musical involvement in this role. She does this in her I Puritani and her Anna Bolena, less so in Roberto Deveraux and Maria Stuarda(both sets). Listen to Addio del passato and the Sempre Libra...ravishing, yes, but there are again those nuances learned from Callas that she makes her own. A very singualr perform,ance, and extremely moving with its detail and cry for pity throughout..from the start even. Neil Schicoff is excellent, not an unworthy Alfredo at all! His is a great lyric tenor voice that should have been in the top line.
The writer Dario Fo applies his inventive genius to Rossini's comic opera in its premiere DVD release. Recorded in 2005 under the musical direction of Maurizio Barbacini, Fo's production brings fresh vitality and colour to the story of Lisetta, and of her father Don Pomponio's increasingly ridiculous attempts to find a husband for her through an advertisement in the newspaper LA GAZZETTA. Filmed using high definition cameras with multitrack sound.
The production was the Vienna State Opera debut for the young Swiss conductor Philippe Jordan – the Argentinian tenor Marcelo Álvarez, took the title role. His Charlotte on this occasion was the young Latvian mezzo-soprano Elīna Garanča. Her performances have been enthusiastically received and she has already been labelled as the new mezzo wonder. Staged by internationally sought-after Rumanian director, Andrei Serban, the apparently sentimental love story – normally presented in 18th century period costumes - reveals a study of personal relationships and a close observation of a woman, who comes of age too late. Serban’s aim was to rid the opera of the unjustified reputation of banality that clings to it despite its underlying tragic mood. By setting the production in the stiff, claustrophobic atmosphere of a small town in the 1950s, he aimed to make the audience more aware of its deeper levels of self-denial.
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Emmanuelle Haïm has established herself as one of the world’s leading performers, conductors and interpreters of Baroque repertoire, not only with Le Concert d’Astrée, the ensemble she founded in 2000, but with several of the world’s greatest orchestras. Known for her fresh and expressive approach to Baroque music, she has garnered critical acclaim and several international awards with her own ensemble, including Victoires de la Musique Classique, ECHOs, Gramophone Awards, and Grammy nominations.
The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.
The 2021 production by the Dutch National Opera of the work by German composer Rudi Stephan (1887–1915) "Die ersten Menschen" ("The First Humans"), completed in 1914 to a libretto by Otto Borngräber interpreting the Biblical story of the Garden of Eden through symbolism and the then nascent science of psychoanalysis. This production was part of the Holland Festival of Amsterdam.
Parisian courtesan, Violetta meets the romantic aristocrat Alfredo and finds herself in love for the first time. She abandons her frivolous lifestyle to be with him but his father Germont, charged by the hypocrisy of upper-class society, threatens their future.
The definitive version of this rare opera by Wolfgang Amadeus Mozart. The costume and set design is truly visionary and other worldly and gives a convincing insight into what staged operas must have looked like during the Baroque and Rococo period. Singers are all excellent and well cast in their respective roles. One of the most thrilling things I have seen, just wish I could see this live.
Axel Kohler, the internationally renowned countertenor has brought Admeto into the modern era in timeless style by the skillful application of imaginative theatrical digressions. Köhler's production at the Halle Opernhaus revisits a work that encompasses comedy, tragedy and almost absurd grotesqueness, couching it in the convincing metaphor of a modern hospital.
37-year-old Italian-American widow Loretta Castorini believes she is unlucky in love, and so accepts a marriage proposal from her boyfriend Johnny, even though she doesn't love him. When she meets his estranged younger brother Ronny, an emotional and passionate man, she finds herself drawn to him. She tries to resist, but Ronny, who blames his brother for the loss of his hand, has no scruples about aggressively pursuing her while Johnny is out of the country. As Loretta falls for Ronny, she learns that she's not the only one in her family with a secret romance.
Vivian, Roe, JJ, Ines and a mysterious French man through a 20 year musical memory of New York City. As people and places in their lives drift away, visual impressions meld with sound and narrative stories to reveal a complex yet moving tableau. As the characters recall their own personal histories, conflicting images reveal their past, present and future.
Carlos Álvarez takes the title role in the first of Verdi's Shakespearean operas, with Maria Guleghina as the manipulative wife whose desire to gain the Scottish throne drives her husband to murder and leaves both with blood on their hands. Bruno Campanella conducts the Symphony Orchestra and Chorus of the Gran Teatre del Liceu in the 2004 recording of Phyllida Lloyd's powerful production, first staged at London's Royal Opera House.
Götterdämmerung, the final instalment of Wagner’s Ring of the Nibelung, is a story of human passions. Two essentially benevolent creatures, involved with and possibly doomed by their traffic with the gods, find treachery and evil in the world of the humans, and are ruined by the dark side of humanity. Iréne Theorin, acclaimed worldwide for her portrayal of Wagner’s heroines, stars as Brünnhilde opposite Lance Ryan, who continues his radiant portrayal of the tragic hero Siegfried. The strong cast also includes Mikhail Petrenko as the dark antagonist Hagen and Johannes Martin Kränzle, who once again shines as his father Alberich. Waltraud Meier has a memorable appearance as Brünnhilde’s sister Waltraute. With this 2013 recording of Götterdämmerung, the musically and visually compelling Scala Ring Cycle by Daniel Barenboim and Guy Cassiers was completed and proved to be one of the highlights of the Richard Wagner bicentenary.
It took Anna 10 years to recover from the death of her husband, Sean, but now she's on the verge of marrying her boyfriend, Joseph, and finally moving on. However, on the night of her engagement party, a young boy named Sean turns up, saying he is her dead husband reincarnated. At first she ignores the child, but his knowledge of her former husband's life is uncanny, leading her to believe that he might be telling the truth.
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.
The Lyric Opera of Chicago's 1985 production of Puccini's opera, set in the late nineteenth century in the city of Nagasaki, about a young Japanese woman who weds an American naval officer who later abandons her and the child she bore him.
Witness the Zurich Opera's stunning production of Richard Wagner's masterpiece "Tannhauser," conducted by Franz Welser-Most and featuring Peter Sieffert (Tannhauser), Solveig Kringelborn (Elisabeth) and Roman Trekel (von Eschenbach). Initially produced in Dresden in 1845, "Tannhauser" instilled a sense of wonder in a few of Strauss's ardent friends and admirers, among them Robert Schumann and Franz Liszt. Opera buffs will love it.
Gustav Von Aschenbach, a passionate composer, arrives in Venice as a result of wanderlust and there meets a young man by whose beauty he becomes obsessed.
