"This is Vienna State Opera live at home". April 2015. 'L'italiana in Algeri' (English: 'The Italian Girl in Algiers') is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.
Anna BonitatibusIsabella
Edgardo RochaLindoroPaolo RumetzTaddeo
Ildar AbdrazakovMustafà
Aida GarifullinaElviraRachel FrenkelZulmaAlessio ArduiniHaly
TDK presents a recording of Puccini’s heart-breaking opera from one of the best opera houses of the world featuring star tenor José Cura and remarkable soprano Maria Guleghina as the two inseparable lovers. Riccardo Muti, music director of La Scala at the time of this performance, gives full weight to the alternation of social realism and private amatory psychology, of crowds and intimacy, body and spirit. And the director of this Milan production, the famous Italian film director Liliana Cavani, provides it with a realistic setting. Every scene looks like a genre painting, from which Puccini’s psychograms emerge musically. This forms the background for the two outstanding singer actors, who take the lead roles.
This opera revolves around the demonic collective possession suffered by the Ursuline nuns in the convent of Loudun in 1634. The story concentrates on the handsome but doomed Urbain Grandier who fights against fanaticism and evil.
Rigoletto is a jester in the court of the Duke of Mantua. He has a hunch-back and he's rather unattractive, but he's good at his job of humiliating the courtiers for the amusement of the Duke. The courtiers, of course, are not amused. The Duke is a ladies man who feels his life would be meaningless if he couldn't chase every skirt he sees. In fact, we learn as the opera begins that he's recently been noticing a young lady every Sunday on her way to church, and he's vowed to have his way with her. What nobody realizes is that the girl is the jester's beloved daughter, Gilda, and that Gilda has seen the Duke every Sunday and is smitten with him. Suddenly Count Monterone appears at court, furious that the Duke has seduced his daughter. Rigoletto ridicules Monterone, the Duke laughs, and Monterone casts an awful curse on both of them. Later, the courtiers discover that Rigoletto is secretly living with Gilda...
The historic, original, live airing of what would become an annual Christmas tradition throughout the 1950s, this opera tells the story of Amahl, a crippled shepherd boy, and his destitute mother, who provide temporary shelter to three men who are following a star to the newly-born Christ child.
Rebellious servants, capricious lovers, cross-dressing farce and a happy ending: the fast paced action of this comic Baroque opera had all the ingredients to please the self-confessed ‘low-brow taste’ of an Austro-German prince, who commissioned Giuseppe Scarlatti for a piece to celebrate his son’s wedding. This is the opera’s first revival in modern times, and it takes place in the very same Baroque theatre, impeccably restored to its original glory, which hosted the first performance. With a cast of young singers drawn from Prague’s National Theatre and a stylish period-instrument ensemble, this vivid reconstruction will delight audiences as much today as it did the aristocratic guests at Český Krumlov in 1768. Filmed in High Definition and recorded in true Surround Sound.
Francesco Cilea's Adriana Lecouvreur was inspired by the real-life story of a celebrated actress at the Comédie-Française who was much admired by Voltaire. Hailed as a masterpiece, the opera was triumphantly staged in cities around the world after its premiere in 1902. The dramatically effective narrative is a passionate love triangle filled with intrigue and complicated plot twists set in the gallant 18th century. Its subtle ironies and gorgeous cantabile style of music provide a perfect vehicle for the star cast in this stunning production from the Teatro del Maggio Musicale Fiorentino.
The 1987 Glyndebourne production of Ravel's L'enfant et les sortilèges, designed by Maurice Sendak and directed by Frank Corsaro.
A 12-year-old boy tries everything to join a music lovers club.
Miller’s daughter Zuzanka Vojířová, betrothed to Ondřej Zachar, hesitates before marriage when Lord Peter Vok of Rožmberk invites her to his castle. There she bears his son Petříček, but his wife hides the child. After Vok’s death in battle, Zuzanka is expelled and lives as a beggar, reunited with her son and former fiancé, finding solace in the continuation of the Rožmberk lineage.
The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.
Two-time Tony Award–winning composer Jeanine Tesori’s powerful new opera Grounded, commissioned by the Met and based on librettist George Brant’s acclaimed play, wrestles with the ethical quandaries and psychological toll of 21st-century warfare.
In Trelinski's timeless production he leads a superb, first-class young cast headed by Artur Ruzinski as Onegin and Kristīne Opolais as Tatyana. Mariusz Trelinski, Polish filmmaker and theater director, has created a series of dream-like, surrealist tableaux of great suggestive beauty.
A man who loves an aspiring opera singer is prepared to sacrifice everything to help her with her career, even though he knows she doesn't love him.
A film version of the famous Bizet opera, where a soldier (Don Jose) falls in love with a beautiful factory worker (Carmen), but she does not reciprocate his feelings.
Cio-Cio-San, a young Japanese geisha, seeks to fulfill her dreams through marriage to an American naval officer. Her faith in their future is shattered by his empty vows and the loss she endures touches something deep within us all.
The 1959 concert finds Callas just 1 year before the loss of her voice and although her voice is not what it was in 1952 you can still hear the Vocal Miracle. The repertoire interchanges between heavy dramatic soprano (Lady Macbeth, Elisabetta), to soprano coloratura (Rosina) and to soprano dramatico d'agilita (Imogene in Pirata, Gulia). The maturity of the interpretation regarding the legatti, the phrasing is astounding and Callas dominates each aria singing them in the only possible way. "Tu che invoco" appears as a cataract of dramatic phrases in a fine classical style of this classical period opera, then Lady Macbeth appears diabolical & dark although she avoids keeping her voice in the high C, her Rosina is sparkling and facile in the coloratura as if it is a natural way of speaking and Elisabetta is where time stops: the drama in this aria holds a metaphysical aura. Finally her entire Mad Scene from Pirata shows all her talent as an actress and bel canto singer.
Tristan, King Marke’s most loyal vassal, takes the Irish princess Isolde to Cornwall to be married off to his master. During the journey, Isolde uses a deadly poison in an attempt to extinguish the intense but unspoken love between her and Tristan that had arisen beforehand. Isolde’s confidante Brangäne, however, replaces the poison with a love potion. From that moment, Tristan and Isolde become inseparably linked. Their secret love is soon betrayed to King Marke by the jealous Melot, who also fatally wounds Tristan. He is brought to his island, longing for one final meeting with Isolde before he dies. When she eventually comes, he himself pulls open his wound and collapses in her arms. Isolde follows him, dying in the most sublime ecstasy.
Met performances of Strauss’s white-hot one-act tragedy, which receives its first new production at the company in 20 years. Claus Guth, one of Europe’s leading opera directors, gives the biblical story—already filtered through the beautiful and strange imagination of Oscar Wilde’s play—a psychologically perceptive Victorian-era setting rich in symbolism and subtle shades of darkness and light.