This performance of the Richard Strauss opera Frau ohne Schatten, recorded live and in high definition, features vocalists like Stephen Gould, Anne Schwanewilms, Michaela Schuster, and Wolfgang Koch in the leading roles.

The Bayreuth Festival Opera House mounted this production of Richard Wagner's 1865 opera Tristan und Isolde as part of the Bayreuther Festspiele. Staged by Heiner Müller, it stars Siegfried Jerusalem, Waltraud Meier, Poul Elming and Uta Priew, and features musical accompaniment by The Orchestra and Chorus of the Bayreuther Festspiele.

Robert Lepage’s remarkable Met Opera production of Wagner’s Der Ring des Nibelungen, the 2013 Grammy Award Winner for Best Opera Recording, is now available as individual DVDs. Siegfried features Bryn Terfel, Jay Hunter Morris, and Deborah Voigt, with Fabio Luisi conducting.

Ring Cycle, pt 4. Siegfried is drugged and tricked into kidnapping his wife, since she has the Ring now. More double-crossings, Siegfried ends up dead. Brunnhilde has had enough of this, tosses the Ring into the river and torches the place.

The 1791 La Clemenza di Tito (or 'The Clemency of Titus') marked Wolfgang Amadeus Mozart's final opera seria. With a libretto by Metastasio (edited slightly by Caterino Mazzolà), the work dramatizes the palace intrigues surrounding emperor Titus's attempts to coronate a new bride and the envious Vitellia's attempts to have Titus assassinated (with the help of Titus's friend Sextus) following the deposition of Vitellia's emperor father. Stage director Martin Kušej mounted Tito in August 2003, at the Felsenreitschule in Salzburg; a film of that live performance now appears in this home video release. The cast includes Michael Schade as Titus, Vesselina Kasarova as Sextus and Dorothea Roschmann as Vitellia. The Wiener Staatsopernchor, under the baton of Nikolaus Harnoncourt, provides musical accompaniment; Jens Kilian designed the sets.

The delightful light operatic farce by Johann Strauss is presented at the Morbisch Lake Festival (Seefestspiele Mörbisch) starring Herbert Lippert, Richard Samek, Heinz Zednik and Dagmar Schellenberger.

This staging of Harrison Birtwistle's opera The Minotaur features John Tomlinson, Johann Reuter, Christine Rice, and Andrew Watts in the main roles. Stephen Langridge directed the production for the stage, and Antonio Pappano conducted the orchestra.

‘La course à l’abîme’ is a depiction of the final ride into hell from ‘La Damnation de Faust’ (1846) by Hector Berlioz.

Adaptation of John Gay's 18th century opera, featuring Laurence Olivier as MacHeath and Hugh Griffith as the Beggar.

This performance of the Richard Wagner opera Logengrin was filmed in high definition for the Bayreuth Festival in 2011, and features vocalists like Georg Zeppenfeld, Klaus Florian Vogt, and Anette Dasch in the leading roles.

This production is a gala affair; the sets are traditional (evocative of 18th-19th century Spain); the lighting is bright, so colors are good and one can see all of the action. Singers are generally well chosen and perform admirably. However, at this point, slight reservations creep in; although Janowitz (Fidelio/Leonore) and Kollo (Florestan) look "good" and act well, the singing parts tax them a bit when pushed to the limit. Most of the time that doesn't matter, and an argument can be made that a little vocal strain is in character with their dire plight. Ideally, for me, Vickers as Florestan would have added extra vocal heft and more sensitive acting than Kollo.

n his 'new life' as a baritone, Placido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi's darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with "Die Soldaten" and "Il trovatore". Domingo is joined by two of Italy's most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo's performance, calling his interpretation of the role "sublime".

Teatro Regio’s 2013 revival of their highly successful 2006 production of Verdi’s Don Carlo celebrates the 40th anniversary of the theatre’s reopening in 1973. With traditional staging and lavish costume design, the production garnered high acclaim in the national and international press, with GB Opera commending the ‘sumptuous’ setting and French online music magazine ResMusica praising director Hugo de Ana’s decision to revive the show ‘in all its splendour’. Shown here in the four-act version, Don Carlo is the fascinating tale of father-son power struggles, adultery and love that borders on incest. The cast – under the powerful baton of Gianandrea Noseda – is headed by renowned Mexican tenor Ramón Vargas, and also features Ludovic Tézier, who has been hailed as ‘one of the best Verdian singers of our time’

This live from the Met telecast from October 1996 of Giordano’s infrequently performed verismo gem is an absolute pleasure to watch and listen to and I highly recommend it. Nicholas Joel’s production is extremely elegant while at the same time being simple and uncluttered. Act I, for example, is dominated by an enormous gilt-framed mirror precariously tilted. I assume that it is a metaphor for the imminent downfall of the decadent aristocracy at the party given by the Contessa di Coigny. The costumes designs by Hubert Monloup are terrific. The prerevolutionary costumes in Act I are simply stunning each one individually tailored for the choristers and major performers.

First staged at the Teatro La Fenice in 1846, Verdi’s ninth opera, Attila, returns to the stage of La Scala on December 7th. Following the inauguration of the 2015-2016 Season with Giovanna d’Arco and in anticipation of Macbeth, with Attila Musical Director Riccardo Chailly continues his study of Verdi’s early works, renewing a successful collaboration with creative director Davide Livermore that began with his acclaimed production of Donizetti’s Don Pasquale for La Scala. In this complex opera Verdi experiments with fresh perspectives, featuring spectacular historical settings, introspective angles and moral uncertainties. Attila demands of its performers not only passion and confidence, but also the ability to find subtle accents and psychological nuances.

Wagner's erotic opera in a production by the German Opera of Berlin under the direction of Gotz Friedrich, with music conducted by Jiri Kout. Recorded at the Deutsche Oper Berlin.

The eighteenth century German composer Christoph Willibald Gluck strove for the ideal of pairing poetry - in its purest form - with operatic score, an end he came closest to achieving with his 1779 opera Iphigeneia in Tauris (Iphigénie en Tauride). The story recounts the nearly fatal brother-sister relationship, its ultimate reconciliation, and the eventual Scythian-Greek truce as achieved by the intervening hand of the goddess Diana. The home video release Iphigenie en Tauride contains a film of a live performance of the work, as mounted by the Opernhaus Zurich in 2001. Claus Guth directs for the stage, with a cast that includes Juliette Galstian as Iphigenia, Rodney Gilfry as Orestes and Martina Janková as Diana. The Zurich Opera's Orchestra La Scintilla and the Chorus of the Opernhaus Zurich provide musical accompaniment.

Christian Thielemann conducts the Staatskapelle Dresden in this performance of Wagner's opera recorded live in 2013. The performance was held for the Salzburg Easter Festival and featured vocalists including Johan Botha, Michaela Schuster, Stephen Milling and Wolfgang Koch.