This all-star cast is framed by Peter Hall’s gritty, realistic production and conducted by James Levine, who brings out all the surging emotion and gripping drama in Bizet’s score. At the center of the story is Agnes Baltsa, whose smoky mezzo is tailor-made for the gypsy Carmen, an independent woman who glories in obeying only her own rules, but who is haunted by fate. Superstar tenor José Carreras is Don José, the solider from a small town who catches Carmen’s eye and is destroyed by his growing obsession with her. Samuel Ramey is the charismatic matador Escamillo, who lures Carmen away from Don José with tragic result. Leona Mitchell is Micaëla, the simple girl from Don José’s hometown who cannot save him. March 21, 1987 Matinee Broadcast.
The sensational hit of Salzburg's 2008 festival season arrives on DVD! Starring tenor Rolando Villazón in a stunning performance, this was the must have ticket of the season. Soprano Nino Machaidze, only 25 years old, burst upon the Salzburg stage with an emotionally vulnerable and vocally spectacular performance. With movie star good looks and a large, warm voice, Machaidze wowed the press and audiences alike. Tony Award winner (South Pacific) Bartlett Sher directs this production of Gounod's classic opera. With sets by Michael Yeargan and costumes by Catherine Zuber, the visually vibrant production is sure to become the benchmark. Bonus materials includes "Salzburg Impressions--Behind the Scenes of Roméo et Juliette," "Love and Death in Verona" and Villazón giving an introduction to the opera.
This elegant romance is the least-known work of the mature Giacomo Puccini . The story concerns a kept woman who defies convention to chase a dream of romantic love with an earnest, if naïve, young man. This Met Opera production features the dynamic soprano Angela Gheorghiu and Frenchborn tenor Roberto Alagna performing the roles of Magda and Ruggero, it blooms into its rightful place in the glorious Puccini canon. La Rondine (The Swallow) was commissioned by Vienna s Carltheater in 1913. Due to the impending outbreak of World War I, premiered in 1917, at the Opéra de Monte-Carlo with Gilda Dalla Rizza and Tito Schipa. Set in a Parisian salon, it is the story of Magda, the glamorous mistress of wealthy banker Rambaldo. Her yearning for romantic love compels her into the arms of the ardent and adoring young Ruggero.
The life and career of Italian opera singer Farinelli, considered one of the greatest castrato singers of all time.
While best known today for having composed the ending to Puccini's unfinished Turandot, Franco Alfano wrote some dozen operas, including Cyrano de Bergerac (1936) with a libretto by Henri Cain based on Edmond Rostand's drama of the same name. It is a moving tale of romantic misunderstanding, swashbuckling bravado and heartbreaking loyalty, in which the eloquent Cyrano feels unable to express his love for Roxane because of his famously protuberant nose except on behalf of his handsome but inarticulate friend, Christian.
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.
Translucence, transparency – warmth’ are the qualities identified by Bernard Haitink as necessary for an ideal sound performance of Beethoven's only opera, and all are present in this fantastic recording of Katharina Thalbach's 2008 production for Opernhaus Zurich. Haitink conducts the Zurich Opera Orchestra in a magnificent performance in which Leonore Overture No. 3 provides an interlude between the two scenes of the second act, following a tradition started by Gustav Mahler. German soprano Melanie Diener, in the role of Leonore, leads a brilliant cast including Alfred Muff as Rocco, Roberto Saccà as Florestan, Sandra Trattnigg as Marzelline and Christoph Strehl as Jaquino. This High Definition recording with true surround sound marks the start of the exciting collaboration between Opus Arte and Opernhaus Zurich.
Claus Guth's exciting 2017 staging of Handel’s "Rodelinda" at Madrid’s Teatro Real, featuring Lucy Crowe and Bejun Mehta as Rodelinda and Bertarido, with conductor Ivor Bolton. After the successes of "Giulio Cesare" in 1723 and "Tamerlano" in 1724, Rodelinda completes the trilogy of Handel’s great opera seria masterpieces. The work was composed in 1725 using Nicola Francesco Haym’s libretto, a work inspired by Antonio Salvi’s earlier libretto which had been itself adapted from Pierre Corneille’s tragedy "Pertharite, roi des Lombards". Rodelinda thus brought one of the most glorious compositional periods in the Handel’s career to a close, about a decade after his arrival in the British capital. Mixing romantic storytelling and political intrigue, Handel produced one of his most beautiful scores, a true operatic tour de force.
Hammerstein and Kern’s Show Boat is a true classic of American musical theater - a tale of life on the Mississippi from the 1880s to the 1920s is both a poignant love story and a powerful reminder of the bitter legacy of racism. The exuberant production from the San Francisco Opera features songbook classics such as “Ol’ Man River” and “Can’t Help Lovin’ Dat Man”.
A live performance of Giuseppe Verdi's opera.
Amour, the messenger of the gods, tells Orpheus that he may descend to the underworld and return with Eurydice. His singing has the power to appease the Furies and animate the blessed Shadows. Yet, his voice cannot reassure Eurydice who despairs of the feigned indifference of Orpheus, put to the test by Jupiter. Raphaël Pichon conducts the opera of operas and Aurélien Bory displays the giddiness of the mental and supernatural spaces traveled by Orpheus and beyond. Marianne Crebassa plays a new breeches role with Hélène Guilmette (Hélène in Le Timbre d’argent) and Lea Desandre (the title role in Alcione).
In Benoît Jacquot’s production, Manet’s Olympia dominates the stage of the Opéra Bastille. In 1863, the painting caused a scandal: the prostitute awaits her client, her expression proud, her demeanour assured. Is this Violetta? Like Olympia, Verdi’s most celebrated heroine surrenders to the spectator just as she surrenders to love, going so far as to die on stage, a woman’s ultimate sacrifice for her lover. Or might it be the spectator who strips her bare and intrudes upon her privacy, in the image of this milieu of social voyeurism? Whatever the case, these two women regard us with defiance and subjugate those who cannot help but look at them.
When the most voluptuous, sought-after courtesan in the world meets an ascetic monk whose life is devoted to God, you know erotic sparks are going to fly. And when the clash takes place in a glorious, but rarely performed, opera by Massenet, it’s a delight to the ear just as much as to the eye. Renée Fleming is every inch the glamorous Thaïs, swathed in elegant gowns designed by Christian Lacroix. Thomas Hampson is Athanaël, the tortured man of God. This production by John Cox, which premiered in December 2008, brilliantly sets the stage for a confrontation as old as civilization itself.
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’
The spectacular production from the 2007 festival at the historic Arena di Verona. Renowned Verdi singers Leo Nucci and Maria Guleghina take on the roles of Nabucco and his daughter Abigail. Daniel Oren conducts Verona's resident orchestra. Filmed in High-Definition.
Still healing from her grandmother’s death, Addison Moore finds herself checking into The Copper Queen Hotel in Bisbee, Arizona. Aware of the ghost stories and hauntings, Addison fearlessly elects to stay in Room 315, the location of the heartbroken Julia Lowell’s death a century ago.
At the end of 2013, the year that marked the 50th anniversary of Francis Poulenc’s death, his gripping and moving operatic masterpiece, Dialogues des Carmélites was staged in Paris by director Olivier Py with a cast featuring some of France’s finest female singers – Patricia Petitbon, Véronique Gens, Sandrine Piau and Sophie Koch – under the baton of Jérémie Rohrer. Le Figaro described the production as “a thing of wonder,” while Le Monde called it: “A masterpiece ... the most exciting and consummately achieved show to have been seen on a Parisian stage in a long time … This was great work, magisterial and unforgettable.” “The memorable Dialogues des Carmélites at the Théâtre des Champs-Elysées marked the climax of commemorative activities for the 50th anniversary of Poulenc’s death,” wrote Opera magazine of the production of Poulenc’s gripping and moving opera that was staged by the French director Olivier Py in Paris in December 2013.