

The film takes place in Baku in 1918-19 and then several years later. The film is based on the opera of the same name by Fikret Amirov. Sevil became the first film opera in the history of Azerbaijani cinema.

Gulush

The film takes place in Baku in 1918-19 and then several years later. The film is based on the opera of the same name by Fikret Amirov. Sevil became the first film opera in the history of Azerbaijani cinema.
1970-07-08
0
4.7Set in Baku at the turn of the 20th century, a young successful businessman Asgar wishes to marry. He wants his bride to be the choice of his heart, however, Azerbaijani tradition restricted him from communicating with the lady as a lover before marriage. So Asgar decides to disguise himself as a mere cloth peddler and the young woman Gulchohra falls in love with him.
10.0Sasha Regan’s award-winning All-male Company are set to lift everyone’s spirits with a treat in their new West End pirate’s cove. The swashbuckling pirates and their winsome lasses sail into the Palace Theatre with their inventive new take on W. S. Gilbert & Arthur Sullivan’s classic operetta THE PIRATES OF PENZANCE. Featuring a dazzling cast singing songs including: “I am a Pirate King”; “Oh, happy day, with joyous glee” and “A rollicking band of pirates we”, they are sure to raise the roof off the Palace Theatre!
5.7The film portrays the life of the legendary Azerbaijani guerrilla of the Second World War Mehdi Huseynzadeh, who fought the Nazi forces in the present-day Italy and Slovenia, hence the film's name On distant shores referring to the Adriatic Sea.
9.0The film is about famous Chechen ballet and folk dancer Mahmud Essembayev's life.
0.0Matteo Falcone is an Azerbaijani short drama film based on Prosper Merimée's like-named story from 1829. Matteo Falcone is a successful Corsican, who lives with his wife Giuseppa and 10-year-old son Fortunato. One day he leaves home with Giuseppa, leaving Fortunato alone.
6.2Popularly known by the name of the main character, "Mashadi Ibad" was based on a musical comedy by composer Uzeyir Hajibeyov and written in the early 1900s. The story is based on the age old-theme of a beautiful young woman Gulnaz who falls in love with a young man Sarvar but is obliged to marry someone else.
4.1Adaptation of John Gay's 18th century opera, featuring Laurence Olivier as MacHeath and Hugh Griffith as the Beggar.
8.0Ring 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.
0.0France, 1792. Chenier is an idealistic poet, in love with the aristocratic Maddalena. While Chenier supports such notions as "liberte, fraternite egalite," his sympathies do not extend to the current Reign of Terror. Likewise, the Revolutionary Tribunal has no need for poets or their girlfriends, especially those judged to be an Enemy of the State. Heads will roll.
5.9Visionary artist Matthew Barney returns to cinema with this 3-part epic, a radical reinvention of Norman Mailer’s novel Ancient Evenings. In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.
4.4A womanizing opera star is smitten by a young music student.
0.0Based on Ruggero Leoncavallo's opera Pagliacci. The film recounts the tragedy of Canio, the lead clown (or pagliaccio in Italian) in a commedia dell'arte troupe, his wife Nedda, and her lover, Silvio. When Nedda spurns the advances of Tonio, another player in the troupe, he tells Canio about Nedda's betrayal. In a jealous rage Canio murders both Nedda and Silvio. The only actor in the cast who also sang his role was the celebrated Italian baritone, Tito Gobbi, but the film is largely very faithful to its source material, presenting the opera nearly complete.
0.0Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.
6.8The investigator Seyfi Ganiyev runs the case of an illegal mercery shop's head Murad Abiyev, who confessed in embezzlement of one million rubles from public funds. Abiyev is also accused of the murder of an underage girls that occurred in Riga shortly after Abiyev saw her. He denies his guilt, but does not name the perpetrators though he knows them, despite the fact that he is facing the death penalty. The investigator understands that some high-ranking officials stand behind Abiyev, but he has no proof. Ganiyev seeks to obtain from the prisoner the whole truth to bring the criminals to justice.
3.0This filmed version of Strauss' shocker features Teresa Stratas as opera's most depraved teenager, and she's as perfect a Salome as one would ever hope to see or hear. Stratas inhabits the role, exploring the character's sensuousness as she vainly woos Jochanaan, her venomous hatred when she's rejected, the crazed look in her eyes when she demands his head--on a silver platter, no less. Such complete identification with a role, especially of a character so malignant helps make this 1974 Salome stand out among the many fine DVDs of the opera.
8.0A lonely mother and her son go to the opera where a performance of Cherubini’s opera Medea is given. It is the mother’s birthday and she wanted to surprise her son by inviting him to the opera. But, the son’s plan were different and he is quite upset about it. His mother tries to break the silent barrier behind which he hides. A semblance of discussion begins, not without humour. Tension is present but, as the performance goes on, both find themselves astounded, captured, alone in the opera house.
5.2An aggressive agent turns a hotel porter into an overnight sensation.
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.