La Gioconda - Opera Bruxelles(2019)

Salzburg 20/21: Beethoven - Fidelio(en)

Nikolaus Harnoncourt is the conductor in this 2004 production of Beethoven's only opera staged at the Zurich Opera House. Finnish soprano Camilla Nyland takes the title role, with performances by Jonas Kaufmann, Laszlo Polgar and Alfred Muff.

Wagner: Tristan und Isolde(de)

Glyndebourne's celebrated production of Nikolaus Lehnhoff's Tristan und Isolde is a supremely intelligent achievement; gravely beautiful, haunting and meditative, it is deeply reflective rather than visceral, fortified by Roland Aeschlimann's stunningly effective set, a womb-like space through which the protagonists move like gods. Conductor Jiří Bělohlávek mirrors Lehnhoff's approach in his sophisticated plumbing of the score's depths, with every shift in texture carefully laid bare by an inspired London Philharmonic Orchestra. Nina Stemme's Isolde and Robert Gambill's Tristan, both gloriously lyrical, are matched by superb performances from René Pape as the betrayed and vulnerable King Marke and Bo Skovhus as Kurwenal, deeply touching in his helpless devotion to Tristan. This High Definition recording of a production of uncommon intimacy reveals the opera's music and drama in a new light.

Parsifal(en)

Wagner’s mystic masterpiece Parsifal at the Staatsoper Berlin, staged by Dmitri Tcherniakov and conducted by Daniel Barenboim. Wagner’s last opera, Parsifal is a medieval epic story marked by Christian, Buddhist and esoteric references. It is about redemption and renewal, but this new production by Russian director Dmitri Tcherniakov adds a jarring note : revenge. This “Festival Play for the Consecration of the Stage” is similar to a Medieval epic, a blend of metaphysical dreams and esoteric battles with constant spiritual references. This new production is directed by Dmitri Tcherniakov, conducted by Daniel Barenboim and sung by an international cast of excellent singers: Andreas Schager, Anja Kampe, Wolfgang Koch, René Pape, Tomas Tómasson and Matthias Hölle.

Puccini: La Bohème(it)

Puccini’s evergreen paean to young love and the bohemian life has captivated generations of Met-goers through Franco Zeffirelli’s iconic production. Movie theater audiences for the high-definition transmission of this staging got to see it with fresh eyes in a touching performance starring Angela Gheorghiu and Ramón Vargas as the frail seamstress and her poetic lover.

Brokeback Mountain(en)

A tragic and secretive romance ensues over many years after two men meet while herding sheep on Brokeback Mountain in this opera based on Annie Proulx's short story and its subsequent Oscar-winning film adaptation.

Royal Opera House: The Magic Flute(de)

Prince Tamino promises the Queen of the Night that he will rescue her daughter Pamina from the enchanter Sarastro. He begins his quest, accompanied by the bird-catcher Papageno – but all is not as it seems… Tamino and Papageno discover Sarastro is a wise and kind leader. They undergo three ordeals. By the end they are united with their true loves: Tamino with Pamina, and Papageno with his Papagena.

The ROH Live: Rigoletto(en)

Rigoletto, court jester to the libertine Duke of Mantua, is cursed by the father of one of the Duke’s victims for his irreverent laughter. When the Duke seduces Rigoletto’s daughter Gilda, it seems the curse is taking effect… Rigoletto arranges to have the Duke assassinated. But Gilda still loves the womanizing Duke and sacrifices herself in his place. Rigoletto eagerly uncovers the corpse only to find instead his fatally wounded daughter, who dies in his arms.

The ROH Live: Tosca(en)

The painter Mario Cavaradossi helps a fugitive escape – and so attracts the attention of Scarpia, the sadistic Chief of Police. Scarpia captures Cavaradossi and has him tortured within earshot of his lover, the singer Tosca. Scarpia sentences Cavaradossi to death – but promises Tosca that her lover can be saved if she gives herself to Scarpia. Tosca consents but as soon as the order has been given kills Scarpia. Scarpia’s menace continues even in death: betrayed by a double-cross, Cavaradossi dies and Tosca leaps to her death.

Mozart: The Magic Flute(en)

Since it's premiere in a tiny suburban theatre in Vienna, Die Zauberflote has delighted audiences young and old for over 200 years. Mozart's Singspiel seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Emanuel Schikaneder's original production was theatrically inventive, and this new interpretation from director Simon McBurney emulates that in fresh and current terms. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflote a refreshing new treatment that is both thrilling and simple in it's approach. Following an overwhelming success on stage, McBurney's unique production received five-star reviews in the Dutch press: 'a feast for the eyes and the ears' (Het Parool) and 'Delicious!' (Trouw).

Richard Wagner: Parsifal(de)

The Met production easily has the most beautiful staging, designed by Otto Schenck, who also produced the fabulous set for the Met's previous Ring cycle. Kurt Moll is a wonderful Gurnemanz, but compared to his studio recording under Karajan a decade earlier it has lost some of its original velvety body and luster. As Parsifal, Jerusalem is starting to show some wear and tear on his voice at the Met in 1992 as opposed to his prime form at Bayreuth in 1981, but is still quite good; only Placido Domingo could compete with him in the role at that time.

Rossini: Il Barbiere di Siviglia(it)

Part of the celebrations for the 150th anniversary of the death of the Pesaro composer, Il Barbiere di Siviglia staged in Lugano, is the result of a virtuous collaboration that involved Swiss Radio and Television, LuganoInScena and LuganoMusica. The musical part was entrusted to Maestro Diego Fasolis who, together with his Barocchisti ensemble, was involved in the project from the very beginning. Internationally renowned soloists such as Edgardo Rocha (who embodies the Count of Almaviva), Riccardo Novaro (Bartolo), Lucia Cirillo (Rosina), Giorgio Caoduro (Figaro), Ugo Guagliardo (Basilio) and Alessandra Palomba (Berta) performed on stage.

Donizetti: Lucia di Lammermoor(it)

Lucia di Lammermoor, dramma tragico in three acts by Gaetano Donizetti (1797 - 1848). Libretto by Salvadore Cammarano, after Walter Scott's 'The Bride of Lammermoor'. First performance in Naples, Teatro San Carlo, 26 September 1835 Recording: December 23 2015 - Gran Teatre del Liceu | Barcelona Director: Fabrice Castanier Conductor: Marco Armiliato Orchestra & Chorus of the Gran Teatre del Liceu

Strauss: Elektra(en)

The great singing actress Nina Stemme gives a heart-wrenching performance in the title role of Strauss’s blazing one-act drama, adapted from the ancient Greek myth. Patrice Chéreau’s acclaimed production—the last staging he worked on before his death in 2013—also stars Waltraud Meier as Klytämnestra, Elektra’s nightmare-haunted mother, Adrianne Pieczonka as Chrysothemis, her sister, and Eric Owens as Orest, their brother, whose return home brings their family story to a terrifying climax. Esa-Pekka Salonen conducts the monumental and highly influential score.

Don Giovanni(it)

This production was originally staged for the Pepsico Summerfare Festival, The International Performing Arts Festival of the State University of New York at Purchase. Leaving the lyrics in their original Italian, acclaimed American director Peter Sellars transports Wolfgang Amadeus Mozart's "Don Giovanni" to a modern-day metropolis, nestling the opera's beloved characters among the brownstones of New York City's Harlem. Sellars's contemporary retelling of a classic musical tale is one of three performances in a Mozart series that also includes "Le Nozze di Figaro" and "'Così Fan Tutte."

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Richard Wagner - Lohengrin(de)

A dream came true at Dresden's Semperoper in May 2016 when opera superstars Piotr Beczala and Anna Netrebko made their Wagner debuts as Lohengrin and Elsa, inspired to take on their new roles by Christian Thielmann, the Dresden Staatskapelle's principal conductor and one of the leading Wagner conductors of our day. Die Welt described the performance captured here as "musically one of the finest Lohengrins of all time". Contributing to the triumph are Evelyn Herlitzius's Ortrud. Tomasz Konieczny's Telramund, Georg Zeppenfeld's King Henry and the Dresden State Opera Chorus.

The Metropolitan Opera: Semiramide(en)

Against the backdrop of the Hanging Gardens, Semiramide, Queen of Babylon, defies bad omens and supernatural threats in her quest to find a worthy successor to her late husband. But she harbours more than one dark secret, and whoever gains the throne may find that he has lost more than he has won. Based on a story by Voltaire, this rarely performed tragic opera reveals 'The Barber of Seville' composer Giaochino Rossini in a whole new light. The title role—composed for Rossini’s wife, Isabella Colbran—features some of the most demanding vocal music he ever wrote. Angela Meade takes on the challenging vocal fireworks in this revival of a production last seen at the Met 25 years ago.

Falling for Figaro(en)

A brilliant young fund manager leaves her unfulfilling job and long-term boyfriend to chase her lifelong dream of becoming an opera singer in the Scottish Highlands.

Il Barbiere di Siviglia(it)

Count Almaviva is in love with Rosina. However, she is currently staying with Dr. Bartolo – who desires to marry her. By using a series of disguises, Almaviva manages to pass letters to Rosina and serenade her with his beautiful voice. Dr. Bartolo does his best to stop Almaviva but is constantly thwarted. In the end, Count Almaviva marries Rosina and Dr. Bartolo comes to terms with his defeat.

Carmen(fr)

This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.