Pelléas
Mélisande
Golaud
Yniold
Doctor
Drama lyrique in five acts, after the play by Maruice Maeterlink
2012-01-01
8
Gustav Mahler's fourth symphony and Pelleas et Melisande by Arnold Schoenberg performed by the Gustav Mahler Jugendorchester, conducted by Claudio Abbado. Soprano Juliane Banse is featured on the Mahler symphony
A bedtime story leads Littlefoot and his grandparents on a journey to a new land, where Littlefoot discovers someone who vanished before he was born: his father! Now Littlefoot must decide between two worlds. Will he leave to be with his friends in the Great Valley, or stay behind and start a new life with his father?
Before he died, Dar's father gave a mysterious amulet to Tal, Dar's younger brother who is now king. Dar, while wandering with his animal companions, chances to meet and rescue a family who seek the help of King Tal against Lord Agon, a sorcerer who has conquered their land. Dar obtains an audience for them with Tal, who rallies his troops to march against Agon in the morning. Alas, the young king is captured by Agon's crimson warriors during the night.
When the dinosaur families get trapped in a valley by an ice storm, one family of "spike tail" dinosaurs volunteers to leave since they consume more food than the others. Meanwhile, the young dinos and a new adult dinosaur named Mr. Thicknose, head out to bring back their friend Spike, who has left his friends to be with members of his own species.
With school out for the summer, The Littles are vacationing in a cabin by the lake, and Stuart is so excited he could burst! But when Snowbell the cat is captured by a mean-spirited creature known simply as the Beast, it's up to Stuart and a skunk named Reeko to rescue him and a few other friends.
A serial killer and the detective who tracked him down find themselves in an unexpected stalemate.
There are eight episodes in stories full of adventure and play in the neighborhood of Limoeiro, with a new car ride, lost treasure, art exhibition in the square, puppet theater, an unexpected escape from Cascão (again?), Characters Saltimbancos and a lot more.
The back-in-time misadventures of Walter and Ascanio are not finished. The defective time-travel machine will bring them from prehistory all the way to outer space, in a funny, light-hearted trip across the time.
Full performance of the now classic Magma trilogy recorded live at the famous Triton at Les Lilas in November 2014
The men of a fishing village rescue a young men from a burning ship. He is the sole survivor. Having lost his memory, he stays in the village, and he is especially helped by a young woman, Annaick, who starts to fall in love with him.
Scooby-Doo and friends are off on another adventure in this collection of 3 episodes from the various eras of Scooby-Doo TV shows.
The second adventure of Alice who steps through the looking glass and finds herself in a wonderful mirror land populated by chess figures and weird creatures.
Eagle Chief Yoh Xi-hung raises orphans to be his personal killers. One such is Chik Ming-sing who now wants to put his killer life behind him. When the Eagle Clan come after him, a stranger called Cheuk comes to his assistance It turns out that Cheuk is the son of a family who were robbed and murdered by the Eagles. Now they will team up to destroy the evil clan.
Although awkward college student Todd Howard is particularly adept at science, he's paying for school with an athletic scholarship that he will lose should he not fare well in an upcoming boxing tournament. Luckily for Todd, he has inherited the same family curse that once turned his cousin into a werewolf. As he transforms into the hairy, fanged, howling monster, he finds both his physical agility and his popularity skyrocketing -- but at what cost?
Scooby-Doo and the gang investigates a new ghost at a water park resort.
Work-from-home has led to a daily cage match with Coba's family. When he inadvertently learns his mother's homemade chilli sauce is a hit with his co-workers, he convinces his family to turn the chilli sauce into an online business.
Join Shrek and his friends from Far Far Away as they share tales of holiday cheer, spooky stories, a singing showdown and a night of babysitting nobody will soon forget.
A penniless poet, a young seamstress, and a lost key: Puccinis passionate opera tells the story of a captivating romance set against the background of 19th-century Paris. The luscious score, with its soaring melodies and rich orchestration, brings to life the relationships between Rodolfo, Mimì and their friends, the painter Marcello and fiery Musetta. Acclaimed director Richard Jones stages a fresh and intelligent new production of one of the worlds most popular operas, conducted by The Royal Operas Music Director, Antonio Pappano.
For those with any interest in Vivaldi's operas Orlando Furioso is essential viewing, being a 1989 San Francisco Opera revival by Pier Luigi Pizzi of his own 1979 production which was largely responsible for beginning modern interest in Vivaldi's stage work. The composer first premiered Orlando finto pazzo in 1714, but the Orlando Furioso finalised in 1727 was so heavily reworked as to be virtually an entirely new opera, and so successful Handel set the same epic poem by Aristo under the title Alcina in 1735.
Manon Lescaut's production was updated and it worked. Highly professional production with two of the best performances I've ever witnessed in any opera. By the end of the third act I was crying and by the end of the fourth act I could not stop the tears. These two can not only sing up a storm they act one as well. This is the best Manon Lescaut I've ever seen and hope the upcoming one at the Met is as good. It truly was thrilling. Kaufmann and Opolais were unbelievably fantastic and the orchestra was superb. Pappano is the kind of maestro you want to sing for as he coaches as in the old days of maestros like Levine, etc. This is highly recommended as a keeper!
For the launch of its DVD collection, Alpha is joining forces with Christophe Roussets Les Talens Lyriques in Rameaus opera-ballet Les Indes galantes, his most famous work, here performed in its 1750 Toulouse version. Particularly rich both on the musical level and in atmosphere, scrutinizing love in far-off lands (Turkey, Peru, Persia and America), it responds to the infatuation with exoticism that tinged all the arts of the century. Rameaus dance music is always quite suggestive, evocative of a movement or a pictorial atmosphere. As for the staging, Laura Scozzi brings her contemporary vision to these countries and travels. Filmed at the Bordeaux National Opera, this production marked the Rameau celebrations in 2014 and was unanimously hailed by the international press
A Scottish lighthouse goes dark. A visiting supply ship finds the building in order. But the keepers have vanished without trace.
Audiences went wild for Bartlett Sher’s dynamic production, which found fresh and surprising ways to bring Rossini’s effervescent comedy closer to them than ever before. The stellar cast leapt to the challenge with irresistible energy and bravura vocalism. Juan Diego Flórez is Count Almaviva, who fires off showstopping coloratura as he woos Joyce DiDonato’s spirited Rosina—with assistance from Peter Mattei as the one and only Figaro, Seville’s beloved barber and man-about-town.
It is a rare opera indeed that calls for one soprano diva and no fewer than six tenors. Mary Zimmerman’s fanciful production of Rossini’s drama, designed by Richard Hudson and with choreography by Graciela Daniele, provides the perfect setting for superstar Renée Fleming’s captivating performance of the title role. A beautiful but evil sorceress in the times of the Crusades, Armida sets out to regain the love of the Frankish knight Rinaldo (Lawrence Brownlee) by putting her magical spells on him. She at first succeeds to draw him into her web of sorcery, but ultimately divine intervention—and his fellow soldiers—free Rinaldo from his enchantment—much to the vengeful fury of Armida and her demons.
Envy and conspiracy, but also passionate loves, jealousy, revenge and final forgiveness come together in the masterpiece of Verdi, which aroused the anger and prohibitions of censors of the time until the composer and librettist was compelled to make changes in it: from the original Sweden to far away Boston. The great Polish tenor Piotr Beczala returns to the Liceu with one of his opening credits, accompanied by the soprano Keri Alkema. Vincent Boussard’s sets reinforce the dark and mysterious atmosphere surrounding the piece, which features costumes by Christian Lacroix and Vincent Lemaire’s sober staging, which allows one to focus their attention on the dramatic core of the score. The cast, directed by a true specialist like Renato Palumbo, also presents a leader in Verdian song: Dolora Zajick.
Zaporozhets za Dunayem (Ukrainian: Запорожець за Дунаєм, translated as A Zaporozhian (Cossack) Beyond the Danube, also referred to as Cossacks in Exile) is a Ukrainian comic opera with spoken dialogue in three acts with music and libretto by the composer Semen Hulak-Artemovsky (1813–1873). The orchestration has subsequently been rewritten by composers such as Reinhold Glière and Heorhiy Maiboroda. This is one of the best-known Ukrainian comic operas depicting national themes.
Adapted from the opera written by the composer Semen Hulak-Artemovsky.
O Die Zee is a modern Dutch retelling Homer's Odyssey in the form of a rock opera. It was performed in the summer of 2014 in the open air of Fort Rammekens, The Netherlands.
It's hard to imagine confirmed Straussians not wanting this starry Metropolitan Opera performance of Elektra. Strauss and his librettist, Hugo von Hofmannstahl, transformed Sophocles' take on Homer's tale into a harrowing opera noir. Elektra lives for one reason, to kill her mother, Klytämnestra, and her stepfather, Aegisth, the murderers of her father, Agamemnon. In contrast to Elektra's vengeful obsession, her sister Chrysothemis desires to get on with life. When their long-missing brother, Orestes, returns to do the deed, Elektra celebrates with a dance of death and, her sole purpose in life fulfilled, dies. Strauss joined the hermetic plot to music of the utmost opulence, violent and yearning by turns, evoking the cardinal principles of Greek tragedy - pity and terror.
An introspective dentist's suspicions about his wife's infidelity stresses his mental well being and family life to the breaking point.
Three arias from Antonín Dvořák´s fairytale opera Rusalka turned in to a movie, sung by Gabriela Beňačková (Rusalka), Libuše Márová (Witch), René Tuček (Hunter).
La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]
Die Walküre (The Valkyrie), WWV 86B, is an opera in three acts by Richard Wagner with a German libretto by the composer. It is the second of the four operas that form Wagner's cycle Der Ring des Nibelungen (The Ring of the Nibelung). The story of the opera is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda.[1][2] In Norse mythology, a valkyrie is one in a group of female figures who decide which soldiers die in battle and which live. Die Walküre's best-known excerpt is the "Ride of the Valkyries". DVD release June 2009.
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.
The opera: Nina, o sia La Pazza Per Amore itself, is an extra-ordinary sad and touching story, and seems very difficult to be performed if the singer has no acting talents. Therefore we adore Cecilia Bartoli for the magnificent performance as the crazy Nina who lost her mind totally. Her magnificent singing, we don't doubt at all, but her acting is amazingly such that it expressed a real situation of a girl becoming crazy and losing her mind caused by painful incidents in her love life. It is also supported by the other singers who are singing matching as perfectly and splendidly as the diva Cecilia Bartoli, especially the baritone Laszlo Polgar with his deep rich voice as the cruel father who has remorse and came back to see his daughter Nina and the young tenor Jonas Kauffmann with his clear light voice, resulting in a surprisingly beautifully performed opera.
This telecast offers a rare opportunity to see the legendary Joan Sutherland in the role that first catapulted her to international stardom. She drove audiences wild by the way her opulent voice caressed the music’s long phrases and sprinted effortlessly through the fiendish runs, trills, embellishments and stratospheric high notes. One of the glories of the operatic world, her portrayal of Donizetti’s hapless heroine is a multifaceted and moving characterization. The incomparable tenor Alfredo Kraus is Edgardo, the man Lucia loves but cannot have. (Performance taped November 13, 1982. Broadcasted September 28, 1983.)