Il Trovatore
Top 8 Billed Cast
Leonora
Azucena
Manrico
Il conte di Luna
Self - Conductor
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The Passion of Scrooge(en)
Is this a film about Scrooge? About a composer’s life? An opera within an opera? The Passion of Scrooge blurs these lines between performance, documentary, and fiction, into a cinematic concert experience that’s seasoned with magical reality. Composer Jon Deak has adapted Charles Dickens’ timeless tale into a contemporary opera that melts the heart, but doesn’t avoid the darkness in Scrooge that’s still resonant with the material concerns of our time. Using neither period costumes, nor set pieces to reconstruct old England, the film invites you to experience A Christmas Carol with the imaginative possibilities of a radio play. And then, to meet those visions in your head, filmmaker H. Paul Moon‘s floating camera intimately captures musicians performing the score as characters themselves, in this ageless haunted redemption story about “us, every one.”
Donizetti - La Favorite(en)
Donizetti's French masterpiece was in the hands of Italian conductor Antonello Allemandi. This maestro, a bel canto specialist, captured the fire and intensity of the passions from the get-go, making the overture a superbly eloquent transition to a musical world based on beautiful lines and colors that elaborate distress and make it compellingly elegant. Allemandi demonstrated a full authority over the stage for the musically complex scenes, and in the arias and duets he demonstrated his confidence in the artistry of distraught singers by establishing ample tempos to support their soaring vocal lines while he concentrated on pulling every possible nuance from the pit players.
Die Walküre(de)
Simon Rattle conducts the Berliner Philharmoniker in Stepháne Braunschweig's production of Richard Wagner's Die Walküre. A Festival d'Aix-en-Provence 2007 production, in coproduction with Osterfestspiele Salzburg. Directed for HDTV and video by Don Kent.
Trouble in Tahiti(en)
Matthew Eberhardt brings 1950s suburbia to life in Leonard Bernstein’s colourful criticism of American consumerism. This performance stars Wallis Giunta, winner of the Young Singer Award at the 2018 International Opera Awards, in the role of Dinah.
Amadeus(en)
Wolfgang Amadeus Mozart is a remarkably talented young Viennese composer who unwittingly finds a fierce rival in the disciplined and determined Antonio Salieri. Resenting Mozart for both his hedonistic lifestyle and his undeniable talent, the highly religious Salieri is gradually consumed by his jealousy and becomes obsessed with Mozart's downfall, leading to a devious scheme that has dire consequences for both men.
The Metropolitan Opera - Puccini: Madama Butterfly(it)
Anthony Minghella’s beautiful, atmospheric production enhances Puccini’s drama of unfortunate, doomed love. Soprano Kristine Opolais brings all of her passionate commitment to her portrayal of Cio-Cio-San, the teenage geisha who gives up everything for Lt. Pinkerton. Roberto Alagna is the American naval officer who does not understand the depth of Cio-Cio-San’s love, and whose subsequent marriage to an American woman precipitates Butterfly’s suicide. Maria Zifchak is Suzuki, Cio-Cio-San’s faithful servant, and Dwayne Croft plays the American consul Sharpless, who tries to avert the tragedy. Karel Mark Chichon conducts.
Theodora(en)
The oratorio concerns the Christian martyr Theodora and her Christian-converted Roman lover, Didymus.
Vanessa - Samuel Barber(en)
This work won Samuel Barber his first Pulitzer Prize for music: the Glyndebourne Festival presents Vanessa, a masterpiece premiered in 1958 based on a libretto by the composer's close friend, Bian Carlo Menotti. Set to one of the most beautiful scores of the 20th Century, Vanessa tells the haunting story of a woman who, once abandoned by her lover Anatol, retreats from the world to await his return, living in isolation with her mother and niece. Two decades later, a man arrives who shatters the delicate balance of their home… Olivier Award-winning stage director Keith Warner is joined by a brilliant cast and the London Philharmonic under Kevin Lin for this musical and dramatic masterpiece of Hitchcockian psychological twists!
Verdi: Aida(it)
With its cast of hundreds, thrilling score, and sweeping tale of love and heroics in ancient Egypt, Verdi’s Aida has long been a fixture on the stages of every major opera house in the world. For the 2018 revival of Sonja Frisell’s monumental production of this grand masterpiece, the Met assembled a truly all-star cast. Soprano Anna Netrebko takes on the title role for the first time at the Met, and mezzo-soprano Anita Rachvelishvili plays her rival, the conniving princess Amneris. Tenor Aleksandrs Antonenko is Radamès, the warrior that both women love, and Quinn Kelsey lends his robust baritone to Aida’s father, the fallen king Amonasro. Maestro Nicola Luisotti is on the podium to conduct this epic performance, filmed as part of the Met’s series of Live in HD cinema transmissions.
The Metropolitan Opera: Saint-Saëns's Samson et Dalila(fr)
A towering biblical epic, Saint-Saëns’s operatic take on the story of Samson and Delilah has many of the hallmarks of grand opera—show-stopping vocal displays, thrilling choruses, and an engrossing plot set against a sweeping, pseudo-historical backdrop. It’s fitting, then, that Samson et Dalila has been chosen to celebrate the opening of the Met’s season four times in the company’s history, including when Darko Tresnjak’s bold new production premiered on the first night of the 2018–19 season. A few weeks later, the opera was shown as part of the Met’s series of live cinema transmissions, featuring an exceptional cast. Tenor Roberto Alagna was the heroic Samson, who ultimately falls victim to the seductive power of Dalila—the captivating mezzo-soprano Elīna Garanča. Bass-baritone Laurent Naouri sang the sinister High Priest of Dagon, with conductor Sir Mark Elder on the podium.
The Metropolitan Opera: La Fanciulla del West(it)
Soprano Eva-Maria Westbroek sings Puccini’s gun-slinging heroine in this romantic epic of the Wild West, with the heralded return of tenor Jonas Kaufmann in the role of the outlaw she loves. Tenor Yusif Eyvazov also sings some performances. Baritone Željko Lučić is the vigilante sheriff Jack Rance, and Marco Armiliato conducts.
Metropolitan Opera Live — Marnie(en)
Composer Nico Muhly unveils his second new opera for the Met with this gripping reimagining of Winston Graham’s novel, set in the 1950s, about a beautiful, mysterious young woman who assumes multiple identities. Director Michael Mayer and his creative team have devised a fast-moving, cinematic world for this exhilarating story of denial and deceit, which also inspired a film by Alfred Hitchcock. Mezzo-soprano Isabel Leonard sings the enigmatic Marnie, and baritone Christopher Maltman is the man who pursues her—with disastrous results. Robert Spano conducts.
The Metropolitan Opera: La Fille du Régiment(fr)
Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.
Poulenc: Dialogues des Carmélites(en)
Yannick Nézet-Séguin leads the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom. Mezzo-soprano Isabel Leonard sings the touching role of Blanche and soprano Karita Mattila, a legend in her own time, returns to the Met as the Prioress.
The Cunning Little Vixen(cs)
In the forest, the animals and insects are playing and dancing. The Forester enters and lies down against a tree for a nap. A curious Vixen Cub inquisitively chases a frog right into the lap of the surprised forester who forcibly takes the vixen home as a pet. Time passes and we see the Vixen, now grown up into a young adult tied up in the forester's yard with the conservative old dachshund. Fed up with life in confinement, the vixen chews through her rope and runs off to freedom.
Attila(it)
Chabrier: The Star(fr)
L’Étoile did much to establish Chabrier as a major force on the Parisian stage and his contemporary Henri Duparc praised him specifically for creating a French comic genre, both funny and musical – described as something of a French Die Meistersinger. The fanciful story is set in an imaginary kingdom and all, naturally, ends well. However, despite the slight plot line L’Étoile is something of a pivotal work, a unique example of French 19th-century light opera, orchestrated with great sophistication and flooded with gossamer wit.
John Adams: Nixon in China(de)
Besides the landing on the moon by the Apollo 11 mission in 1969, Richard Nixon’s meeting with China’s leader Mao Zedong in February 1972 then represented one of the biggest media spectacles in history. Nixon himself established the reference between the two events: “We came in peace for all mankind” not only marked the lunar module Eagle’s landing spot – Nixon also spoke of it into the microphones just before his departure to China. It was not John Adam’s aim to create a superficial or even a caricaturing representation of Nixon’s visit when composing his opera. He attempted to create a “heroic opera” about the construction of modern myths by using archetypical characters and situations. Director Marco Štorman stages Adams’ minimal music opera as a deconstruction review about the power of images, the politics of staging and the staging of politics.
Saul(en)
Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.
Rossini: L'italiana in Algeri(it)
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