After the destruction of Troy, the Trojan warrior Énée sets out on a journey to found a new dynasty. He meets Didon, Queen of Carthage, and falls in love. But will Énée's love for Didon prove stronger than his sense of duty? LES TROYENS ('The Trojans') is a tour de force of music that ranges from fiery military marches to intense choruses, passionate soliloquies – such as those of the prophetess Cassandre – and the lyrical love duets of Didon and Énée. It is Hector Berlioz's largest work and he wrote the libretto himself, drawing upon his intimate knowledge of Virgil's Aeneid. To the composer's disappointment, LES TROYENS was only performed once in full during his lifetime and was often presented in shortened form during the 20th century. The Royal Opera's production provides a rare chance to see this epic work in its entirety. David McVicar's staging is on an enormous scale, assembling one of the largest casts ever seen at Covent Garden.
Anna
Panthus
Ascanius
Iopas
Hylas
After the destruction of Troy, the Trojan warrior Énée sets out on a journey to found a new dynasty. He meets Didon, Queen of Carthage, and falls in love. But will Énée's love for Didon prove stronger than his sense of duty? LES TROYENS ('The Trojans') is a tour de force of music that ranges from fiery military marches to intense choruses, passionate soliloquies – such as those of the prophetess Cassandre – and the lyrical love duets of Didon and Énée. It is Hector Berlioz's largest work and he wrote the libretto himself, drawing upon his intimate knowledge of Virgil's Aeneid. To the composer's disappointment, LES TROYENS was only performed once in full during his lifetime and was often presented in shortened form during the 20th century. The Royal Opera's production provides a rare chance to see this epic work in its entirety. David McVicar's staging is on an enormous scale, assembling one of the largest casts ever seen at Covent Garden.
2012-06-25
8
The classic songs of legendary jazz composer Duke Ellington come alive on stage in this performance video. Duke Ellington's Sophisticated Ladies documents a performance of the popular Broadway revue, built around more than two dozen great tunes from Ellington's songbook. Hinton Battle, Paula Kelly and Phyllis Hyman headline the cast for this production; songs include "Take The A Train," "Caravan," "Satin Doll," "In a Sentimental Mood," "Mood Indigo," "Don't Get Around Much Anymore," and many more.
The air in London was damp and cold, a stark contrast to the vibrant warmth of Kathmandu that Anmol often dreamed of. It had been five years since he left Nepal for the United Kingdom, chasing the dreams his mother, Susmita, had envisioned for him. She had sacrificed everything-her small savings, her comfort, and her daily joy of having her son by her side-so Anmol could study and build a better life abroad. Anmol was a hard worker, juggling university classes and long hours at Amrish's restaurant. The boss, a shrewd businessman, valued profits over people. Anmol, like the rest of the staff, was little more than a cog in the relentless machinery of the restaurant's success. One evening, after another grueling 12-hour shift, Anmol sat on his small bed in his shared apartment. His phone buzzed. It was his mother. "Anmol, Dashain and Tihar are coming. I've cleaned the house and even set aside some money to buy your favorite sweets.
TAJOMARU is the famous 'bandit' of the forest from RASHOMON. Whoever kills Tajomaru inherits his name, status and sword. A royal brother leaves his kingdom to protect the princess he loves, only to find a series of harrowing adventures along the way which lead him back to where he came from, and then disinheriting his past to become the bandit TAJOMARU.
A group of friends working on an offshore oil rig maintain close bounds and do their best to face the difficulties presented by living and working isolated out in the middle of the sea. A job promotion triggers events that disrupt, in an irreversible way, the group friendship and the protagonist’s own life on land. He is tested by the force of destiny and experiences the drama of an ordinary man facing a gradual process of isolation.
For the first time in decades, Simon and Jonathan can agree: their late father would have hated the farce surrounding his funeral. ”We should have spread his ashes over Gouin Reservoir.” The spur-of-the-moment idea quickly becomes a plan. On impulse, they rent a houseboat and set off with the ashes. The two brothers venture out onto the vastness of the reservoir, foolishly hoping to find the cabin where their father taught them to fish when they were young. But the watery expanse is much larger than they remember, and their relationship has disintegrated more than they thought. Enclosed in a confined space as they pass through dizzying, winding wilderness, Simon and Jonathan have no other choice but to confront what they have become, reconnect with what is hidden in the depths of their souls and reveal their true natures to one another. Originally planned as a memorial, the fishing trip turns into a journey of discovery that will forever change the two brothers.
In order to win $25 million, Daredevil pilots enter the worlds fastest jet race.
Hearts Ann and Nancy Wilson returned to their hometown of Seattle to stage a celebration of the Christmas season, gathering a few of their friends to join them in singing holiday classics, personal favorites and some of their own hits. Special guests Shawn Colvin, Sammy Hagar, Richard Marx and Pat Monahan from Train joined HEART for this once-in-a-lifetime concert, which was taped on Dec. 12 2013 at the beautiful Benaroya Symphony Concert Hall in Seattle. The Wilson sisters performed an array of holiday songs written by Joni Mitchell, Harry Nilsson, Bob Dylan and Hagar in their Christmas set as well as some of HEART s favorite songs. Colvin, Hagar, Marx and Monahan provided additional vocals on the tunes and/or sing duets with Heart.
The entire world praised the military and Aung San Suu Kyi, when power was passed on to the democracy icon after 50 years of military dictatorship. One year later she defended an ethnic cleansing and had isolated herself from the public. This film tells you why.
Gugu is a homosexual dressmaker who works with his mother in her studio. She does everything to get him married and after much insistence, he agrees to marry Sônia, with whom he has a son. One day, couldn't take that dubious situation any longer, he left his wife and moved to Rio de Janeiro, where he set up his own studio, finally living the life he always wanted. After a few years, he receives the news that his wife has passed away and he returns to his homeland, meeting his son Régis, also a homosexual dressmaker. They both move in together but, ashamed of their sexual preference, they hide it from each other. This leads to many humorous situations, as the two are constantly harassed by women from whom they always try to get away.
Known as a creator of astonishing images, stage director and visual artist Robert Wilson delivers a magnificent production of Mozart’s adaption of Handel’s Messias. Mozart was commissioned by Gottfried van Swieten to modernise the score fifty years after Handel’s popular composition (1742), mainly by arranging the wind parts and partially re-composing them. With Marc Minkowski a conductor has been engaged who understands perfectly how to combine baroque style with the tonal possibilities of an orchestra of the classical period like the Musiciens du Louvre. The excellent soloist quartet with Elena Tsallagova, Wiebke Lehmkuhl, Richard Croft and José Coca Loza merges perfectly into Wilson’s enormous flood of images.
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.
Live from Glyndebourne Festival 1995. Yakov Kreizberg conducting the Orchestra of the Age of Enlightenment. Directed for the stage by Deborah Warner.
Live performance at Théâtre de l’Archevêché du Festival d’art lyrique d’Aix-en-Provence 2002. Daniel Harding conducting the Mahler Chamber Orchestra and Choeur de l'Académie Européenne de Musique. Directed for stage by Peter Brook.
This 1991 production by the Lyon National Opera presents a welcome opportunity to revel in a uniquely Gallic confection rarely seen outside France. It's also a chance to enjoy one of Offenbach's most inventive, melodic scores in which the starring musical role and many of the best tunes go to the orchestra, here conducted by Jean-Yves Ossonce. This is no accident: the operetta was originally created for a company of actors who relied on pastiche and the composer's help to get them through their "numbers". Not so these singers, of course. As Metella, the languorous courtesan who is responsible for the unravelling debacle, Helene Delavault is in meltingly good voice for her show-stopping rondeau, "A minuit sonnant commence la fete". Her sparring suitors Gardefeu (Jean-Francois Sivadier) and, particularly, Bobinet (Jacques Verzier) combine marvellous visual comedy with fluid singing and there is some dazzling vocal work from the supporting cast. It's a long piece, but hugely enjoyable.
In October 1733, the audience at the Académie Royale de Musique witnessed the birth of a revolutionary work: Hippolyte et Aricie. With its inventiveness and musical richness, Rameau’s opera marks a break in the history of French music. A similarly revolutionary duo – Jeanne Candel and Raphaël Pichon – get to grips with this work for the Opéra Comique.
Live performance at the Théâtre du Châtelet in December 2004. Marc Minkowski conducting Les Musiciens du Louvre-Grenoble. Stage direction by Laurent Pelly.
Rebellious servants, capricious lovers, cross-dressing farce and a happy ending: the fast paced action of this comic Baroque opera had all the ingredients to please the self-confessed ‘low-brow taste’ of an Austro-German prince, who commissioned Giuseppe Scarlatti for a piece to celebrate his son’s wedding. This is the opera’s first revival in modern times, and it takes place in the very same Baroque theatre, impeccably restored to its original glory, which hosted the first performance. With a cast of young singers drawn from Prague’s National Theatre and a stylish period-instrument ensemble, this vivid reconstruction will delight audiences as much today as it did the aristocratic guests at Český Krumlov in 1768. Filmed in High Definition and recorded in true Surround Sound.
Live performance from Wiener Staatsoper, 2003. Vjekoslav Šutej conducting Chor und Orchester der Wiener Staatsoper. Stage director Günter Krämer.
An American tourist on a day trip to Sussex from London inadvertently finds himself at Glyndebourne Opera House in Sussex where he learns to appreciate Opera.
"Orango" - prologue to an unfinished opera by Dmitri Shostakovich (1906-1975), conducted by Esa-Pekka Salonen, performed by the Finnish Radio Symphony Orchestra and the Mariinsky Theatre Academy. In the 1920s, Soviet biologist Ilya Ivanovich Ivanov carried out a series of experiments to create a human/nonhuman ape hybrid. Three female chimpanzees were inseminated with human sperm. No pregnancy occurred.. In 1929 he organized a set of experiments involving nonhuman ape sperm and human volunteers, but was delayed by the death of his last orangutan.
Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.
Verdi’s grand opera “Aida” is given an intimate treatment in Busetto, Italy, in 2001, in a staging with young singers, all coached by the legendary tenor Carlo Bergonzi and staged by Franco Zeffirelli. The result is an astonishing musical and dramatic piece of theater, proving that with the right mix of ingredients, an opera can be staged in a small theater and still achieve a thrilling and moving effect.
Verdi's opera performed by the Metropolitan Opera Orchestra and Chorus, conducted by James Levine.
Experience Claudio Monteverdi's three-act opera in the environment it was meant to be seen with this release of a filmed performance captured live during a 2000 production staged at the Festival d'Aix-en-Provence in France. Mireille Delunsch, Anne Sofie Von Otter, and Sylvie Brunet star, and conductor Marc Minkowski leads the Les Musiciens du Louvre, Grenoble. Klaus Michael Grüber directs for stage.
Live performance, part of Monteverdi cycle staged by Oper Zürich with Nikolaus Harnoncourt conducting the Zürich Opera House Monteverdi Ensemble. Staged and directed by Jean-Pierre Ponnelle
Live performance, part of Monteverdi cycle staged by Oper Zürich with Nikolaus Harnoncourt conducting the Zürich Opera House Monteverdi Ensemble. Staged and directed by Jean-Pierre Ponnelle