Movie: The Turn of the Screw
Top 8 Billed Cast
The Governess
Peter Quint
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Highland Sunset and a final look at Class 37s on the West Highland Line to Fort William before the introduction of Class 66s. Crewe Open Weekend with a tour of Crewe Works during the open weekend of the 20th and 21st of May with a variety of traction plus coverage of specials to the event with 33 and 37 hauage. Class 58 Profile with only half of the original class still in action we take a look at the class from the 1980s to the present day. Devon Contrasts and Class 67 and 47 motive power along the famous stretch of sea wall from Starcross to Dawlish.
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A series of 30 sketches, following the hilarious antics of various characters from a galaxy, far, far away.
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Boundin'(en)
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Open Season 2(en)
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The Blue Umbrella(en)
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Re:Zero - Starting Life in Another World Memory Snow(ja)
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Saw IV(en)
Despite Jigsaw's death, and in order to save the lives of two of his colleagues, Lieutenant Rigg is forced to take part in a new game, which promises to test him to the limit.
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The Marriage of Figaro(it)
This is a good video of "Figaro", but there are a couple of better ones available. The Bohm and the Pappano are better still due to the female members of the casts. The reason for buying this one is the "Figaro", Bryn Terfel. No one can top him today in that role. John Eliot Gardiner also stands out. Many of us have voiced their opinion that If the Metropolitan Opera would release it's 1998 version, that would be the one to get.
Puccini: Manon Lescaut(it)
All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.
Maria Callas Sings Tosca, Act II(en)
At the beginning of 1964, the music world experiences something completely unexpected. Maria Callas returns to the opera stage as the prima donna. Her “Tosca” at the Royal Opera House becomes a sensation. Maria Callas wants to show everyone once again that she deserves the title of “prima donna assoluta.” On the condition that star director Franco Zeffirelli take over the direction, the exceptional singer agrees to sing the role of Tosca. The BBC recorded the 2nd act of the opera for television. It is one of the most dramatic acts in opera history: in order to free the painter Cavaradossi from the hands of torturers, Tosca ends up murdering the police chief Scarpia. The film footage is one of the rare opportunities to see Maria Callas in an opera performance and to experience her highly emotional performance art and vocal abilities...
La Traviata(en)
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]
Così fan tutte(it)
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”.
Rossini: Il Barbiere di Siviglia (Théâtre des Champs-Élysées, 2017)(en)
This is Laurent Pelly’s Théâtre des Champs-Élysées staging of Rossini’s Il barbiere di Siviglia, with a cast featuring Florian Sempey as Figaro, Catherine Trottmann as Rosina, and Michele Angelini as Il Conte Almaviva. Jérémie Rhorer conducts Le Cercle de l-Harmonie.
Der Freischütz(de)
Weber was at the forefront of the rise of German Romantic opera and sought to dethrone Rossini from his position as the leading operatic composer in Europe. In his breakthrough and most popular opera Der Freischütz (The Marksman) composed in 1821, he succeeded in his aim of establishing a truly German form. Turning to the folklore and folk songs of his native land he took a story of a marksman who makes a pact with the Devil, vesting it with powerful intensity not least in the famous Wolfs Glen scene and an astonishing control of orchestral color and atmosphere.
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The Metropolitan Opera: Cavalleria Rusticana & Pagliacci(it)
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Verdi: Macbeth(it)
Star soprano Anna Netrebko created a sensation in her first Met performances as the malevolent Lady Macbeth, the central character in Verdi’s retelling of Shakespeare’s tragedy. She is joined by Željko Lucic, who brings dramatic intensity and vocal authority to the title role of the honest general driven to murder and deceit by his ambitious wife. René Pape is Banquo, Joseph Calleja is Macduff, and Principal Conductor Fabio Luisi presides over Adrian Noble’s atmospheric production.
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The life and work of stage designer ADOLPHE APPIA, originator of the most profound agitations in contemporary theatre. Through the dynamic alternation of animated drawings and choreographies specially conceived for the film, we discover the steps of his artistic evolution.
Tchaikovsky: The Enchantress(en)
Originally set in the 15th c century, Tchaikovsky's "The Enchantress" is updated to the present day in this innovative production. The charismatic, emancipated Nastasya, who rejects the advances of the devious Mamïrov, duly faces the implacable forces of traditional values in a society riven by divisions between liberal freedoms and religious orthodoxies. The tragic outcome engulfs everyone...
Strangler vs Strangler(sh)
When it comes to crime, Belgrade is same as any other modern metropolis, except for having its own serial killers. That blank is filled when a flower salesman begins strangling women. A popular, but very disturbed rock star soon becomes telepathically connected with the killer.
L'Enfant et les Sortilèges(fr)
The 1987 Glyndebourne production of Ravel's L'enfant et les sortilèges, designed by Maurice Sendak and directed by Frank Corsaro.
Pavarotti, Birth of a Pop Star(fr)
Although he is unanimously credited with having democratised opera, making it accessible to the greatest number, focus is rarely put on the strategy he devised and implemented in order to carry out his actions, nor what his actions reveal of the man and artist, and of the resulting metamorphosis from opera singer to pop artist. Through this angle, this film sets out to pay tribute to the man who summed up his credo, obsession and life’s work, in the following way: “They led the public to believe that classical music belonged to a restricted elite. I was the way to prove to the world that was wrong.
Giuseppe Verdi: Macbeth(en)
The acclaimed Italian director, Emma Dante, presents a powerful, barbaric and at time frenzied Macbeth with great attention to detail. Staged and filmed in Italy's largest theatre, the Teatro Massimo in Palermo, Sicily, this production captures remarkable performances by the Italian soprano Anna Pirozzi as Lady Macbeth, the renowned Verdi specialist, baritone Roberto Frontali, in one of his signature roles, and the rising star, Croatian bass-baritone Marko Mimica as Banco (Banquo). The conductor, Gabriele Ferro, has opted to use the 1865 Paris version of the score, sung in Italian and without the ballets, for a production that received generous praise in Palermo and on tour.