Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.
Maddalena di Coigny
Roucher
Bersi
Contessa di Coigny
Madelon
Schmidt
Pietro Fléville
Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.
1981-12-31
7
This set has Edita Gruberova singing in top form, all her scooping cast aside, which one finds in abundance in her Lucia under Richard Bonynge. Here, however, she makes ravishing use of those bits of tone that only she can produce: those instances of coloratura and dramatic legato with little asides and small florishes of style that suggest her intelligent approach and her high degree of musical involvement in this role. She does this in her I Puritani and her Anna Bolena, less so in Roberto Deveraux and Maria Stuarda(both sets). Listen to Addio del passato and the Sempre Libra...ravishing, yes, but there are again those nuances learned from Callas that she makes her own. A very singualr perform,ance, and extremely moving with its detail and cry for pity throughout..from the start even. Neil Schicoff is excellent, not an unworthy Alfredo at all! His is a great lyric tenor voice that should have been in the top line.
Radiation oncologist and choreographer Dr. Niraj Mehta seeks to heal cancer through movement.
An experiment in pure design by film artists Norman McLaren and Evelyn Lambart. Lines, ruled directly on film, move with precision and grace against a background of changing colors, in response to music specially composed for the films.
A group of people is having a barbecue party when two Krishnas appear at their doorstep, both of which transform into hideous monsters and start killing everybody in gory ways. The survivors retreat to a friend's house and realize something bigger is going on...
An unexpected visit from an old friend and a protracted tea party disrupt the amateur musician's plans to take his life.
Following the recent release of Rude Bastard, the King Of R Rated Comedy is set to release his new DVD Get Rude On. Featuring hilarious routines that the fans will love, Get Rude On is an R 18+ rated DVD release!
Take a wonder-filled journey through the pages of scripture. Share the joy and wonder of God's Word with the children in your life. Fifty-two essential lessons of scripture starring the Bible's best-known characters. The Read And Share® Bible on DVD combines an enchanting art style with a warm narrator and gentle musical underscore to transport kids back to Biblical times. The bite-size vignettes are perfect for the attention span of little ones, and give parents maximum flexibility to fit any time-frame. Stories include... Creation, Adam & Eve, Noah, Moses, David & Goliath, Elijah, Jesus Birth, Parables, Resurrection, Paul's Travels, Heaven, plus many, many more!
In a small Gallic village, tourists are regaled by street entertainers and brash prostitutes. One of the tourists, a black girl named Bessie, falls in love with local villager Bob, and he with her. Soon racial tensions erupt volcanically among tourists and townsfolk alike. All is forgiven when the respective parents of the hero and heroine save the village's water supply.
At the age of 93, shortly before her death, Anésia Pinheiro Machado takes the viewer on a journey through the 20th century, showing how she fell in love with aviation and the difficulties she had to manage to infiltrate a newborn environment and until then dominated by men. Anésia, in the interviews recorded for the film, recounts her experiences as one of the pioneers in aviation.
Having lost her parents during the war, Galya was brought up in an orphanage. When the grandfather was rehabilitated, they began to live together. Galya often called Alyosha to repair the phone. After walking around Moscow at night, they realized that they loved each other. Once, after another call, Aleksei was slandered. The boss, not wanting to delve into the essence of the client's complaint, invited Aleksei to apologize. The guy refused — and he was fired from his job. Friends helped him find another job, but he could not convince Galya that he was right. The girl reproached him for cowardice — and the heroes quarrelled...
After 30 years exploring a variety of styles, Al Di Meola still ranks among the most popular guitar-masters of jazz and jazz-rock. Here, on his first electric DVD filmed in Leverkusen in Nov. 2006, Di Meola rediscovers his love of the electric guitar without denying newer influences.
Tonho Tiê really likes living free, playing capoeira and drinking. During Carnival he meets beautiful Zulmira; they pledge love and projects for many children. But time passes and Tonho returns to being the womanizer he had always been. Zulmira, daughter of Iansã, cannot stand Tonho's brazenness, and asks her saint-mother to wash her honor with blood.
Simultaneously filmed English language version of a period operetta, in which a Polish noblewoman is romantically linked with a revolutionary student activist.
Tan Dun portrays the Venetian explorer's travels to the Far East as a journey of both inner and physical discovery, a voyage depicting spiritual experiences as well as a geographical expedition. Pierre Audi's mythical staging and Jean Kalman's fabulous set design complement the composer's own musical direction, forging the dazzlingly versatile soloists, the Netherlands Chamber Orchestra and Cappella Amsterdam to a stunning symbiosis of elements across time and space, a true testimony to cultures intertwined in globalization.
Rufus Wainwright's original opera finds Emperor Hadrian devastated after his lover Antinous drowns in the Nile River. While matters of state encroach on his grief, and advisors clamour for war against a radical new threat to the Empire, Hadrian slips out of time to re-encounter the vision and reality of Antinous—and learn the truth about what happened on the Nile.
Recorded at the Vienna State Opera house in 1989, this staging of Richard Strauss and Hugo von Hofmannsthal’s Elektra is one of the glories of live opera on film, deserving of eternal availability. The DVD picture has great clarity, despite the darkness of Hans Schavernoch’s set design. Other than the cliché of a huge statue head, toppled on its side, the set manages to be suitably representative of a decaying palace as well as an imposing, theatrical space, dominated by the mammoth body of the statue from which the head apparently dropped, draped with the ropes that seem to have enabled the decapitation. Sooner or later most of the characters cling to and twist around those ropes, an apt stage metaphor for the remorseless repercussions from the murder of Agammenon by his unfaithful wife Klytämnestra and her paramour, Aegisthus. Reinhard Heinrich’s costumes capture a distant era while sustaining a creepily modern look — part Goth, part homeless, part Spa-wear.
Nancy Shade is persuasive as the awkward adolescent Marie, whose naiveté leads relentlessly to her downfall. Michael Ebbecke is sympathetic as Stolzius, her jilted lover and avenger, while William Cochran is properly brutish as Desportes, the officer who initiates her spiral of decline. Bernhard Kontarsky gets a dedicated response from his Stuttgart Opera forces, who perform with belief in this often excessive but always engrossing work. Recorded at the Staatsoper Stuttgart, 1989.
Christian Thielemann conducts the Staatskapelle Dresden in this performance of Wagner's opera recorded live in 2013. The performance was held for the Salzburg Easter Festival and featured vocalists including Johan Botha, Michaela Schuster, Stephen Milling and Wolfgang Koch.
Christian Thielemann conducts this Staatskapelle Dresden production of Richard Strauss' chamber opera. The opera follows events at the home of the wealthiest man in Vienna, who has booked both a comedy burlesque act and a serious opera group for entertainment. When the dinner runs long he declares that both forms of entertainment must take place at the same time - much to the chagrin of the opera's proud young composer. Filmed live in Baden-Baden on Feb. 25 by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne.
The Bayreuth Festival mounted this 2009 production of Richard Wagner's 1865 opera Tristan und Isolde, with Michael Beyer directing. It stars Robert Dean Smith as Tristan, Iréne Theorin as Isolde, Michelle Breedt as Brangäne and Robert Holl as King Marke. The Bayreuth Festival Orchestra and Chorus lend musical accompaniment, under the baton of Peter Schneider, while Anna Viebrock designed the costumes and the sets; Cristoph Marthaler produced. The production at hand opened the 2009 Bayreuth Festival.
This staging of Harrison Birtwistle's opera The Minotaur features John Tomlinson, Johann Reuter, Christine Rice, and Andrew Watts in the main roles. Stephen Langridge directed the production for the stage, and Antonio Pappano conducted the orchestra.
This performance of the Richard Wagner opera Logengrin was filmed in high definition for the Bayreuth Festival in 2011, and features vocalists like Georg Zeppenfeld, Klaus Florian Vogt, and Anette Dasch in the leading roles.
This performance of the Richard Strauss opera Frau ohne Schatten, recorded live and in high definition, features vocalists like Stephen Gould, Anne Schwanewilms, Michaela Schuster, and Wolfgang Koch in the leading roles.
Wagner's erotic opera in a production by the German Opera of Berlin under the direction of Gotz Friedrich, with music conducted by Jiri Kout. Recorded at the Deutsche Oper Berlin.
The Bayreuth Festival Opera House mounted this production of Richard Wagner's 1865 opera Tristan und Isolde as part of the Bayreuther Festspiele. Staged by Heiner Müller, it stars Siegfried Jerusalem, Waltraud Meier, Poul Elming and Uta Priew, and features musical accompaniment by The Orchestra and Chorus of the Bayreuther Festspiele.
The 1791 La Clemenza di Tito (or 'The Clemency of Titus') marked Wolfgang Amadeus Mozart's final opera seria. With a libretto by Metastasio (edited slightly by Caterino Mazzolà), the work dramatizes the palace intrigues surrounding emperor Titus's attempts to coronate a new bride and the envious Vitellia's attempts to have Titus assassinated (with the help of Titus's friend Sextus) following the deposition of Vitellia's emperor father. Stage director Martin Kušej mounted Tito in August 2003, at the Felsenreitschule in Salzburg; a film of that live performance now appears in this home video release. The cast includes Michael Schade as Titus, Vesselina Kasarova as Sextus and Dorothea Roschmann as Vitellia. The Wiener Staatsopernchor, under the baton of Nikolaus Harnoncourt, provides musical accompaniment; Jens Kilian designed the sets.
The eighteenth century German composer Christoph Willibald Gluck strove for the ideal of pairing poetry - in its purest form - with operatic score, an end he came closest to achieving with his 1779 opera Iphigeneia in Tauris (Iphigénie en Tauride). The story recounts the nearly fatal brother-sister relationship, its ultimate reconciliation, and the eventual Scythian-Greek truce as achieved by the intervening hand of the goddess Diana. The home video release Iphigenie en Tauride contains a film of a live performance of the work, as mounted by the Opernhaus Zurich in 2001. Claus Guth directs for the stage, with a cast that includes Juliette Galstian as Iphigenia, Rodney Gilfry as Orestes and Martina Janková as Diana. The Zurich Opera's Orchestra La Scintilla and the Chorus of the Opernhaus Zurich provide musical accompaniment.
Claudio Monteverdi's operatic adaptation of this story from Homer's The Odyssey receives a modern and distinctive staging in this 2002 production directed by Humphrey Burton for Les Arts Florissants. Penelope Marijana Mijanovic is left to her own devices when her husband, the heroic Ulysses Kresimir Spicer, goes off to fight in the Trojan Wars. After many years alone, Penelope finds herself attracting a number of suitors who wish to claim her hand; however, what she doesn't realize is that jealous Ulysses has his ways of keeping an eye on her. Production of the Festival d'Aix-en-Provence; from the Theatre du Jeu de Paume.