‘In reality, this Lohengrin is an entirely new phenomenon for the modern consciousness!’ Richard Wagner himself understood the innovative character of his sixth piece of music theatre, completed in 1848, the year of revolutions. Although it is reckoned among his ‘romantic operas’, his new vision of musical drama is already clearly heralded in this work. In his hands, the mediaeval saga of the Knight of the Swan becomes a meditation on the true love that asks no questions. Alain Altinoglu, our Music Director, who has already conducted this work in Bayreuth, guarantees the quality of the music, while the director Olivier Py, known at La Monnaie for his brilliant productions of Les Huguenots and Hamlet, can be relied on not to downplay Wagner’s revolutionary political side. Wagner’s own opinion was that ‘one can only understand Lohengrin if one can liberate oneself from any modern-looking, generalising form of representation so as to see the phenomena of real life’. A challenge to us all?
Elsa von Brabant
Friedrich von Telramund
Ortrud
Heerrufer
Kraus - Nucci - Serra - Pertusi - Vespasiani ... Chour du Théâtre Regio de Parme Orchestre Symphonique dell'Emilia Romagna "Arturo Toscanini" ANGELO CAMPORI - Parme, 02/1987
Few singers have plumbed the depths of the role of Violetta as did she incomparable soprano Renata Scotto. Her interpretation surprises with fresh insights at every turn, illuminating aspects of the character that are latent in the libretto and the schore but rarely dramatized with such completeness. For example, when Germont meets Violetta, he is immediately struck by her strong bearing ( Quai modi! , he exclaims in an aside).
Verdi - Un ballo in maschera / Domingo · Barstow · Quivar · Jo · Nucci · Rydl · Chaignaud · Wiener Phil. · Solti · Schlesinger · Salzburg Festival 1900
La Traviata was recorded at what was one of Venice's most exquisite 18th-century opera houses, La Fenice, tragically destroyed by fire in 1996, and now rebuilt. This glorious house is where La Traviata was premiered in 1853. In this memorable performance, Slovak soprano Edita Gruberova takes the leading role of Violetta, the tragic heroine, persuaded by Alfredo's father, Giorgio, to sacrifice her happiness with Alfredo for the sake of family honor.
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!
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.
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.
Before the Trojan War, Agamemnon gathered the Greek armies at the port of Aulis. The goddess Diane sent unfavorable winds to prevent the Greeks from sailing. Her oracle set a condition for Agamemnon: to earn the right to sail forth and destroy an innocent country, he would have to sacrifice his own daughter. Agamemnon accepted these terms and killed his young daughter Iphigénie on the altar. In his play Iphigenia in Tauris Euripides imagines that Diane plucked Iphigénie from that altar and delivered her to a temple in distant Tauride, where Iphigénie began to serve the enemy Scythians as Diane’s high priestess—all the while Iphigénie’s family believing her dead.
Franco Corelli is featured in this 1954 filmed version of Leoncavallo's opera, along with Tito Gobbi. The film also features opera arias from "The Rose of Stambul," "Aida," "Cavalleria Rusticana," "Igemisco" and "Il Trovatore." 104 minuts, black & white.
Features: Mario Del Monaco Leyla Gencer Ettore Bastianini Fedora Barbieri Laura Londi Plinio Clabassi Orchestra Sinfonica e Coro di Milano dell RAI Radiotelevisione Italiana
This version of "The Nutcracker" gives the classic ballet a tragic spin, with Masha (instead of Clara) now the unloved, unappreciated daughter of the Town Council President. At a Christmas party, Masha is given a seemingly alive Nutcracker by her Uncle Drosselmeyer, and Masha instantly is enchanted with it. The toys come to life at midnight, and after Masha helps the Nutcracker defeat attacking mice, he takes her to his kingdom, where he is later revealed to be a handsome Prince. The Prince and Masha fall deeply in love, but their "happy ending" has a morbid twist not found in any other "Nutcracker".
In October 2013, the Mariinsky label releases a DVD & Blu-ray of Strauss most Wagnerian of operas, Die Frau ohne Schatten. Filmed in the historic Mariinsky Theatre in 2011, it stars Russian tenor Avgust Amonov as The Emperor, Mlada Khudoley as The Empress, Olga Savova as The Nurse, and is conducted by Valery Gergiev. The Mariinsky Theatre is one of the few opera houses capable of staging Die Frau ohne Schatten, due to the demanding soloist roles, elaborate sets and large orchestral forces required. This epic production, premiered in 2009, is a collaboration between two British artists, director Jonathan Kent and designer Paul Brown, and has become a regular fixture in the opera company s schedule.
Based on Oscar Wilde's lurid play, it is an intense exploration of the Salome story. Its sumptuous vocal and orchestral writing seethes and pulsates as Strauss conjures up the brutality of Herod's corrupt court. Richard Strausss opera at the Salzburg Festival, staged by Romeo Castellucci at the Felsenreitschule, was nothing short of a sensation. Debuting in the title role, Asmik Grigorian propelled herself to international stardom with her mesmerizing singing and acting abilities. The exceptional soprano recently won the International Opera Award as best singer.
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.