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Richard Strauss: Der Rosenkavalier @ Zurich Opera House
When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.
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Il Trittico – Opéra national de Paris
Three colours, three moods, three registers. And yet Puccini conceived this triptych as a whole from the outset. He interweaves these three one-act operas, from Il tabarro, a drama of passion set on the quays of the Seine in the early 20th century, to Gianni Schicchi, a burlesque farce set in medieval Florence, and Suor Angelica, a mystical tragedy set in a 17th-century convent.
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Passion: Jose and Carmen / Grand Mirage!
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let me come in
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Poulenc's The Human Voice / Bartók's Bluebeard's Castle
Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…
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Benvenuto Cellini
With his affinity for the 16th-century sculptor Benvenuto Cellini's advocacy of artistic and personal freedom, Hector Berlioz went straight for the grand gesture with his first completed opera. Returning to it years after initial production debacles, Berlioz stated that he would 'never again find such verve and Cellinian impetuosity, nor such a variety of ideas.' The plot revolves around Cellini's wooing of Teresa, a match frustrated at every opportunity by his rival, the cowardly Fieramosca. Benvenuto Cellini is a pithy work combining romance, excitement, violence, comedy and spectacle; the perfect stage for Terry Gilliam's stylishly colorful and larger than life directing.
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Napoléon, the Man Who Never Sleeps ~At the End of His Love and Glory~
2014 Takarazuka Revue Star Troupe production. This is the story of a hero, a man who rescued France from the chaos of revolution. His name was Napoléon Bonaparte. Having climbed to unparalleled heights after conquering Europe and becoming the first Emperor in the history of France, what was this hero seeking? Whom did he love? The truth behind this man who led such a turbulent life is about to unfold.
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Asumi Rio Dinner show: Asumic Advance
Asumi Rio second dinner show
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The Mikado
In a small Japanese town, Ko-Ko is appointed to the unenviable position of executioner. Knowing he must successfully perform before the appearance of the Mikado in a month's time, Ko-Ko finds a suitable victim in Nanki-Poo, who is distraught over his unrequited love for the maiden Yum-Yum. Nanki-Poo agrees to sacrifice his life if he is allowed to spend his remaining days with Yum-Yum, who is betrothed to Ko-Ko. Opera Australia production filmed at The Arts Centre Melbourne.
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![Poster for Simon Boccanegra [The Metropolitan Opera]](https://image.tmdb.org/t/p/w300/6orWOKTrvjlRo8RdidaI8AOMzHM.jpg)
Simon Boccanegra [The Metropolitan Opera]
When this sumptuous production by Giancarlo del Monaco opened in 1995, legendary tenor Plácido Domingo gave a riveting performance as the fiery revolutionary Gabriele Adorno, a tenor part. In the 2010 revival, he made history by taking on the baritone title role, one of Verdi’s most fascinating characters, and thrilling audiences with his multifaceted and gripping portrayal. Boccanegra is beset on all sides, juggling political adversaries bent on murder with his love for his long-lost daughter Amelia (Adrianne Pieczonka). James Levine’s conducting brings out all the color and surging emotion of Verdi’s magnificent score.
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The Belgrade Phantom
Belgrade, Yugoslavia, 1979; a mysterious "Phantom" occupies the attention and hearts of Belgrade. Every night, he exhibits spectacular driving maneuvers using a stolen white Porsche car through the city streets.
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La Finta Giardiniera
The Zurich Opera gathered a superb cast for this production: Italian soprano Eva Mei sings the Countess Violante, known as Sandrina, the feigned gardener of the title. Spanish soprano Isabel Rey is her opponent Arminda, and Arminda's former lover, the melancholy Cavaliere Ramiro, is sung by Romanian mezzo Liliana Nikiteanu. Moretti's staging presents the action in a modern villa in a hierarchical world of the rich and famous.
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Richard Wagner: Tannhäuser
Witness the Zurich Opera's stunning production of Richard Wagner's masterpiece "Tannhauser," conducted by Franz Welser-Most and featuring Peter Sieffert (Tannhauser), Solveig Kringelborn (Elisabeth) and Roman Trekel (von Eschenbach). Initially produced in Dresden in 1845, "Tannhauser" instilled a sense of wonder in a few of Strauss's ardent friends and admirers, among them Robert Schumann and Franz Liszt. Opera buffs will love it.
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Patrice Chéreau, Pascal Greggory, une autre solitude
A look at the entire process of creating and developing Patrice Chéreau’s third staging of "In the Solitude of Cotton Fields" by Bernard Marie Koltès with Pascal Greggory and Chéreau himself. From the first reading around the table through the first contact with the performance space, rehearsals and lighting to opening night, the entire creative process unfurls in front of our eyes. The film shows us the evolving and ongoing dialogue between Greggory and Chéreau, a dialogue full of crises and magical moments of harmony and insight via which the truth, intensity, complexity, mystery and depth of Koltès’ text gradually emerge to form an implicit bond between these two men. The film also shows Chéreau directing rehearsals for Mozart’s "Don Giovanni" in Salzburg, revealing both the unity of and profound differences between his opera and theater work.
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Hannah and Her Sisters
Between two Thanksgivings, Hannah's husband falls in love with her sister Lee, while her hypochondriac ex-husband rekindles his relationship with her sister Holly.
1986
Rusalka
Dvořák's "Rusalka" in a production by David Pountney at the English National Opera in 1986. Mark Elder conducts the orchestra, accompanied by the English National Opera Chorus in English.
1986
Macbeth
Piero Cappuccilli and Shirley Verrett lead Verdi’s sombre masterpiece, drawn from one of Shakespeare’s most celebrated tragedies. Filmed for television at Teatro alla Scala in 1979, Claudio Abbado conductes a night to remember.
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La Bohème
Performance of La Bohème in Teatro alla Scala, 1979.
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Curse of the Black Cat
A notable opera singer tries to commit suicide because of a emotional breakdown. While hospitalized in a psychiatric clinic, her daughter cautiously approaches the man she considers to be the blame for the state of her mother in order to gain her revenge.
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Die lustigen Weiber von Windsor
When Sir John Falstaff decides that he wants to have a little fun he writes two letters to a pair of Window wives: Mistress Ford and Mistress Page. When they put their heads together and compare missives, they plan a practical joke or two to teach the knight a lesson. But Mistress Ford's husband is a very jealous man and is pumping Falstaff for information of the affair. Meanwhile the Pages' daughter Anne is besieged by suitors.
1965