Let's Sing Again

The Terror of Tiny Town

In a wild west community populated entirely by residents with dwarfism, the Larson and Preston familes have been in a generations-long feud, recently strained by the actions of cattle rustler and overall devious criminal Bat Haines. Buck Larson, the hero of our tale, takes on Haines, and tries to win the heart of Nancy Preston while resolving the tensions between his and her families.

Roberta

Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh fashion house run by her assistant, Stephanie. There they meet the singer Scharwenka (alias Huck's old friend Lizzie), who gets the band a job. Meanwhile, Madame Roberta passes away and leaves the business to John and he goes into partnership with Stephanie.

Slayer: War at the Warfield

Filmed at the Warfield Theatre in San Francisco, California on December 7, 2001, War at the Warfield would become Slayer's first music DVD. Originally set for release on February 13, 2003, it was delayed several times, due to unspecified "production issues". War at the Warfield peaked at number 3 on the Billboard DVD chart with sales of 7,000.

The Road to Hong Kong

When Chester accidentally memorises and destroys the only copy of a secret Russian formula for a new and improved rocket fuel, he and Harry are thrust into international intrigue, trying to stay alive while keeping the formula out of enemy hands.

Road to Morocco

Two carefree castaways on a desert shore find an Arabian Nights city, where they compete for the luscious Princess Shalmar.

Sesame Street: Elmo's Musical Adventure: The Story of Peter and the Wolf

The fun begins when Baby Bear goes to hear the Boston Pops Orchestra play the musical story of Prokofiev's "Peter and the Wolf." He imagines Elmo, Big Bird, Oscar and the rest of his Sesame Street friends as characters who help bring the story to life.

Cher... Special

Cher... Special is a television special starring American singer/actress Cher and featuring guest stars Dolly Parton and Rod Stewart. The show was broadcast on ABC on April 3, 1978 and was a ratings success for ABC, ranking among the Top 10 most watched programs of the week. The Special is best remembered for its first number where over fifteen minutes, Cher sings and dances to a medley of songs from the musical West Side Story, playing both male and female characters. In the fall of 1978, it was honored with a technical Emmy Award for "Best Achievement in Lighting Direction". It also received an Emmy nomination for "Best Art Direction for a Comedy-Variety or Musical Special" and Dolly Parton was also nominated for an Emmy in the category of "Best Supporting Actress in a Variety or Musical Special".

From Here to Eternity

In 1941 Hawaii, a private is cruelly punished for not boxing on his unit's team, while his captain's wife and second in command are falling in love.

Verdi La Traviata

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.

Haie an Bord

Snow Day

A pair of siblings make the most of a school snow day, while trying to avoid their nemesis, the Snowplowman.

Beach Blanket Bingo

In the fourth of the highly successful Frankie and Annette beach party movies, a motorcycle gang led by Eric Von Zipper kidnaps singing star Sugar Kane managed by Bullets, who hires sky-diving surfers Steve and Bonnie from Big Drop for a publicity stunt. With the usual gang of kids and a mermaid named Lorelei.

Beach Party

Anthropology Professor Robert Orwell Sutwell and his secretary Marianne are studying the sex habits of teenagers. The surfing teens led by Frankie and Dee Dee don't have much sex but they sing, battle the motorcycle rats and mice led by Eric Von Zipper and dance to Dick Dale and the Del Tones.

Mefistofele

The director, Roland Schwab, has created his version of Hell. The set is like a high iron walled hanger and the stage is continually occupied with people who look like fugitives from Mad Max and who interact with Mefistofele. The orchestra and choir are wonderful. Rene Pape gives a nuanced interpretation with a certain amount of sardonic humour under the evil. His singing and acting are first rate, as is that of Kristine Opolais and Joseph Calleja.

Flamenco

The film presents thirteen rhythms of flamenco, each with song, guitar, and dance: the up-tempo bularías, a brooding farruca, an anguished martinete, and a satiric fandango de huelva. There are tangos, a taranta, alegrías, siguiriyas, soleás, a guajira of patrician women, a petenera about a sentence to death, villancicos, and a final rumba.

Rameau Hippolyte et Aricie

Emmanuelle Haïm has established herself as one of the world’s leading performers, conductors and interpreters of Baroque repertoire, not only with Le Concert d’Astrée, the ensemble she founded in 2000, but with several of the world’s greatest orchestras. Known for her fresh and expressive approach to Baroque music, she has garnered critical acclaim and several international awards with her own ensemble, including Victoires de la Musique Classique, ECHOs, Gramophone Awards, and Grammy nominations.

Sweet Rosie O'Grady

An American singer becomes engaged to an English duke, but is continuously pestered over her past as a burlesque dancer by a reporter from her hometown.

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”…

Berg: Wozzeck

Based on real events and drawing on Georg Büchner's revolutionary play, Alban Berg's Wozzeck turns a grimly tragic narrative of violence and murder into one of the most powerful and original operas of the 20th century. Berg's uncompromising portrayal of brutality and madness generated much controversy, but the significance of Wozzeck was soon recognised; its compelling lyrical expansiveness, large-scale dramatic gestures and remarkable musical structures producing music of overwhelming emotional intensity. The Financial Times declared this to be 'a beautiful, moving, engrossing production… this is a consummate Wozzeck, blending clarity, lyricism, compassion and crushing force.'

Alban Berg - Wozzeck

The soldier Wozzeck (Christian Gerhaher) flits through a world that he is unable to decipher. The doctor torments him with absurd medical experiments; the captain humiliates and ridicules him. And Wozzeck’s lover, Marie (Gun-Brit Barkmin), with whom he has a child, cuckolds him with the drum major. Wozzeck becomes a murderer, stabbing Marie to death. Georg Büchner’s drama fragment, on which Alban Berg based his first opera, is an unflinching case study of social injustice and human suffering. But it is also a grotesque piece that thrives on exaggeration – and in which only a fine line separates the unfathomable from the ridiculous. Accordingly, director Andreas Homoki forgoes all realism.