Handel: Admeto

Amadeus

Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Viennese composer Wolfgang Amadeus Mozart.

Cavalleria rusticana

Franco Zeffirelli directs these two legendary La Scala productions telling tragic tales of jealousy. Mascagni's Cavalleria Rusticana features performances by Elena Obraztsova, Plácido Domingo, and Renato Bruson. Leoncavallo's I Pagliacci stars Teresa Stratas, Plácido Domingo, and Juan Pons. Both are conducted by George Pretre. This production of Pagliacci earned director Franco Zeffirelli the coveted Emmy as Best Director in the category of Classical Music Programming.

Verdi La Traviata

This DVD of a live 2005 performance from the Zürich Opera under the musical direction of Franz Welser-Möst has many things to recommend it -- the young tenor Piotr Beczala as Alfredo, the marvelous Thomas Hampson as Giorgio Germont, the playing of the Zurich Opera orchestra, the simple but effective sets by by Erich Wonder, the uncluttered stage direction by Jürgen Flimm. It also has some flaws: strangely variable volume level of the recorded sound sometimes coming on so loud as to make one reach for the volume control, and the uneven performance of the Violetta, Eva Mei who, for all her merits, gives a dramatically effective performance marred by occasional difficulties with vocal production. Still, overall I felt this was a moving production, one that I would recommend, although perhaps not as an only DVD of one of Verdi's most popular operas.

Beethoven: Fidelio

Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, David Butt Philip plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime.

The Metropolitan Opera: Manon

Massenet’s tale of passion, excess, and their consequences stars rising soprano Lisette Oropesa in the effervescent title role. Tenor Michael Fabiano is her ardent admirer, Chevalier des Grieux, with Maurizio Benini conducting Laurent Pelly’s enchanting production.

The Metropolitan Opera: Agrippina

As the imperious title empress, mezzo-soprano Joyce DiDonato leads the Met premiere of Handel’s tale of deception and deceit. Harry Bicket conducts Sir David McVicar’s wry new production, which gives this Baroque black comedy a politically charged, modern updating.

Bernd Alois Zimmermann - Die Soldaten

Confession of the Vanished

The film follows the staging of the opera Olimpiade while at the same time exploring the dramatic life of its composer Josef Mysliveček, a friend and teacher of W. A. Mozart.

Artaserse

Live broadcast of the opera performance held on November 10, 2012 at the Opéra national de Lorraine in Nancy, performed by five world-class countertenors.

Puccini: Turandot

Franco Zeffirelli's magnificient staging of Puccini's final opera - a fairy tale set in a mythical China - is one of the most popular in the Met repertory. In this Live in HD production, Maria Guleghina takes on the title role and Marcello Giordani is Calaf, the unknown prince. Marina Poplavskaya and Samuel Ramey co-star, and Andris Nelsons conducts in his Met debut.

The Phantom of the Opera

The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.

Carmen - Opéra National de Paris

The first words uttered by Carmen mark one of the greatest entrances in the history of opera and express all that need be said: “Love is a rebellious bird that no one can tame…” With a devilish sway of the hips and a hint of Andalusian flair, the beautiful cigar-maker sets her sights on a soldier: Don José. Fate will do the rest.

Sea of Blood

Based on a revolutionary play supposedly written by the Eternal President of the Democratic People's Republic, Kim Il-sung, and rumored to have been co-directed by Kim Jong-il. This revolutionary work is also popular among the Chinese, especially those who lived through the Cultural Revolution, and have fond memories of revolutionary antics.

The Turn of the Screw

The operatic version of the famous story about a governess who fears her two charges are possessed.

Elektra

Strauss's opera adapted to the screen by Gotz Friedrich.

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.

The Turn of the Screw

Benjamin Britten’s opera of the Henry James novel. An inexperienced governess is sent to a country house to care for two children, whom she is gradually convinced have been corrupted by the ghosts of a previous manservant and governess…

John Adams: Nixon in China

John Adams’s groundbreaking work vividly brings to life US President Nixon’s 1972 visit to the People’s Republic of China. Peter Sellars’s Metropolitan Opera production, based on his 1987 world-premiere staging, features choreography by Mark Morris and stars James Maddalena as Nixon, Robert Brubaker as Chairman Mao, Janis Kelly as First Lady Pat Nixon, Russell Braun as Chinese Premier Chou En-lai, and Kathleen Kim as Chiang Ch’ing, Mao’s wife. From the pomp of the public displays to the intimacy of the protagonists most private moments, Adams, Sellars and librettist Alice Goodman reveal the real characters behind the headlines in this landmark American opera.

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”…