Richard Wagner's Parsifal, staged at the Teatro Massimo in Palermo in 2020, opened the opera season on January 26. The production, directed by Graham Vick and conducted by Omer Meir Wellber, featured staging with references to the imagery of war.
Tómas Tómasson
as Amfortas
John Relyea
as Gurnemanz
Daniel Kirch
as Parsifal
Thomas Gazheli
as Klingsor
Catherine Hunold
as Kundry
Omer Meir Wellber
as
Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Salzburger composer Wolfgang Amadeus Mozart.
Part of an epoch-making release of Mozart's complete operas on DVD, here is the 18-year old composer's first mature opera buffa. Hilarity mingles with passionate emotions when belfiore believes he has killed his lover in a fit of jealousy, but then encounters her disguised as gardener sandrina. Famed filmmaker Doris Dorie directs a superb young cast in this tale of love, hate and intrigue across class barriers, all vividly depicted by Mozart's astonishingly rich and varied music.
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.
The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.
Maria Callas, the world's greatest opera singer, lives the last days of her life in 1970s Paris, as she confronts her identity and life.
Shortly after WWII, the DEFA Studios produced a series of operas and operettas which belonged to the classical German musical heritage. This enchanting film, the very first opera production of DEFA, stands out because of its lavish decor and costumes, its outstanding actors and their masterful voices of that time.
It took Anna 10 years to recover from the death of her husband, Sean, but now she's on the verge of marrying her boyfriend, Joseph, and finally moving on. However, on the night of her engagement party, a young boy named Sean turns up, saying he is her dead husband reincarnated. At first she ignores the child, but his knowledge of her former husband's life is uncanny, leading her to believe that he might be telling the truth.
The life and career of Italian opera singer Farinelli, considered one of the greatest castrato singers of all time.
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.
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.
This May 2010 production of Massenet's 1910 opera "Don Quichotte" marked the opera's centenary and also Jose Van Dam's operatic farewell at the Theatre de la Monnaie, Brussels. It is beautiful in every way--vocally, scenically, sonically, and visually--and a worthy record of Van Dam's farewell. Van Dam is just shy of 70 in this production, but you would never guess it from his singing or stage movements--a consummate artist. His is a noble portrayal and deeply moving. The Act V death scene is a model of beautiful singing and acting.
Gustav Von Aschenbach, a passionate composer, arrives in Venice as a result of wanderlust and there meets a young man by whose beauty he becomes obsessed.
Jules Massanet's lyrical opera is transformed into a superb film production by Petr Weigl, shot on location in Prague, with music conducted by Libor Pesek. First produced by the Vienna Opera in February 1892, "Werther" rapidly confirmed Massanet's position on the French opera scene and achieved enormous popularity outside France, notably in Italy, America and England. The tragic story tells of Werther's intense passion for Charlotte, who has married his best friend, Albert, fulfilling a pledge to her now deceased mother. But Werther's letters of love bring Charlotte to his side when he promises to take his own life.
This tragic story revolves around the licentious Duke of Mantua, his hunch-backed court jester Rigoletto, and Rigoletto's beautiful daughter Gilda. The opera's original title, La maledizione (The Curse), refers to the curse placed on both the Duke and Rigoletto by a courtier whose daughter had been seduced by the Duke with Rigoletto's encouragement. The curse comes to fruition when Gilda likewise falls in love with the Duke and eventually sacrifices her life to save him from the assassins hired by her father.
The definitive version of this rare opera by Wolfgang Amadeus Mozart. The costume and set design is truly visionary and other worldly and gives a convincing insight into what staged operas must have looked like during the Baroque and Rococo period. Singers are all excellent and well cast in their respective roles. One of the most thrilling things I have seen, just wish I could see this live.
Filmed at the Vienna State Opera in 2005, Andrei Serban's production of Massenet's opera with a late 18th century setting pushes the action forwards to the 1950's,with the visuals exemplifying that decade with precision.With as much delicacy on display as naked passion,his(Alverez)morbid poet is outstandingly realised both vocally and dramatically. Together with Erod's dour Albert and Ileana Tonca's Sophie-clearly in love with Werther herself-the drama is set out with unusual clarity and realism.Philippe Jordan ensures that Massenet's pent-up emotion explodes exactly on cue,its expressive power providing impossible to resist.
This Blu-ray is a splendid record of a creative production with terrific voices and direction, as good as the Met's videos any day. It also tends to be creepy and atmospheric, with music as good as anything Gounod wrote for his FAUST. Recommended to lovers of horror and opera!
This thought-provoking, modern-day interpretation of Rossini's 'Mosè in Egitto' sets the scene for superior music-making at the prestigious Rossini Festival in Pesaro. For conductor Roberto Abbado, the transposition of the action to the present day releases the energy of Rossini's music. At his disposal is a cast of top-quality vocalists such as the “refined bel canto artist(Bresciaoggi) Sonia Ganassi as Elcia, and the “outstanding” Dmitry Korchak as the Pharaoh's son, two lovers fatefully drawn into the political turmoil and catastrophes of their time. Also among the protagonists are the “thoroughly brilliant” (DeutschlandRadio Kultur) baritone Alex Esposito as Faraone and, in his Rossini Festival debut, young, full-bodied bass Riccardo Zanellato as Moses. Conductor Roberto Abbado “inspired his musicians to deliver a spectacular performance” (Salzburger Nachrichten).
Visually this is a gripping production which captures the drama of this opera perfectly. It's downright exciting! and I found the singing, acting, and orchestral playing reasonably fine. I found only one major problem with it, a problem that kept Puccini for quite a few years. Turandot has been looking for an opportunity to kill Calif and Calif has singlemindedly tried to get Turandot to love and wed him focusing on her and ignoring a better looking girl who loves him truly. The problem is how to get the audience to applaud the match once Calif gets his wish. Puccini couldn't figure out how to do it. The traditional quick ending doesn't do it, and Berio's attempt is longer , tries its best, but ends up making it plain this is one wierd couple.
