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This is the 2004 version of Kaija Saariaho's opera performed by the Finnish National Opera and conducted by Esa-Pekka Salonen.
London, 1929. Frank Webber, a very busy Scotland Yard detective, seems to be more interested in his work than in Alice White, his girlfriend. Feeling herself ignored, Alice agrees to go out with an elegant and well-mannered artist who invites her to visit his fancy apartment.
After two American prisoners are killed by guards in the act of escaping from a German POW camp in World War II, barracks black marketeer J.J. Sefton is suspected of being an informer.
The story of an old Jewish widow named Daisy Werthan and her relationship with her black chauffeur, Hoke. From an initial mere work relationship grew in 25 years a strong friendship between the two very different characters, in a time when those types of relationships were shunned.
In director Baz Luhrmann's contemporary take on William Shakespeare's classic tragedy, the Montagues and Capulets have moved their ongoing feud to the sweltering suburb of Verona Beach, where Romeo and Juliet fall in love and secretly wed. Though the film is visually modern, the bard's dialogue remains.
Carlos Álvarez takes the title role in the first of Verdi's Shakespearean operas, with Maria Guleghina as the manipulative wife whose desire to gain the Scottish throne drives her husband to murder and leaves both with blood on their hands. Bruno Campanella conducts the Symphony Orchestra and Chorus of the Gran Teatre del Liceu in the 2004 recording of Phyllida Lloyd's powerful production, first staged at London's Royal Opera House.
A depiction of the conflict between King Henry VIII of England and his Lord Chancellor, Sir Thomas More, who refuses to swear the Oath of Supremacy declaring Henry Supreme Head of the Church in England.
After thirty years, Nina decides to return to the seaside town where she grew up to confront the man who changed her life and to whom the town now pays homage. The reunion with her origins, with her memories and with Blas, a childhood friend, will make her question whether revenge is the only way.
Three stories intertwine to form a vision of war in a narrative kaleidoscope that transcends space and time. The seven characters of the play will face their own internal enemies and find the only way to escape in love.
Murderesses Velma Kelly and Roxie Hart find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.
Two young men attempt to prove they committed the perfect murder by hosting a dinner party for the family of a classmate they just strangled to death.
In Manhattan’s Upper West Side, rival gangs of Polish-Americans and newly arrived Puerto Ricans clash for control of the neighborhood, even as two young members from opposite sides fall dangerously in love.
In New York City's gritty East Village, a group of bohemians strive for success and acceptance while enduring the obstacles of poverty, illness and the AIDS epidemic.
Based on Güner Sümer's play, Bozuk düzen tells the story of four children (Erol Keskin, Nedret Güvenç. Ekrem Bora and Salih Güney) trying to survive difficult relationships and situations they are involved in.
Set in a Norwegian hamlet, an idealistic physician discovers that the town's hot springs are contaminated. But with the community relying on the spa for tourist dollars, his warning to the powers-that-be falls on deaf ears.
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.
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.
With the help of his assistant Anja, Ottocaro Weiss intends to put the plague on stage: circumstances beyond his control and a lack of fresh talent have forced him to close down his flea circus. For Weiss, the plague means the «extinction of everything that makes life miserable and low and freedom along with it. Unbeknownst to him, he has won the support of a patron who is of the exact opposite opinion: for Johannes Wagner, the plague is an organising principle, and, aided by his agent Moosbrugger, he is able to smuggle a new number onto the programme. Whereas Ottocaro Weiss means to represent the plague theatrically, what appears on stage is the scientific reality of the rat-borne infestation.
A week in the life of the exploited, child newspaper sellers in turn-of-the-century New York. When their publisher, Joseph Pulitzer, tries to squeeze a little more profit out of their labours, they organize a strike, only to be confronted with the Pulitzer's hard-ball tactics.
When cocky military lawyer Lt. Daniel Kaffee and his co-counsel, Lt. Cmdr. JoAnne Galloway, are assigned to a murder case, they uncover a hazing ritual that could implicate high-ranking officials such as shady Col. Nathan Jessep.