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Postman Brabec is a welcome guest of the revue theatre for his sense of humor, and he brings his director Holt letters from female admirers every day. Holt's fans include Brabec's sister Anny. The girl would like to join the theatre, but for the time being works as a maid for the actress Velden. A new revue is being rehearsed, the name of the author is secret. Veldenová will return the role just before the premiere because she doesn't like it. The quick-witted Brabec introduces the director to his sister, who knows all the parts by heart.
Ethereal music, a fairytale plot, beguiling sets and spectacular special effects all these combined to make Rinaldo in every sense the Baroque multimedia event par excellence. In his modern staging, producer David Alden has resorted to all kinds of magic tricks. The mourning Almirena, for example, is suspended like a paralysed mermaid in a neon-blue water tank for her aria Lascia ch'io pianga. Armida constantly struggles to make her obstinate pet Hydra see reason, and no expense is spared on the stylishly artistic dance interludes. The characters move in an ironic blend of Twenties look, trendy club scene and sacro' kitsch. Unsurprisingly, opera-goers were quick to latch onto such a glittering and star studded production. Indeed, there can be no doubt that the American David Daniels is the undisputed star of this Munich production, even alongside the other famous names on the cast list.
An interpretation of Georges Bizet's opera "Carmen," which is presented in an artful form with a twist.
A brother and sister's battle over a prized heirloom piano unleashes haunting truths about how the past is perceived — and who defines a family legacy.
“In a world that often demands certainty, Dialogues des Carmélites invites us to sit with profound questions that have no easy answers: What makes a life worthy? How can we be truly prepared for our inevitable end? What does security mean when everything familiar is threatened? What sustains us when our institutions crumble? … Rather than imposing answers, the opera creates room for reflection on how faith manifests not as abstract doctrine, but as lived experience under extraordinary pressure.” — Louisa Muller, Director’s Note. Juilliard Opera directed by Louisa Muller. Matthew Aucoin conducts the Juilliard Orchestra. Performed and recorded on April 26, 2025 at the Peter Jay Sharp Theater. Dialogues des Carmélites, an opera by Francis Poulenc. Libretto adapted by the composer.
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.
A surreal movie by peter Weigl starring Michael Biehn and Lubomir Kafka.
Classics on a Summer's Evening is an outdoor concert for an enormous audience which was staged in an architecturally striking public square in Dresden in July 1999. It features the most glamorous young husband and wife currently active on the international operatic scene, soprano Angela Gheorghiu and tenor Roberto Alagna. Along with these fine performances comes Giuseppe Sinopoli--before his untimely death at age 54--who was considered one of Europe's finest opera conductors, and, in the Dresden orchestra and chorus, performers who match his creative energy.
Performed at Madrid's historic Teatro Real in 2018, Ivor Bolton conducts Benjamin Britten's opera based on Lytton Strachey's 1928 Elizabeth and Essex: A Tragic History. In her repeated clashes with the Earl of Essex-a longtime favorite of the queen who was ultimately put to death for treason-Elizabeth I is depicted as flawed and vain, human and sympathetic.
A group of late 19th century German teenagers – silenced and controlled by a censorious society – discover a new world of feeling and freedom outside the classroom, with beautiful and devastating consequences.
A hack screenwriter writes a screenplay for a former silent film star who has faded into Hollywood obscurity. Film adaptation of the Andrew Lloyd Webber stage musical based on the iconic 1950 film.
Once upon a time, there was a kingdom where a spoiled and conceited princess lived. She didn't like frogs and other similar vermin, so she didn't like it very much when they suddenly started jumping on her from everywhere. In the local pond, there lived a waterman whose water machine for water lilies broke down. Instead of beautiful flowers, he produced croaking frogs. However, the waterman didn't like the princess's behavior at all and as punishment, he made her speechless. She can only be freed if she kisses the frog. So the prince and the young diver enter the story to put everything in order. Will the princess kiss the frog? And who will finally earn the improved princess as his wife?
Opera in three acts by Christoph Willibald Gluck, Hector Berlioz's version (1859)
Two noble women, bored of their lives, disguise themselves as country wenches and go to the market at Richmond Fair, where two young farmers fall in love with them.
The pop-inspired musical brings the six wives of Henry VIII right into the 21st century with infectious, empowering performances, accompanied by the on-stage band, the Ladies in Waiting. The Original West End cast reunites at London’s Vaudeville Theatre in front of a sold-out audience to strut their stuff and re-write their Tudor traumas in an unmissable cinematic recording of the show packed full of style, sass, and sensational songs.
Can the darkest moments of life also lift our souls? Drawing on his own experience in a Siberian prison in the company of misfits, murderers and theives, Dostoevsky was inspired to write his novel Notes from a Dead House, telling his brother at the time: ‘Believe me, there were among them deep, strong, beautiful natures, and it often gave me great joy to find gold under a rough exterior.’ In Janáček’s hands, Dostoevsky’s inspiration and the raw material drawn from an appalling world of incarceration find an even more powerful form of expression in his last opera, From the House of the Dead. Unfettered by conventional story-telling, Janáček wrote his own libretto, freely weaving together a series of stories of everyday prison life and of the fates of individual convicts.
Lucia di Lammermoor, dramma tragico in three acts by Gaetano Donizetti (1797 - 1848). Libretto by Salvadore Cammarano, after Walter Scott's 'The Bride of Lammermoor'. First performance in Naples, Teatro San Carlo, 26 September 1835 Recording: December 23 2015 - Gran Teatre del Liceu | Barcelona Director: Fabrice Castanier Conductor: Marco Armiliato Orchestra & Chorus of the Gran Teatre del Liceu