Top Cast
Karel Kalaš
Paloucký
Ludmila Červinková
Vendulka
Beno Blachut
Lukáš
Přemysl Kočí
Tomeš
Marta Krásová
Martinka
Vladimír Jedenáctík
Matouš
Štefa Petrová
Barče
Karel Hruška
Guard
Key Film Crew
Production Stats
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Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.
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In Rigoletto, the deformed figure of the hunchbacked jester at the Mantuan court acts as a foil to his cynical and powerful master, an unscrupulous philanderer contrasted with his cruel and unforgiving fool. Rigoletto encourages and welcomes the Duke's conquests, pitilessly mocking his victims until he discovers that the Duke has abducted the one person he genuinely loves, his own daughter. As a result, the character of the court jester is transformed into a tragic figure who, in spite of his evident immorality and malice, allows us to sense the devotion he feels for his daughter and his horror at being destroyed by the same despotic world as that which he himself has helped to create.
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The operatic version of the famous story about a governess who fears her two charges are possessed.
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The great Georg Solti conducts a spectacular studio production of this masterpiece of 20th century opera. Two internationally celebrated Hungarian opera stars perform Bartók's darkly psychological parable with searing dramatic intensity.
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Shortly before his death, Romitelli together with his friend Paolo Pachini and the poetess Kenka Lèkovich, resurrected the dream of a total scenic art (a furnace of sensations, they called it, an_ initiation rite_) in the manner of the Futurists: rhythms and gleams of light striking metals (for the video part), poems in iron and chrome singing of fusion with matter (Kenka Lekovich), acoustic/electric music highly amplified, filtered, spatialised, in as artificial a manner as possible. An Index of Metals bears vigorous witness to this determination to go beyond: sizzling orchestration, electric and psychedelic; a voice which plays on effects, murmurs with reverb, cackles into a megaphone, screams like a pop star; and an electric guitar score of a kind that no ‘serious’ composer has ever written, sliding across an infinite range of tones with a lightness of touch and blurring of contours.
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When a beautiful young woman in rural Moravia becomes unexpectedly pregnant, she learns that love is sometimes only skin-deep. Janáček took Gabriela Preissová's grim tale of infanticide and redemption, and condensed it into a masterful, spine-chilling drama. The tragic plight of the protagonists is presented with unsentimental realism that cannot help but trigger a response of deep compassion. Premiered at the National Theatre in the composer's hometown of Brno 115 years ago, the opera took him nine years to complete and is the first in which his distinctive voice can clearly be heard.
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A certain Mr. Mlácen is brought to the asylum, wanting to sell two church bells. He first offers them to merchants in an inn. He claims that he received them as an inheritance from his uncle, but he doesn't know what to do with them. But no one wants to buy them. Because of this, he first finds himself in a commissary and is eventually sent to an asylum. The professor (L. Kopřiva), who believes that Mr. Mlácen suffers from some kind of fixed idea and is mentally ill, promises him that he will buy his two bells back...







