Rusalka

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive.

A Ukrainian comic opera with spoken dialogue in three acts with music and libretto by the composer Semen Hulak-Artemovsky (1813–1873). The orchestration has subsequently been rewritten by composers such as Reinhold Glière and Heorhiy Maiboroda. This is one of the best-known Ukrainian comic operas depicting national themes.

Adapted from the opera written by the composer Semen Hulak-Artemovsky.

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

During his thirty-year career, Walter Hus, a Belgian composer and pianist, has taken a thousand musical faces. While he wanted to compose a new work, a crisis blocked his creation. During an exchange with his therapist, he comes to an existential question: "Who am I musically? » Through the portrait of this composer, as abundant as it is fascinating, the film aims to give access to his creative process and thus to the endurance and beauty of creation.

Experience the story of seamstress Esther who begins writing to a mysterious suitor laboring on the Panama Canal. Featuring a libretto by Pulitzer Prize winner Lynn Nottage, this powerful opera is directed by Tony winner Bartlett Sher.

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Wolfgang Amadeus Mozart's Magic Flute is undoubtedly one of the most multi-layered, profound, complicated, and therefore also most difficult to stage works in the entire opera repertoire. In terms of genre, it can only be understood if it is seen as a mixture of four things: a philosophically profound drama of ideas with countless encryptions, a naïve fairy tale, a bawdy comedy, and a crude Punch and Judy show. It is based on the intersection of the traditions of Baroque magic opera, Italian buffa, and Viennese Singspiel, where all manner of wonders are conceivable and permissible. Peter Ustinov's production appeals to all those who love a primarily fairy-tale-like interpretation; the atmosphere is traditional and conventional. An outstanding ensemble of singers has been assembled.

Non-musical account of Puccini's opera: Tosca and Cavaradossi are in love, but the tyrant Scarpia desires Tosca and oppresses Cavaradossi who is fighting for freedom.

From the Styriarte Festival in Graz Austria, the acclaimed mezzo-soprano Cecilia Bartoli and Maestro Nikolaus Harnoncourt with his orchestra Concentus Musicu Wien, present a concert on Haydn arias and Symphony No.92, the "Oxford". The singing virtuosity of "Scena di Berenice" is sublime as is the performance of The "Oxford" Symphony from the ensemble renown for its specialty in early music and playing on period instruments. A unique concert.

Tchaikovsky’s setting of Pushkin’s timeless verse novel is presented on the Met stage in Deborah Warner’s moving production, starring Anna Netrebko as Tatiana and Mariusz Kwiecien and Peter Mattei sharing the title role. Alexey Dolgov sings the role of Lenski, and Robin Ticciati conducts.

In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask

Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on the podium. Tenor Matthew Polenzani brings both steely resolve and compassionate warmth to the title king of Crete, who is faced with an impossible decision. With her rich mezzo-soprano, Alice Coote sings the trouser role of Idomeneo’s son Idamante, who loves the Trojan princess Ilia, sung with delicate lyricism by Nadine Sierra. Elza van den Heever gives a thrillingly unhinged portrayal of the jealous Elettra. Jean Pierre-Ponnelle’s timeless production blends the grandeur of ancient myth with the elegance of Enlightenment ideals.

Prince Abesalom runs into an orphaned Eteri while hunting, falls for her and brings the woman to his palace as his fiancé. The Prince’s aid Murman loses his self-control at Eteri’s beauty and gives her a spelled necklace as a wedding gift. Eteri contracts a mysterious disease that only Murman is capable to heal.

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The legendary Plácido Domingo brings another new baritone role to the Met under the baton of his longtime collaborator James Levine. Liudmyla Monastyrska is Abigaille, the warrior woman determined to rule empires, and Jamie Barton is the heroic Fenena. Dmitri Belosselskiy is the stentorian voice of the oppressed Hebrew people.

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In October 1733, the audience at the Académie Royale de Musique witnessed the birth of a revolutionary work: Hippolyte et Aricie. With its inventiveness and musical richness, Rameau’s opera marks a break in the history of French music. A similarly revolutionary duo – Jeanne Candel and Raphaël Pichon – get to grips with this work for the Opéra Comique.

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