Horowitz in Moscow

Blending lively music and brilliant animation, this sequel to the original 'Fantasia' restores 'The Sorcerer's Apprentice' and adds seven new shorts.

Luciano Pavarotti brings his spectacular voice and artistry to one of the most famous of all tenor roles—Manrico, the ardent troubadour, trapped in an impossible situation by forces beyond his control. The sensational Dolora Zajick, only days after her Met debut, gives an incandescent performance as the demented gypsy Azucena, thirsting for revenge against Count Di Luna (Sherrill Milnes). Eva Marton is the passionate Leonora, desired by both Manrico and the Count, and James Levine brilliantly leads the Met’s orchestra and chorus in some of Verdi’s best-known music.

In the depths of the Rhine, the three Rhinemaidens guard the Rhinegold, a treasure of immeasurable value. The Nibelung dwarf Alberich is dazzled by the sight of it. The girls explain that whoever wins the gold and forges it into a ring will gain power over the world, but must first renounce love. Frustrated by his unsuccessful attempts to catch one of the girls, Alberich curses love and steals the gold. Wotan, lord of the gods, is reproached by his wife Fricka: he has promised to give Freia, goddess of youth, to the giants Fasolt and Fafner in return for their building a fortress for the gods. When the giants demand their reward, Loge, the god of fire, suggests an alternative payment: the ring Alberich has forged from the Rhinegold, and his other treasures. The giants agree, and Wotan and Loge leave for the Nibelungs’ underground home.

Any new Met production of Verdi’s beloved tragedy La Traviata would be noteworthy, but Michael Mayer’s dazzling staging, which premiered during the 2018–19 season, was doubly significant as it marked Yannick Nézet-Séguin’s first performances as the Met’s Jeanette Lerman-Neubauer Music Director. On the podium for this Live in HD transmission, Nézet-Séguin leads a starry ensemble. As Violetta, the consumptive heroine fighting to find true happiness, soprano Diana Damrau delivers yet another compelling portrayal on the Met stage. Tenor Juan Diego Flórez sings his first Verdi role with the company, as Violetta’s ardent yet impetuous lover, Alfredo, and baritone Quinn Kelsey rounds out the principal cast as Giorgio Germont, Alfredo’s implacable father.

Jessye Norman is a regal Ariadne, the mythological Greek heroine in this opera-within-an-opera, opposite the passionate Bacchus of the great James King. Kathleen Battle delivers the coloratura fireworks of Zerbinetta, the leader of a commedia dell’arte troupe that finds itself stranded on Ariadne’s island. Tatiana Troyanos and Franz Ferdinand Nentwig star as the young Composer and the Music Master in the opera’s prologue. James Levine brings out all the color and charm of Strauss’s brilliant chamber-sized score with its equal amounts of pathos and humor. Bodo Igesz’s production features sets by esteemed designer Oliver Messel.

The Gershwins’ modern American masterpiece has its first Met performances in almost three decades, starring bass-baritone Eric Owens and soprano Angel Blue in the title roles. Director James Robinson’s stylish production transports audiences to Catfish Row, a setting vibrant with the music, dancing, emotion, and heartbreak of its inhabitants.

Tony Award winner Bartlett Sher’s bold new production probes the psychological underpinnings of Verdi’s dynamic setting of Shakespeare’s great tragedy. At the helm of this performance is riveting conductor Yannick Nézet-Séguin, who brings out all the cascading emotions in Verdi’s turbulent score. Aleksandrs Antonenko is the Moor Otello, the triumphant general of the Venetian army who is ultimately brought down by the sly insinuations of his friend Iago (Željko Lučić). Sonya Yoncheva continues to win fans as Desdemona, Otello’s faithful and long-suffering wife. With Günther Groissböck as Lodovico and Dimitri Pittas as Cassio.

When the most voluptuous, sought-after courtesan in the world meets an ascetic monk whose life is devoted to God, you know erotic sparks are going to fly. And when the clash takes place in a glorious, but rarely performed, opera by Massenet, it’s a delight to the ear just as much as to the eye. Renée Fleming is every inch the glamorous Thaïs, swathed in elegant gowns designed by Christian Lacroix. Thomas Hampson is Athanaël, the tortured man of God. This production by John Cox, which premiered in December 2008, brilliantly sets the stage for a confrontation as old as civilization itself.

Christine Goerke has wowed audiences as Turandot, the icy princess at the heart of Puccini’s grand final masterpiece. In this performance from the 2019–20 Live in HD season, Goerke stars alongside tenor Yusif Eyvazov (as Calàf) and soprano Eleonora Buratto (as Liù) in Franco Zeffirelli’s classic staging, which dazzles with its opulent visions of mythic China. Met Music Director Yannick Nézet-Séguin is on the podium, drawing a vivid array of musical colors from the incomparable Met Orchestra and Chorus.

A stimulating study which features concert footage and interviews with the master pianist. Includes many of his favorite pieces.

This is a film that encapsulates the essence of a great pianistic age that married virtuosity and musicianship with the most thrilling aspect of individual showmanship.

Alexander Scriabin (1872–1915) born in Moscow, was an innovative, mystical, avant-garde Russian pianist and composer. This film explores Scriabin’s profound vision of art's unity — where music, movement, light and colour merge to create transcendent experiences. Some claim Scriabin pioneered atonality before Schoenberg. Key works: Poème, Op. 32 No. 1 (1903) and Vers la flamme, Op. 72 (1914). Featuring commentary from esteemed musicians like Eduard Artemyev, Vladimir Ashkenazy and Vladimir Horowitz, Artist: Hermann Nitsch, conductor Mikhail Pletnev and insights from Scriabin’s daughter: Marina Scriabine, this documentary offers a unique glimpse into the life and works of one of music’s most enigmatic figures. Shot across stunning locales in Switzerland, Italy and Russia, enriched with Scriabin’s own writings and rare archival materials. The highlight includes a historic recording of Scriabin himself, playing his Poem Op. 32 No. 1 on a Welte Mignon player-piano, recorded in 1908.

Vladimir Horowitz's piano recital in 1987 at the Musikvereinssaal in Vienna.

Academician and piano expert David Dubal narrates this absorbing documentary chronicling the instrument's history and featuring some of the 20th century's finest pianists via archival film clips. Among the keyboard virtuosos are Vladimir Horowitz, Claudio Arrau, Van Cliburn and Glenn Gould. Extras include Arrau's 1983 performance of Ludwig van Beethoven's Piano Concerto no. 4, accompanied by the Philadelphia Orchestra under maestro Riccardo Muti.

A documentary on the KKK

16-year-olds of Webster Groves, an upper-middle-class suburb in Missouri, are interviewed in this one-hour TV special documentary on their experiences of growing up in their town and their views on the future.

Wanda Horowitz reminisces about her husband, the great pianist Vladimir Horowitz, with clips from his television appearances.

In March 1987, pianist Vladimir Horowitz embarked on an extraordinary project. For the first time in 35 years, he agreed to record with a symphony orchestra in a studio. He chose the conductor, Carlo Maria Giulini, the orchestra, the La Scala Philharmonic, and the location, the Abanella recording studio of La Scala in Milan. Horowitz steadfastly refused to allow the month-long sessions to be filmed, until the evening before the last scheduled session when he unexpectedly changed his mind. His manager, Peter Gelb, immediately telephoned Albert Maysles and Susan Froemke in New York, the co-filmmakers of "Vladimir Horowitz: The Last Romantic." That same night, the Maysles film crew flew from New York.

"In this brilliantly heartbreaking report, at 8 on Channel 9, a whole complex of social changes comes into new focus, and The Mall is made to serve stunningly as metaphor, symbol, avatar and harbinger. And yet all that darned old significance never gets in the way of the fact that the program is about people and, to some extent, about how helpless they are when it comes to letting slip away things they all know, deep down, they would be better off hanging onto." - Washington Post, 1982

A CBS report showcasing how malls have changed our country in the last 25 years. From our way of life, to our way of thinking.

Examines the meager holiday season for poor families in the mountains of Kentucky. Reporter, Charles Kuralt, talks with the people about the disappointments their children will have on Christmas Day. The children sing carols and eat a hot meal, the only joy they will have at Christmas. A general store owner explains how automation has taken away jobs for men in coal mines. Shows people in line to receive surplus, government commodities. Emphasizes that poverty prevails year round, and shows the misery and discouragement of adults, the scant prospects of education for children, and the shacks that serve as homes.

A renowned ophthalmologist is desperate to cut off an adulterous relationship…which ends up in murder; and a frustrated documentary filmmaker woos an attractive television producer while making a film about her insufferably self-centered boss.

Soprano Christine Goerke plays Brünnhilde, Wotan’s willful warrior daughter, who loses her immortality in opera’s most famous act of filial defiance. In this Live in HD transmission of Die Walküre, the second and most popular installment in the composer’s sweeping tetralogy, Goerke is joined by bass-baritone Greer Grimsley as Brünnhilde godly father, Wotan, and mezzo-soprano Jamie Barton as his unbending wife, Fricka. As the incestuous lovers Siegmund and Sieglinde, soprano Eva-Maria Westbroek and tenor Stuart Skelton—alongside bass Günther Groissböck as Sieglinde’s bloodthirsty husband, Hunding—round out the principal cast. And on the podium, Maestro Philippe Jordan conducts Robert Lepage’s innovative staging, which uses state-of-the-art stage technology to tell Wagner’s mythic tale.

This is a work I created in 1991 as an attempt to become a "master" on "Yuji Miyake's Shrimp-Bending Master Heaven." Unfortunately, the show ended before I could take on the challenge. It was a fun year that taught me the obvious truth: the meaning of a work lies not in leaving it as it is, but in showing it to an audience. I'm grateful to all the staff and performers.