Karajan Brahms Ein Deutsches Requiem

Aging opera singer Joachim Dallayrac retires from the stage and retreats to the countryside to school two young singers. Although the rigorous training takes its toll on both teacher and students, there is plenty of time for relationships to develop between the three.

The Berliner Philharmoniker dedicate their New Year's Eve concert to famous lovers from the repertoire, embodied with intensity by French tenor Benjamin Bernheim. On the program: Don José (Carmen by Georges Bizet), Lenski (Eugene Onegin by Tchaikovsky), Werther (in the opera of the same name by Jules Massenet) and Romeo (Charles Gounod's Roméo et Juliette). Conducted by Kirill Petrenko, works by Gabriel Fauré, Emmanuel Chabrier, and George Gershwin round out this festive program.

Witty, fun, intoxicating film of Johann Strauss II's popular operetta, based on a stage production from Vienna State Opera; this is a showcase for the entire cast, but most especially Eberhard Wächter as the insufferably boorish Gabriel Eisenstein, and Gundula Janowitz as his long-suffering wife. Open the champagne, have yourself some torte, and enjoy this delectable comedy from Vienna.

A production of Strauss' opera 'Der Rosenkavalier' performed at the Saltzburg Festival in 1984. Includes the Vienna State Opera Choir, the Philharmonic Orchestra with singers Wilma Lipp, Anna Tomowa-Sintow and Agnes Baltsa. Conducted by Herbert Von Karaja

The famous nobleman Don Giovanni travels from town to town conquering women’s hearts, until the troubles he has created return to his own doorstep.

Repertoire Modest Mussorgsky: Night on Bald Mountain; Antonín Dvořák: Song to the Moon from “Rusalka”, Op. 114; Aram Chatschaturjan: Adagio from “Spartacus”; Richard Strauss: Final Scene from “Capriccio”, Op. 85; Richard Wagner: Overture to “Rienzi, der Letzte der Tribunen”; E. W. Korngold: Mariettas Lied from “Die tote Stadt”; Richard Strauss: Zueignung, Op. 10 No. 1; Sir Edward Elgar: Salut d’amour; Giacomo Puccini: Donde lieta uscì from “La bohème”; Tu che di gel sei cinta from “Turandot”; Ruggero Leoncavallo: Musette svaria sulla bocca viva from “La bohème”; Mimì Pinson, la biondinetta from “La bohème”; Piotr Tchaikovsky: “Romeo and Juliet” (Fantasy Overture)

Mirella Freni, Placido Domingo, Christa Ludwig, and Robert Kerns star in this Jean-Pierre Ponnelle-directed version of the Puccini opera, with Herbert von Karajan conducting the Vienna Philharmonic. Madama Butterfly is a staple of the standard operatic repertoire for companies around the world, ranking 7th in the Operabase list of the most-performed operas worldwide.

In the early 1960s two artistic giants, conductor Herbert von Karajan and director Franco Zeffirelli, joined forces to create this milestone production of Puccini’s masterpiece at Milan’s Teatro alla Scala. Filmed in that legendary opera house in 1965, with Zeffireli himself directing for the cameras, this “Bohème” has been acclaimed universally for its unique theatrical impact and visual splendour. Starring the young Mirella Freni in her carreer-making performance. – For the first time the full dimension of opera on film.

John Williams has made cinematic history with his film scores and transported entire generations into his musical worlds. He has composed the soundtracks for cinema blockbusters such as Star Wars, Jurassic Park, E.T. and Harry Potter. In this concert, he conducts some of his most famous film classics. At the same time, this is his debut on the podium of the Berliner Philharmoniker. May the Force be with him ...

Some concerts are important simply as occasions: The “Joint Concert Tel Aviv” was a celebration of reconciliation, a performance shared by the Berlin Philharmonic Orchestra and the Israel Philharmonic Orchestra that would have been inconceivable a few years earlier. Zubin Mehta takes a massive band consisting of both orchestras through performances of Ben Haim’s fascinating “Psalm”, Ravel’s “La Valse” and Beethoven’s “Fifth Symphony”.

Opera in one act with prologue. Based on the production of the Vienna State Opera by Filippo Sanjust. Libretto by Hugo von Hofmannsthal

Leonore disguises herself as a man, "Fidelio," to infiltrate a prison and rescue her husband, Florestan, unjustly imprisoned by the tyrant Pizarro. Gaining the trust of the jailer, Rocco, and his daughter, Marzelline—who unknowingly falls for Fidelio—Leonore’s courage is tested when Pizarro orders Florestan’s execution. In a climactic moment, she reveals her identity and saves Florestan just as the king’s minister arrives, restoring justice. The opera celebrates themes of love, sacrifice, and freedom.

Symphonien Nos. 1 - 9 Gundula Janowitz · Christa Ludwig · Jess Thomas · Walter Berry Chor der Deutschen Oper Berlin Berliner Philharmoniker Herbert von Karajan Directed by: Arne Arnbom, Herbert von Karajan Hugo Niebeling, Hans Joachim Scholz

Late 19th-century Paris, home to Louise, her traditional working-class parents and her bohemian artist lover Julien. An opera about the tension between Louise's responsibility to her parents and her opportunity to break free with Julien.

Set in a scorching Brussels, Babel Opera blends documentary and fiction during the intense rehearsals of Mozart’s Don Giovanni. As an international cast struggles to bring the opera to life, four fictional characters appear around the set. Their real-life conflicts, infidelities, and passions begin to mirror the seductions of the opera itself, completely blurring the lines between art and reality as the grand premiere approaches.

The most famous Scenes and Arias from French operas

Wiener Philharmoniker and Wiener Philharmonia Chor Conducted by Karl Böhm Directed by Vaclav Kaslik

ARTE pays tribute to bass-baritone José van Dam, who passed away on February 17, 2026, and who will remain one of Belgium's most iconic voices. In May 2010, the “maestro” bid farewell to the stage at the Théâtre de la Monnaie in Brussels, in one of his favorite roles, Jules Massenet's “Don Quichotte.” A moment out of time.

Jean-Pierre Gorin filmed the rehearsals and premiere of Saint Francis, Olivier Messiaen's monumental opera directed for the Salzburg Music Festival by the American wunderkind Peter Sellars. The result was a first-person documentary in the form of a letter.

This production is a gala affair; the sets are traditional (evocative of 18th-19th century Spain); the lighting is bright, so colors are good and one can see all of the action. Singers are generally well chosen and perform admirably. However, at this point, slight reservations creep in; although Janowitz (Fidelio/Leonore) and Kollo (Florestan) look "good" and act well, the singing parts tax them a bit when pushed to the limit. Most of the time that doesn't matter, and an argument can be made that a little vocal strain is in character with their dire plight. Ideally, for me, Vickers as Florestan would have added extra vocal heft and more sensitive acting than Kollo.

Requiem in D minor, K 626 by Mozart, Wolfgang Amadeus Performer: Walter Berry Gundula Janowitz Christa Ludwig Peter Schreier Orchestra/Ensemble: Wienere Symphoniker Orchestra Conductor: Bohm Karl Chor der Wiener Staatsoper Period: Classical Written: 1971 ; UNITEL

Johann Sebastian Bach’s St John Passion with the Berliner Philharmoniker and Sir Simon Rattle was one of the outstanding events of the past season. As before with the St Matthew Passion, star director Peter Sellars succeeded in creating a staging which made the spiritual and dramatic content of the Passion story even more intensive. The New York Times also praised the “brilliant and energetic” playing of the orchestra, the Frankfurter Allgemeine Zeitung the “haunting, almost unsurpassable singing of all those involved.”

Great filmmakers claim the artistic influence of French director Henri-Georges Clouzot (1907-1977), a master of suspense, with a unique vision of the world, who knew how to offer both great shows and subtle studies of characters. Beyond the myth of the tyrannical director, a contrasting portrait of a visionary, an agitator, an artist against the system.

With a career that includes a 35-year tenure as composer of the Berlin Philharmonic and record sales topping 200 million, Herbert von Karajan is one of the most legendary figures in 20th-century classical music. Comprised of archival footage, performance highlights and interviews with the likes of Anne-Sophie Mutter, Christa Ludwig and Seiji Ozawa, this retrospective chronicles the life and times of the iconic Austrian maestro.

L'Opéra National de Paris' production of L'Amour des trois oranges must certainly be one of the most elaborate operatic presentations. It has a cast of gazillions, characters who fly, jugglers, fire-eaters, remarkably elaborate costumes, amazingly realistic props (those five-foot oranges are convincingly juicy and edible looking), a huge set, fireworks, and so on. In fact, at times, it looks more like a Cirque de Soleil show than something you'd see in an opera house. Director Gilbert Deflo's conception and William Orlandi's costumes and sets are rooted in commedia dell'arte, but the production is thoroughly eclectic, with allusions to a wonderfully weird assortment of styles and periods.

Karl Richter leads Gundula Janowitz and Hermann Prey in Bach’s monumental B minor Mass The work was filmed in the splendid Baroque abbey church of Diessen in Bavaria, which dates from Bach's time. Messe in h-moll Mass in B minor BWV 232 Gundula Janowitz · Hertha Töpper Horst R. Laubenthal · Hermann Prey Münchener Bach-Chor Münchener Bach-Orchester Karl Richter Directed by Arne Arnbom