Korngold: Die tote Stadt

In its most ambitious effort yet to bring the joy and artistry of opera to audiences everywhere during the Met’s closure, the company presented an unprecedented virtual At-Home Gala, featuring more than 40 leading artists performing in a live stream from their homes all around the world.

Perfomance 24.06.2014 in ROH. In June 2014, London’s Royal Opera House presented Jonathan Kent’s new production of Manon Lescaut. With a stellar cast, including Kristīne Opolais and Jonas Kaufmann in the roles of the young lovers Manon Lescaut and Chevalier des Grieux, Jonathan Kent brings this 19th century classic to a 2014 setting, both non-naturalistic and theatrical. Supporting the action on stage is the Orchestra and Chorus of the Royal Opera House, Covent Garden, with their venerable Music Director Antonio Pappano.

The French tale of a beautiful young woman destroyed by her conflicting needs for love and luxury.

Ever since its premiere in Turin in 1896, La bohème has been a huge hit with audiences across the world. Within two years, it had been seen in Buenos Aires, Los Angeles, Prague, Berlin, Manchester and beyond. With over 500 performances chalked up at Covent Garden alone, this opera is one of the most popular and enduring in the repertoire. In this performance from 2020, Sonya Yoncheva stars as the doomed seamstress Mimì, with Charles Castronovo as Rodolfo, who falls in love with her at first sight. Simona Mihai and Andrzej Filonczyk perform the roles of the on-off lovers, Musetta and Marcello. Poverty and passion collide in a story of friendship and fellowship, love and loss. Featuring some of Puccini’s best-loved music, this performance is conducted by Emmanuel Villaume.

Alone in a secluded mansion, Giacomo Casanova cries out then collapses. When the mysterious and beautiful writer, Elisa von der Recke, comes to visit, it breathes new life into the old man. A movie that captures the myth of the greatest seducer of all times, Casanova, his story is told both through fiction and on-stage opera performances that unravel the tale of his adventures, his passions, and ultimately his fear of death.

A masterpiece of bel canto at the Teatro Real in Madrid: conductor José Miguel Pérez-Sierra and director David McVicar take on Donizetti’s Maria Stuarda, with Lisette Oropesa in the title role.

Star tenor Jonas Kaufmann brings aching intensity and vocal charisma to the tortured title hero of Massenet’s Goethe adaptation. Sophie Koch, in her Met debut, is an appealing and elegant Charlotte, the object of Werther’s passionate affection that will lead to tragedy. Lisette Oropesa as Sophie, David Bižić as Albert, and Jonathan Summers as Le Bailli co-star. Richard Eyre’s atmospheric production is conducted by rising maestro Alain Altinoglu.

Verdi's sweepingly ambitious opera on war, religion, love and fate is given a cinematic staging by Christof Loy. The Marquis of Calatrava forbids his daughter Leonora to marry the South American nobleman Don Alvaro. The lovers attempt to elope, but the Marquis catches them. In the ensuing altercation, Alvaro accidentally kills the Marquis, who curses his daughter as he dies. Leonora and Alvaro become separated during their escape. Leonora's brother Don Carlo di Vargas decides to find them and avenge his father.

For the centenary of the Verona Opera Festival, Jonas Kaufmann gave a gala concert in the Arena on 20 August 2023. With colleagues Sonya Yoncheva and Ludovic Tézier, and accompanied by the Orchestra della Fondazione Arena di Verona conducted by Jochen Rieder, he performed arias and duets from Tosca, Otello and Andrea Chenier, and evergreens by Franz Lehár and Leonard Bernstein as well as famous film songs such as 'Nella fantasia' (The Mission) and 'Nelle tue mani' (Gladiator).

At the heart of Věc Makropulos is a recipe for a life-prolonging elixir invented by the doctor Hieronymus Makropulos for Emperor Rudolf II. It was tested on the doctor's beautiful daughter, who has now been on earth for 337 years and has had countless affairs over the generations. In the end, however, the seemingly young woman has to realize that an endless life on this side of the world only brings loneliness.

Richard Eyre’s elegant production, which opened the Met’s 2014–15 season, sets the action of Mozart’s timeless social comedy in a manor house in 1930s Seville. Ildar Abdrazakov leads the cast as the resourceful Figaro set on outwitting his master, the philandering Count Almaviva, played by Peter Mattei. Marlis Petersen sings Susanna, the object of the Count’s affection and Figaro’s bride-to-be, Amanda Majeski is the Countess, and Isabel Leonard gives a standout performance as the pageboy Cherubino. Music Director James Levine on the podium brings out all the humor, drama, and humanity of Mozart’s score.

William Kentridge’s multi-layered production of Berg’s masterpiece stars charismatic soprano Marlis Petersen in the title role—the enigmatic and alluring woman who is equal parts femme fatale, innocent girl, and abused victim. The men around her, whose lives she forever alters, are Johan Reuter as newspaper publisher Dr. Schön; Daniel Brenna as his composer son, Alwa; Paul Groves as the Painter; and Franz Grundheber as Schigolch. Susan Graham sings Countess Geschwitz, and Lothar Koenigs conducts Berg’s landmark score.

Richard Jones’ “La bohème” is an important weapon in the Royal Opera’s commercial arsenal. This is its second revival since Jones’ production hit the stage in autumn 2017, replacing John Copley’s beloved 40-year old staging, resplendent with period detail and resolutely naturalist. Jones brings a considerable break with the past in his approach, pointing the way towards thought-provoking possibilities for the work, though it is a clearly a show that defers to the need for regular revival and breadth of appeal.

After over a century out of the Met’s repertoire, audiences were thrilled to discover just what a sensational evening in the theater Thomas’s Hamlet can be. Simon Keenlyside’s riveting performance as the tortured Prince of Denmark in Patrice Caurier and Moshe Leiser’s starkly brooding production had critics raving that Keenlyside’s superb singing, coupled with his deftly delineated three-dimensional Hamlet, was one of the greatest examples of operatic drama of our time. The cast includes Marlis Petersen as the long suffering Ophélie, who brilliantly shows why her mad scene is so justly famous, along with Jennifer Larmore and James Morris as Gertrude and Claudius.

Nele is a young call center agent who moonlights as a cloakroom attendant at the State Opera. When she falls in love with the small-time street dancer Kolja, she must confront the demons of her past and descend into the underworld. At the same time, talent scout Höllbach notices Nele's singing talent and offers her a great opportunity for a career as an opera singer. Axel Ranisch's modern adaptation of Orpheus and Eurydice is a cinematic opera pastiche between Puccini, Handel and Christian Steiffen.

In the Summer of 2009, the British director Nigel Lowery and the Iranian choreographer Amir Hosseinpour brought to the stage of the Berlin State Opera Unter den Linden, with colour and full of humour, the fantastic and imaginative adventures of "Racing Roland". On the occasion of the 200th anniversary of the death of Joseph Haydn, the composer's most renowned opera during his lifetime,Orlando Paladino, was performed, a heroic-comical stage piece based on Ariost's famous Versepos. Singers such as Marlis Petersen (Angelica), Tom Randle (Orlando), Alexandrina Pendatchanska (Alcina), Pietro Spagnoli (Rodomonte), Sunhae Im (Eurilla) and Victor Torres (Pasquale) performed under the musical direction of period-music specialist René Jacobs. The Freiburg Baroque Orchestra completed this high-class production giving the music a beautiful sound and lively swing.

Live from Munich June 2014. Guillaume Tell , in a new production by 30-year-old Wunderkind stage director Antú Romero Nunes, opens this year’s Munich Opera Festival with an orgy of fabulous singing.

From the Opera House of Rome Il barbiere di Siviglia by Gioachino Rossini. Orchestra and Choir Of The Opera of Rome, conductor Daniele Gatti. Directed by Mario Martone.

Stage director Axel Ranisch interweaves two works, resulting in a coming-of-age fairy tale on family, love, knowledge and self-determination: Mavra and Iolanta are becoming Mavra / Iolanta.

An average guy of an Estonian high-school decides to defend his bullied classmate. This starts a war between him and the informal leader of the class.

Added due to popular demand, the Met-premiere production of Mason Bates’s The Amazing Adventures of Kavalier & Clay arrives in cinemas, recorded live earlier this season. The exhilarating operatic adaptation of Michael Chabon’s Pulitzer Prize–winning novel follows two Jewish cousins who create a comic-book superhero, hoping to recruit America into the fight against Nazism. Music Director Yannick Nézet-Séguin conducts the dynamic new production by Tony Award–winning director Bartlett Sher.

Aribert Reimann is one of the worlds most important living composers. His works are performed regularly all over the world. Now comes his latest opera - Medea. Roughly 30 authors have written works based on this ancient myth but it was the play by Franz Grillparzer which inspired Reimann most: »In no other version is it made so brutally clear that Medea is an outsider. () Right from the start of act one my mind was flooded by musical ideas and by the end of the second act I really thought my head would burst. Vienna State Opera succeeded in recruiting Marco Arturo Marelli a man with a world-wide reputation, especially for global premieres as director and scenographer for this performance. Unusually for a world premiere, the first series of performances of the opera were a huge success amongst audiences and press alike. The public stormed the box office and ticket sales by far exceeded availability. A Sold Out notice had to be put up for virtually every performance!

The passage of time is probably the only concrete proof we have that justice exists in this cruel world. Some people would like to stop time in its tracks, while others choose to follow its path. In this story, three men in their early thirties have reached that age when it's time to start thinking about "getting a life", perhaps starting a family. But how do you handle the fact that your friendships are changing? That, slowly, your new family is becoming the center of your ever-shrinking world? What do you do when you realize your youth is a thing of the past?

When a divorced music video producer is forced to shut down his company, he attempts to rebuild his relationships with his father and estranged teenage son.

When Rosina falls in love with mysterious young suitor Lindoro, she must use all her cunning – and a little help from her local barber – to outwit her calculating guardian Dr Bartolo. Expect heart-melting serenades, ridiculous disguises and a fairytale ending waiting just out of reach. From the barber’s opening number ‘Largo al factotum,’ with its cry of ‘Figaro!,’ to Rosina’s feisty aria ‘Una voce poco fa,’ Gioachino Rossini’s comic opera is a riotously entertaining affair. Rafael Payare makes his House debut, and joins Christopher Willis in conducting a cast that includes Andrzej Filończyk, Aigul Akhmetshina, Laurence Brownlee, Konu Kim and Bryn Terfel.

Not exactly a standard work in the repertoire, Mozart´s two-act serenata from 1775 (he was 19) Il re pastore, libretto by Metastasio and previously used by several other composers, such as Gluck. A story including the usual ingredients of fidelity, love and a benevolent ruler, whose element of rigid opera seria are emphasized by director-and-conductor Thomas Hengelbrock in this stylized set-up.