Mozart: The Magic Flute

A Mozart opera at La Scala in Milan.

Kristine Opolais is the young woman whose conflicting desires for love and luxury lead to her tragic end, and Roberto Alagna plays the man who falls for her in Puccini’s early hit. Richard Eyre’s elegant production, which sets the action in 1940s occupied France, was one of the highlights of the Met’s 2015–16 season. Massimo Cavalletti as Manon’s brother and Brindley Sherratt as her aging admirer co-star, and Principal Conductor Fabio Luisi is on the podium.

This is the Ring cycle of the Dutch National Opera, directed by Pierre Audi. Alberich's brother Mime raises the orphan Siegfried, hoping that Siegfried will kill Fafner and enable Mime to gain the ring. Mime attempts unsuccessfully to reforge the Nothung. Fulfilling prophecy, Siegfried reforges the sword himself and kills Fafner, who has the form of a dragon. When he accidentally tastes the dragon's blood spilt on his hands, Siegfried understands the song of a woodbird, who instructs him to take the Ring from Fafner. Reading Mime's thoughts of betrayal, Siegfried kills the dwarf as well. The woodbird also informs Siegfried of a mysterious woman asleep in the midst of fire, and Siegfried sets off to find her. After defeating a disguised Wotan and breaking his spear, Siegfried successfully awakes Brünnhilde, and the two fall in love.

Benjamin Britten’s opera Gloriana was written in 1953 for celebrations around the Coronation of Her Majesty Queen Elizabeth II, to whom the opera is dedicated. It had its first performance at the Royal Opera House on 8 June 1953, in the presence of The Queen then just 6 days into her reign. The centenary in 2013 of Britten’s birth prompted this new Royal Opera production, in which director Richard Jones uses the setting of a celebratory pageant in 1953 to explore the work’s alternating splendour and intimacy. This theatrical, inventive and colourful staging has at its core the symbolic reflections between the Tudor Elizabethan and the New Elizabethan ages that characterize the opera. The juxtaposition of the modern and the archaic in William Plomer’s libretto is wonderfully amplified in music that artfully fuses the sounds and manners of Tudor England – from lute songs to courtly dances – with Britten’s own distinctive style.

This is the Ring cycle of the Dutch National Opera, directed by Pierre Audi. 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.

Philippe Herreweghe, principal conductor of the Royal Flemish Philharmonic, has devoted himself for over ten years to fresh and invigorating readings of the (pre-) Romantic repertoire. Together with the Collegium Vocale, founded in 1970 by Philippe Herreweghe himself, and superb soloists they perform Dvorak’s Requiem. A modern and stylistically flexible symphony orchestra, the Royal Flemish Philharmonic demonstrates an artistic flair which allows for a variety of styles and occupies a unique position in Flanders. Collegium Vocale Gent were one of the first ensembles to use new ideas about baroque performance practice in vocal music. Their authentic, text-oriented and rhetorical approach gave the ensemble the transparent sound with which it would acquire world fame and perform at the major concert venues and music festivals all over the world.

In this strikingly modern 2016 production from the Zurich Opera House, Tcherniakov transposes the opera’s intrigue from forest and castle to living room and psychiatric office. The love story of the original work remains riveting, but Tcherniakov brings an unexpected psychological element to his mise en scène, with Prince Golaud as a psychiatrist and Mélisande as a young woman suffering from PTSD. You’ve never seen Pelléas like this!

For years, *The Magic Flute* has been one of the most frequently performed operas at the Aix-en-Provence Festival. After an eight-year absence, Mozart’s work is now back on the programme. Clément Cogitore interprets the plot as a modern coming-of-age story: Tamino and Pamina leave the world of childhood behind and enter a reality in which beauty is fragile and truth is uncertain.

Rarely has a theatrical world premiere been so warmly received as Dutch National Opera’s production of Arnold Schönberg’s late-Romantic Gurre-Lieder in 2014. The production fulfilled a fervent wish of principal conductor Marc Albrecht. The music of Gurre-Lieder is timeless, and so is its subject: a passionate, yet forbidden love. The story harks back to a Scandinavian saga, situated in Gurre. King Waldemar loves the girl Tove, who is a mysterious character, connected to both the world of people and the world of birds. The queen is jealous and has Tove killed. The Wood Dove tells of this in a moving song and the king accuses God of cruelty. A nightmarish scene follows, of a fierce army killed in battle, which rampages like a horde of ghosts. The radiant dawn at the end of Gurre-Lieder shows the insignificance of human destiny compared to the power of nature.

The priestess Norma loves Pollione, leader of the occupying force suppressing her people, and has borne two children by him. But Pollione’s love has withered, and he now loves Norma’s fellow priestess Adalgisa. Meanwhile, the people urgently look to Norma to lead their rebellion.

Inspired by hearing performances of Handel's oratorios during his visits to London, Haydn composed Die Schöpfung ('The Creation') in 1798. Through a series of accompanied recitatives, arias, duets and choruses, the music depicts the creation of the universe and the carefree existence of Adam and Eve. Haydn drew on the full complement of his symphonic and vocal prowess which reach peaks of almost operatic intensity. With rich harmonies and sonic magnificence in abundance, Die Schöpfung represents the apex of the Viennese oratorio tradition.

Live performance from Salzburg Festival Opera, August 2007. The story tells of Cellini's love for Teresa, daughter of the Papal Treasurer Balducci. His rival, the Papal Sculptor Fieramosca, overhears Cellini plotting to run away with Teresa during the carnival.

A rich man invites to a banquet at which - at his wish - a new opera, Ariadne auf Naxos, is to be performed simultaneously with the improvised play The Faithless Zerbinetta and Her Four Lovers.

Axel Köhler’s production of Der Freischütz at the Dresden State Opera was described by Die Presse as “a minor miracle in Dresden”. In the words of the Salzburger Nachrichten, Köhler “scored a bulleye” with his sombre and satanic interpretation of Weber’s Romantic opera about love, temptation, souls sold to the Devil, obsession andfaith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of “mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening.”

Mozart did not write the Requiem as despairing funeral music for his impending death. Rather, the piece proclaims eternal light and redemption. Together with a first-class quartet of soloists, the choirs of the Bavarian and Swedish radios and the distinguished musicians of the Lucerne Festival Orchestra, Claudio Abbado uncovers this more hopeful and forgiving essence of the Requiem

Richard Strauss' last stage work is an opera about opera as an art form, depicting the creation of a music drama in a wise and witty way. Which came first the words or the music? That is the question Strauss and his librettist Clemens Krauss address through the story of a Countess torn between a composer and a poet.

A young man ignorant of everything, including his own name, arrives at the Kingdom of the Holy Grail. Is he the ‘pure fool, enlightened by compassion’, who, it has been prophesied, will purify the realm? OperaVision is live from Bergen for a concert staging of Parsifal, Richard Wagner’s final music drama which is unlike anything that went before or has come since. It can feel more like a ritual ceremony than an opera – grand yet intimate, somehow occupying its own space and time. At the heart of Parsifal is a curious, magical treatment of the symphony orchestra that appears to give the voices above it all the space and autonomy they need.

Heinrich wishes to conquer death through love, and when he meets Henriette, the wife of a business acquaintance, she expresses interest in a suicide pact when she learns she has a terminal illness.

Strauss’s elegant romance brings the glamour and enchantment of 19th-century Vienna to cinemas worldwide in a sumptuous production by legendary director Otto Schenk that “is as beautiful as one could hope” (The New York Times). Soprano Rachel Willis-Sørensen stars as the title heroine, a young noblewoman in search of love on her own terms. Radiant soprano Louise Alder is her sister, Zdenka, and bass-baritone Tomasz Konieczny is the dashing count who sweeps Arabella off her feet.

Ludwig van Beethoven, Johannes Brahms, Béla Bartók: Three masters of modernity, three masters of orchestral composition brought to life by Internationally-acclaimed Russian conductor Tugan Sokhiev, Music Director and Chief Conductor of the Bolshoi Theatre in Moscow and Music Director of Orchestre National du Capitole de Toulouse (ONCT) since 2008. Richard Strauss’ penultimate, satirically mythological opera Die Liebe der Danae (The Love of Danae, after a draft by Hugo von Hoffmansthal. The Wiener Philharmoniker play under the baton of Franz Welser-Möst, under whom they “conveyed the glittering colors and lyrical intricacies of Strauss’s late score” (NY Times).

Mozart did not write the Requiem as despairing funeral music for his impending death. Rather, the piece proclaims eternal light and redemption. Together with a first-class quartet of soloists, the choirs of the Bavarian and Swedish radios and the distinguished musicians of the Lucerne Festival Orchestra, Claudio Abbado uncovers this more hopeful and forgiving essence of the Requiem.

Rigoletto is the sharp-tongued jester of the Duke of Mantua, himself a notorious womanizer. As the Duke begins to seduce Rigoletto's daughter Gilda, the jester must realize that it is not within his power to protect her. What follows is an epic story of betrayal, revenge, and above all, love. Director Oliver Mears turns Verdi's masterpiece into a modern drama about morality, where in a decadent world full of corruption and depravity, power stands against innocence. Antonio Pappano conducts a stunning ensemble featuring a fascinating Carlos Álvarez in the title role, Lisette Oropesa as the incomparable Gilda, and tenor Liparit Avetisyan as the Duke of Mantua.

An early baroque masterpiece, Monteverdi's L’incoronazione di Poppea was inspired by The Annals by Tacitus and celebrates the love of the emperor Nero and the courtesan Poppea. Filmed at the 2008 Glyndebourne Festival, Robert Carsen’s production brings together Danielle de Niese, Alice Coote and the Orchestra of the Age of Enlightenment under the direction of Emmanuelle Haïm.

The renowned St. Thomas Boys Choir of Leipzig, which boasts J. S. Bach as a former cantor, celebrates its 800th anniversary with an extraordinary interpretation of the St. Matthew Passion. The Guardian praised how “the harmonic lines interwove with a transcendence that can only be achieved through living, eating and working together”.