The Orchestre Philharmonique de Radio France Solidarity concert for Ukraine

Visually this is a gripping production which captures the drama of this opera perfectly. It's downright exciting! and I found the singing, acting, and orchestral playing reasonably fine. I found only one major problem with it, a problem that kept Puccini for quite a few years. Turandot has been looking for an opportunity to kill Calif and Calif has singlemindedly tried to get Turandot to love and wed him focusing on her and ignoring a better looking girl who loves him truly. The problem is how to get the audience to applaud the match once Calif gets his wish. Puccini couldn't figure out how to do it. The traditional quick ending doesn't do it, and Berio's attempt is longer , tries its best, but ends up making it plain this is one wierd couple.

During the Second World War, François Touraine, a young piano prodigy, has no choice but to go and play in Germany to save the woman he loves. Because Rachel is Jewish in an age that no longer allows it... A great story of love, music and resistance through time and the horrors of the Occupation and Nazism.

“Eugene Onegin tells a love story that doesn’t work”. This is how Ralph Fiennes sums up the plot of Pyotr Ilyich Tchaikovsky’s opera, inspired by Pushkin’s work. A jaded young dandy, Onegin sets shy Tatiana on fire at first sight. Overcoming her reticence, she writes him a passionate love letter. Alas, he brutally refuses, giving her a lecture on morality. However, years later, after a duel, he falls in love with the young woman who is now Prince Gremin’s wife. Will she yield to his advances? Fascinated by Russian culture and attuned to the dramatic intensity of Tchaikovsky’s music, Ralph Fiennes is directing his first opera. If he chooses to use pictorial simplicity to evoke the Russian countryside or a ballroom, it is all the better to emphasise the emotions of the characters, as complex as they are modern.

To bring together again, for the first time since their premiere on a December evening in Moscow, Tchaikovsky’s opera Iolanta and ballet The Nutcracker, was the audacious challenge that Russian stage director Dmitri Tcherniakov accepted for the Palais Garnier in Paris in March 2016 : a revolutionary production, which was to become one of the key events of the Paris Opera season.

Tchaikovsky’s many moods—tender, grand, melancholy—are all given free rein in Eugene Onegin. The opera is based on Pushkin’s iconic verse novel, which reimagines the Byronic romantic anti-hero as the definitive bored Russian aristocrat caught between convention and ennui; Tchaikovsky, similarly, took Western European operatic forms and transformed them into an authentic and undeniably Russian work. At the core of the opera is the young girl Tatiana, who grows from a sentimental adolescent into a complete woman in one of the operatic stage’s most convincing character developments.

The impulsive and charismatic Don Giovanni travels through Europe seducing women, accompanied by his long-suffering servant Leporello. But when Don Giovanni commits murder, he unleashes a dark power beyond his control. Kasper Holten’s production is rich in both colourful comedy and exhilarating drama. Set designs by Es Devlin (Les Troyens) and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano for Christian Dior), with video projections by Luke Halls and choreography by Signe Fabricius, portray the visually entrancing world of Don Giovanni. At the heart of the production are the beauty and invention of Mozart’s dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close.

Mozart's "Idomeneo" is a work about love, hate, jealousy, war and destruction. It shows in a disturbing way the musical genius of the Salzburg composer. Each figure is characterized individually without losing sight of the musical whole. In a way, "Idomeneo" anticipates Wagnerian techniques in composition. The direction of this production at Madrid's Teatro Real was in the proven hands of Robert Carsen, who brings the work to the stage in a contemporary, modern and very disturbing way. Under the sovereign direction of Ivor Bolton, Eric Cutler, David Portillo, Anett Fritsch and Eleonora Buratto are among the singers.

The first revival of David Bösch’s new production for The Royal Opera, with two casts including Maria Agresta, Lianna Haroutounian and Anita Rachvelishvili.

Tony Award–winning director Ivo van Hove makes a major Met debut with a new take on Mozart’s tragicomedy, re-setting the familiar tale of deceit and damnation in an abstract architectural landscape and shining a light into the dark corners of the story and its characters. Maestro Nathalie Stutzmann makes her Met debut conducting a star-studded cast led by baritone Peter Mattei as a magnetic Don Giovanni, alongside the Leporello of bass-baritone Adam Plachetka. Sopranos Federica Lombardi, Ana María Martínez, and Ying Fang make a superlative trio as Giovanni’s conquests—Donna Anna, Donna Elvira, and Zerlina—and tenor Ben Bliss is Don Ottavio.

Beautiful young housewife Séverine Serizy cannot reconcile her masochistic fantasies with her everyday life alongside dutiful husband Pierre. When her lovestruck friend Henri mentions a secretive high-class brothel run by Madame Anais, Séverine begins to work there during the day under the name Belle de Jour. But when one of her clients grows possessive, she must try to go back to her normal life.

Rémi is a man trapped in a deteriorating marriage. When his wife is unexpectedly killed in a car accident, Rémi is left with his stepdaughter, Marion, who chooses to stay with him rather than live with her birth father. After the initial shock passes, Rémi is caught off-guard when Marion begins expressing her attraction to him. Initially repulsed, Marion's mature beauty wears him down as he finally caves to her seductions.

Teenage Julien loves his teenage cousin Julia among flowers in summer of '39 France.

An English pianist living in Rome witnesses the brutal murder of his psychic neighbor. With the help of a tenacious young reporter, he tries to discover the killer using very unconventional methods. The two are soon drawn into a shocking web of dementia and violence.

Mona Bergeron is dead, her frozen body found in a ditch in the French countryside. From this, the film flashes back to the weeks leading up to her death. Through these flashbacks, Mona gradually declines as she travels from place to place, taking odd jobs and staying with whomever will offer her a place to sleep. Mona is fiercely independent, craving freedom over comfort, but it is this desire to be free that will eventually lead to her demise.

Berg and Bela are married stunt drivers, but one night Bela dies in an accident. Jaded and reclusive, Berg becomes a nighttime security guard where he befriends a young woman, Mimi, who works nights too. Soon a shadowy figure from Bela's past comes into Berg and Mimi's lives. Berg is forced to protect Mimi and seems responsible for a murder, but the man from Bela's past who caused her so much pain won't stop until he sees Berg suffer as much as Bela did.

One of society’s last taboos is elderly desire, which remains strong for many: half of older adults remain sexual. Advances in medicine and lifestyle mean people in their 70s, 80s, or 90s can still explore and enjoy intimacy. Yet society often ignores this—aged bodies are deemed unattractive, and sexual desire beyond tenderness is stigmatized, sometimes leading to mistreatment in care homes where couples are separated. The documentary Vieillir et jouir sans entraves confronts this taboo. Featuring celebrities and real-life couples—including Francine and Marc (60 years together) and gay couple Jean-Marc and Alain (34 years together)—it explores aging bodies, love, sexuality, and the challenges of libido and illness. The film highlights initiatives supporting sexual expression for older adults, including LGBT-friendly housing and sex-positive care, urging society to rethink its view of aging intimacy.

A P.I. is obsessed with a cute woman, who seduces and kills rich men around W. Europe.

Sacha is a real seducer, a man with no ties or emotional or professional. Charlotte is a modern and independent woman, but barely has time to care for their three children. While Sacha and Charlotte are, at first glance, two incompatible beings, when they meet soon discover that they are quite complementary and need each other.

'The Oilprince' is an unscrupulous businessman. He looks forward to a lucrative deal with the "Western Arizona Bank'. He sells the bank oil wells at Shelly Lake that do actually not exist. The Oilprince learns that the colonists would like to settle at Shelly Lake. So The Oilprince exchanges the scout of the settlers by one of his minions to give them another route. But soon The Oilprince has to recognize that he has not counted on Winnetou, the righteous leader of the Apaches, and his blood brother Old Surehand.

A successful film composer falls in love when he travels to India to work on a Bollywood retelling of Romeo and Juliet.

Before being judges, attorneys, or jury members, they are first of all men and women at a crossroads in their lives, with their dreams and their secrets, their hopes and their limitations, all beneath the same sun, each with their own dark side. In a lovely provincial town, during a jazz festival, life will juggle with their destinies.

Franco Zeffirelli’s golden production stars the great dramatic soprano Nina Stemme as Turandot, the icy Chinese princess who has renounced all men. Marco Berti is Calàf, the unknown prince who solves Turandot’s riddles and wins her love. Anita Hartig sings Liù, the faithful slave girl who gives her life to save Calàf, and Alexander Tsymbalyuk is Timur. Paolo Carignani conducts.