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The Best Erwin Schrott Movies. Go to The Best Shows

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50

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Figaro and Susanna are looking forward to their wedding day – but Figaro’s master, Count Almaviva has designs on Susanna. Ivor Bolton conducts what is often considered the perfect opera.

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7.5

/17/

A live recording of Don Giovanni from the Festspielhaus Baden Baden, recorded on May 23rd 2013.

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6.2

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55

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70

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3.1

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A sudden gunshot shatters the dream of two lovers on their wedding day. The fate of Orpheus and Eurydice is cruel: on the very day they sought to seal their love, EurydiceΆs soul embarks on its journey to the underworld. Heartbroken, Orpheus embarks on a perilous journey to bring his beloved back from Hades. A journey that will lead the fearless hero to confront the depths of his emotions and face his greatest fears. This journey will take him through strange worlds and into encounters with some of the greatest musical pieces and arias in the history of music. Will love triumph over death?

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8.1

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60

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Live from La Scala Wednesday 10 December 2003

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8.3

/9/

New 2019 version of the Kasper Holten’s 2014 production of Don Giovanni for the Royal Opera offers a glimpse inside the mind of one of opera’s most notorious seducers. With a spectacular revolving set by award winning designer Es Devlin, ingenious video projections by Luke Halls, and an ‘ideal cast on world beating form’ (The Independent), this staging brings Mozart’s dazzling score to life, in all its wit, glamour, and darkness.

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6.2

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The French have occupied Sicily, and Hélène is held hostage by Montfort, the French governor, who has had her brother executed. She turns to the partisan Jean Procida and the rebellious patriot Henri in her bid for vengeance. Les Vêpres siciliennes is one of Verdi’s lesser-known mature operas, but was vital to his development as a composer. It was created for the Paris Opéra in 1855, providing Verdi with an opportunity to embrace the elaborate style and traditions of French grand opera. First seen at the Royal Opera House in 2013, this staging of Verdi's rarely-performed opera Les Vêpres siciliennes – directed by Stefan Herheim and conducted by The Royal Opera’s Music Director, Verdi specialist Sir Antonio Pappano – went on to win the prestigious Olivier Award for Best New Opera Production.

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8.0

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Live performance from Teatro alla Scala, 7 December 2009 .

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7.6

/23/

A striking interpretation of Mozart's opera that became a sensation at the 2008 Salzburg Festival. This is not only a rethinking of the place and time of the opera, but also a deep disclosure of the characters' characters, their ambiguous inner world. A simple, at first glance, plot is turned by the creators of the play into a dynamic psychological thriller.

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7.7

/17/

90

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Disillusioned with life, the aged philosopher Faust calls upon Satan to help him. The devil Méphistophélès appears and strikes a bargain with the philosopher: he will give him youth and the love of the beautiful Marguerite, if Faust hands over his soul. Faust agrees, and Méphistophélès arranges matters so that Marguerite loses interest in her suitor Siébel and becomes infatuated with Faust. Faust initially seems to love Marguerite in return, but soon abandons her. Her brother Valentin returns from the war and is furious to find his sister pregnant. Will Faust repent his destructive actions, and can his soul, and Marguerite's, be saved?

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8.8

/44/

83

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85

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David McVicar's spellbinding production of LE NOZZE DI FIGARO is set in 1830s post-revolution France, where the inexorable unravelling of an old order has produced acute feelings of loss. In the relationship between Finley's suave, dashingly self-absorbed Count and Röschmann's passionately dignified Countess, which lies at the tragic heart of the opera, the sexy ease between a feisty Figaro (Erwin Schrott) and a sassy Susanna (Miah Persson) is starkly absent, the tenacious spark between Marcellina (Graciela Araya) and Bartolo (Jonathan Veira) suggesting what might be rekindled. The production is superbly complemented by the beauty of Paule Constable's lighting and Tanya McCallin's evocative sets. Antonio Pappano conducts (and accompanies the recitatives) with invigorating wit and emotional depth.

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The Monte Carlo Opera presents Mozart's legendary Don Giovanni, with a libretto of Lorenzo Da Ponte, in a performance conducted by Paolo Arrivabeni and staged by Jean-Louis Grinda.

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N/A

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Live broadcast of Verdi's opera starring Luca Salsi, Erwin Schrott and Sondra Radvanovsky.

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The “superb, sinister” Tales of Hoffmann at the Dutch National Opera with “excellent soloists, the impressive John Osborn” (Theaterkrant) and “Christine Rice, a vocally and physically voluptuous Giulietta” (bachtrack.com), “mezzosoprano Irene Roberts, who plays and sings brilliantly” (Groene Amsterdammer) and “Erwin Schrott, singing the four villains for the first time, made it look like a blast.” (bachtrack.com) “Les Contes d'Hoffmann is a parade of golden voices”. (Volkskrant) Maestro Rizzi conducted with elegance and momentum the chorus and the “excellent playing Rotterdam Philharmonic Orchestra”. (Volkskrant) “Spectacular” (Trouw) “This production effortlessly fascinates from start to finish.” (Theaterkrant)

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After more than 40 years, the Vienna State Opera is bringing a new production of Carmen - in Calixto Bieito's brilliant and gripping staging - to the stage. Since the originally planned performances could not take place in front of an audience - we provide a recording of an extraordinary introductory matinee.

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Roberto Alagna, Marina Poplavskaya, Beatrice Uria-Monzon are hot hot hot. This Carmen perfectly hits the gypsy theme as a way of life rather than just some sleazy seductress. This Carmen is troubled, intense, manipulative and totally believable as "damaged". Alagna plays his part brilliantly. He is seduced and naive. He is angry and frustrated. He has that "I can fix her" syndrome. Poplavskaya is always a pleasure in my book---and this role, while a small part, suits her. She is very naive and lost in the shuffle of the military and the gypsies...perfect. Some of this is even a little disturbing as the gypsies put a little lipstick on a very young girl. Brilliant. In all, this is a fantastic production.

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Disillusioned with life, the aged philosopher Faust calls upon Satan to help him. The devil Méphistophélès appears and strikes a bargain with the philosopher: he will give him youth and the love of the beautiful Marguerite, if Faust hands over his soul. Faust agrees, and Méphistophélès arranges matters so that Marguerite loses interest in her suitor Siébel and becomes infatuated with Faust. Faust initially seems to love Marguerite in return, but soon abandons her. Her brother Valentin returns from the war and is furious to find his sister pregnant. Will Faust repent his destructive actions, and can his soul, and Marguerite's, be saved?

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Presented at Baden-Baden’s Pentecost Festival, this production of Boito’s Mefistofele captured the hearts of both audiences and critics—a rare feat! The success was unmistakably due in great part to the presence of Erwin Schrott—already celebrated for his performance as a seductive, witty, and diabolical Mephistopheles in Gounod’s Faust. The masterfully subtle Charles Castronovo incarnates the disillusioned philosopher Faust, who makes a deal with the devil. Philipp Himmelmann’s staging combines simple elements (a stage curtain made of silvery filaments and a giant protean skull) to incredible effect to tell the story of Goethe’s Faust.

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