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poster

71

17

7.0

/582/

69

/11/

68

/18/

3.6

/696/

80

/2/

This odd film is a major representative of an even odder film genre: direct-to-celluloid opera. It was commissioned by the Portuguese master of style, director Manoel de Oliveira from composer João Paes. Musically, it ranges from 19th-century romanticism to popular, modernist and even "post-modernist" styles. In the initially tame story, a host-narrator tells the story of a wedding between the two lovebirds: Viscount d'Aveleda and the beautiful Marguerite. However, what happens in the bridal chamber is incredibly bizarre. The events after that are even stranger, and the wedding guests and family indulge in cannibalism, among other perversions.

poster

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8.4

/35/

10

/1/

Live performance, part of Monteverdi cycle staged by Oper Zürich with Nikolaus Harnoncourt conducting the Zürich Opera House Monteverdi Ensemble. Staged and directed by Jean-Pierre Ponnelle

poster

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9.3

/15/

50

/2/

First seen at La Monnaie in Brussels on 13 May 1998, this production of Monteverdi’s L’ORFEO seen through the eyes of Trisha Brown and René Jacobs has become an operatic classic in a few short years. This is doubtless because it offers a total symbiosis of music, text and movement – described by the critic of the Daily Telegraph of London as being ‘as close to the perfect dance opera as I have ever seen’. Or to quote Gilles Macassar in Télérama: ‘In the pit and onstage, the Brussels production has only one watchword: mobility, nimbleness, dexterity. The singers run, fly, whirl like dancers defying gravity. From the flies down to the footlights, the whole theatre is under a fantastic spell.’ For Christophe Vetter, on ConcertoNet: ‘This Orfeo can be seen again and again with immense pleasure. . . . René Jacobs’s conducting continues to arouse admiration for its precision, its stylistic rigour, its inexhaustible inventiveness and its feeling for the contrasts so vital to this repertoire.’

poster

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55

/1/

Like Handel’s Orlando (1732) and Ariodante (1734), Alcina derives from the narrative material in Ariosto’s Orlando furioso. The story of the sorceress Alcina, an initially hedonistic, manipulative woman who later finds herself a victim of love, fits into the genre of the ‘magical opera’ with numerous magical elements, but Handel achieved considerable emotional authenticity in his characterisations. This makes Alcina one of the most deeply felt and multifaceted operas. ‘You may despise what you like ; but you cannot contradict Handel,’ said the Irish playwright George Bernard Shaw. As in Tamerlano, Pierre Audi based this production on the stage at the baroque theatre at Drottningholm, for which he originally developed the directing concept. His set is thus based on the principles of perspective, with wings in the form of painted panels. The result is marvellous modern musical theatre in a historizing frame.

poster

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8.4

/12/

George Frideric Handel's Giulio Cesare: Opera in three acts, HWV 17. Performed at Salzburg Festival 2012.

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6.0

/6/

Drama - This majestic production of Handel's vivid tragedy, TAMERLANO, stars a Lear-like Placido Domingo as the Turkish Sultan Bajazet, caught between pride, love, and loyalty. Displaying the uniquely heroic quality of his voice, Domingo heads a superb cast, including Sara Mingardo, Monica Bacelli, and Ingela Bohlin, all magnificently responsive to Paul McCreesh's authentic and luminous musical interpretation of the score. The stunning theatrical staging by Graham Vick provides a splendid setting for the characters and for designer Richard Hudson's extravagant Baroque-Islamic costumes, emphasizing the brilliance of one of Handel's finest dramatic achievements. - Monica Bacelli, Plácido Domingo, Ingela Bohlin

poster

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8.6

/53/

Live performance, part of Monteverdi cycle staged by Oper Zürich with Nikolaus Harnoncourt conducting the Zürich Opera House Monteverdi Ensemble. Staged and directed by Jean-Pierre Ponnelle

poster

?

7.8

/44/

20

/2/

Inspired by a fable by La Fontaine, [composer Jean-Philippe] Rameau produced perhaps his most brilliant music for his penultimate great work, blending reality and the surreal on several levels.

poster

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70

/1/

L'Incoronazione di Poppea by Monteverdi is the last Opera of the Monteverdi trilogy filmed by the Italian label and producer Dynamic at the Teatro Real, Madrid.

poster

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8.3

/36/

20

/1/

The prologue sets the stage for the action: Thespis, Momus and Thalie announce the subject of the play. It is a comedy mocking the folly of man...and the story of a trap set by Jupiter to cure Juno of her jealousy. The trap? It consists in convincing the water nymph Platée that Jupiter is in love with her. Mercury officially declares Jupiter’s love to Platée. When the god appears before her – first as a donkey, then an owl - the nymph calls on the birds of the marshes, but they scare Jupiter away. Luckily he quickly returns and declares his love for Platée. He even wants to marry her. La Folie comes to sing for the fiancée during an absolutely chaotic scene. However, as the couple prepares for the wedding, Juno arrives. Furious, she puts an end to the farce and ascends to the heavens with Jupiter. Humiliated, Platée understands she has been duped. She swims off into the marshes, as the chorus sings an ironic song in her honour.

poster

?

8.8

/51/

100

/1/

"William Christie and Les Arts Florissants propel this exuberant production of Jean-Philippe Rameau's second opera to great heights. Andrei Serban's extravagant, highly baroque staging presents the four exotic love stories vibrantly. In 'Le Turc généreux' Osman sets free his captive, Emilie, whom he loves, so that she may be reunited with her former lover, Valère; 'Les Incas de Pérou' is all about the rivalry of the Inca Huascar and the Spaniard Don Carlos, both in pursuit of Princess Phani; 'Les Fleurs' offers a Persian love intrigue, as the Sultana Fatime tries to detect whether her husband Tacmas has his eye on the lovely Atalide; and 'Les Sauvages' takes us to North America, where a Spaniard and a Frenchman compete for the love of Zima, daughter of a native chief, who prefers one of her own people." — from the DVD cover

poster

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8.4

/46/

20

/1/

100

/1/

Viva Vivaldi! is a concert by the Italian mezzo-soprano Cecilia Bartoli interspersing arias from the 20 surviving operas of Vivaldi with two concertos. Given with the early music ensemble Il Giardino Armonico before a very appreciative audience in the Théâtre des Champs-Élysées, the performance is part of Bartoli's exploration of the Venetian composer's opera music which also includes The Vivaldi Album. There is a startling dynamic energy, which contrasts powerfully with the more restrained interpretations by singers such as Emma Kirkby. Bartoli's natural Italian and the live atmosphere of Maria Grazia d'Alessio's oboe gives her interpretation of the quietly haunting and melodically rich "Non ti Lusinghi la Crudeltade" from Tito Manlio a particular piquancy. The Flautino Concerto is a most attractive interlude, while the more famous Lute/Violin Concerto beguiles with its exquisite lyricism.

poster

?

8.6

/12/

10

/2/

Live performance 10 February 2011 at the Palais Garnier. Emmanuelle Haïm conducting Le Concert d'Astrée and les Choeurs de l'Opéra national de Paris. Directed for stage by Laurent Pelly.

poster

?

8.0

/11/

85

/2/

Live broadcast of the opera performance held on November 10, 2012 at the Opéra national de Lorraine in Nancy, performed by five world-class countertenors.

poster

?

8.3

/9/

85

/1/

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.

poster

?

8.6

/62/

60

/2/

90

/3/

Live performance, part of Monteverdi cycle staged by Oper Zürich with Nikolaus Harnoncourt conducting the Zürich Opera House Monteverdi Ensemble. Staged and directed by Jean-Pierre Ponnelle. Filmed 28 March – 20 April 1978 in Vienna, sound recorded 1 – 25 December 1977 in Zürich.

poster

?

6.3

/10/

Music - Making full use of Drottningholm Theatre's unique 18th-century baroque theatre machinery, as well as his deep creative understanding of the profound drama of the work, stage director Pierre Audi creates a production of ZOROASTRE that completely accords with the spirit of Rameau. True to the form of the tragedie lyrique, choreographer Amir Hosseinpour's dances perfectly match the weight and meaning of both plot and music. The ensemble, Les Talens Lyriques, reinforced with musicians from the Drottningholm Court Theatre Orchestra and Chorus, is expertly and passionately led into the musical stratosphere by musical director Christophe Rousset. This intensely dramatic production is captured live in vibrant High Definition video and true surround sound. - Anders J. Dahlin, Evgueniy Alexiev, Sine Bundgaard

poster

?

7.4

/6/

90

/1/

50

/4/

Recorded at the Musiektheater, Amsterdam on 21 & 25 January 2008. Performed by De Nederlandse Opera, composer Jean-Philippe Rameau's renowned tragedy "Castor et Pollux" tells the myth-based story of the selfless love between two brothers: Castor, who is mortal, and the immortal Pollux. When Castor dies trying to prevent the kidnapping of the woman he loves, Pollux decides to become mortal and replace his brother in the Underworld. Finnur Bjarnason, Henk Neven and Anna Maria Panzarella star.

poster

?

5.2

/12/

40

/1/

20

/1/

For the launch of its DVD collection, Alpha is joining forces with Christophe Roussets Les Talens Lyriques in Rameaus opera-ballet Les Indes galantes, his most famous work, here performed in its 1750 Toulouse version. Particularly rich both on the musical level and in atmosphere, scrutinizing love in far-off lands (Turkey, Peru, Persia and America), it responds to the infatuation with exoticism that tinged all the arts of the century. Rameaus dance music is always quite suggestive, evocative of a movement or a pictorial atmosphere. As for the staging, Laura Scozzi brings her contemporary vision to these countries and travels. Filmed at the Bordeaux National Opera, this production marked the Rameau celebrations in 2014 and was unanimously hailed by the international press

poster

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9.0

/67/

75

/5/

David McVicar’s production of Giulio Cesare manages to combine serious insight with entertainment, bringing Handel's masterpiece to life in a powerful, convincing and highly intelligent way. ln every line of the complex narrative the subtle nuances are apparent, reflecting perfectly the transparent and exquisite nature of Handel's musical expression. Filmed in High Definition and recorded in true surround sound, the outstanding singing of the all-star cast, led superbly by Sarah Connolly, and the vivid playing of the Orchestra of the Age of Enlightenment under the energising baton of William Christie reveal the colour and dramatic character of Handel’s music in a most delightful manner.

poster

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8.8

/34/

43

/3/

The quest of the bourgeois Jourdain for the nobility status in the France of king Louis XIV

poster

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7.9

/23/

100

/1/

The Ballet de l'Opera National de Paris mounted this production of the late Pina Bausch's dance-opera Orpheus und Eurydike, which Bausch had adapted from composer Christoph Willibald-Gluck and Ranieri de' Calzabigi's 1762 opera Orfeo ed Euridice. As the title suggests, it takes its basic narrative from the myth of Orpheus, and his courageous but ill-fated attempt to rescue his lover Eurydice (also known as Eurydike) from the jaws of the underworld. This particular production finds Yann Bridard dancing as Orpheus and Marie-Agnès Gillot dancing as Eurydike , with mezzo-soprano Maria-Riccarda Wesseling accompanying Bridard and soprano Julia Kleiter accompanying Wesseling. Pina Bausch did the choreography and stage direction, while Rolf Borzik designed the sets, costumes and lighting. The Balthasar-Neumann Ensemble & Choir, under the direction of Thomas Hengelbrock, lend musical accompaniment.

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This is the World Première Recording on DVD of Cavalli’s opera Il Giasone. The plot is loosely based on the story of Jason and the Golden Fleece, but the opera contains many comic elements too. This 2010 production from Antwerp is orchestrated and conducted by the internationally reputed baroque specialist Federico Maria Sardelli. It is directed by the young Frenchwoman Mariame Clément, who is currently making a name for herself with her infectious directing in German and French opera houses. The title role is sung by the promising French countertenor Christophe Dumaux.

poster

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French version of Cherubini's opera staged in Brussels by Krzysztof Warlikowski

poster

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N/A

poster

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Live performance by Les Arts Florissants at the Théâtre de Caen, recorded on 18 Octorber 2011. "One of the earliest operas deserving of the name, Didone is our first surviving musical version of the famous episode in Virgil's Aeneid where the Trojan Hero loves and then cruelly leaves the noble Dido." — from the DVD back cover

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Axel Kohler, the internationally renowned countertenor has brought Admeto into the modern era in timeless style by the skillful application of imaginative theatrical digressions. Köhler's production at the Halle Opernhaus revisits a work that encompasses comedy, tragedy and almost absurd grotesqueness, couching it in the convincing metaphor of a modern hospital.

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