The Queen of the Night has begged Prince Tamino to free her daughter Pamina from the clutches of the High Priest Sarastro, who has abducted her. Together with the bird-catcher Papageno, Tamino enters Sarastro's realm to seek her. When he finds her, the two fall in love, but they have to have to undergo ordeals before they can be together. At the end, Papageno is also rewarded with his Papagena.
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Amadeus (1984)
Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Salzburger composer Wolfgang Amadeus Mozart.
The Marriage of Figaro (1993)
This is a good video of "Figaro", but there are a couple of better ones available. The Bohm and the Pappano are better still due to the female members of the casts. The reason for buying this one is the "Figaro", Bryn Terfel. No one can top him today in that role. John Eliot Gardiner also stands out. Many of us have voiced their opinion that If the Metropolitan Opera would release it's 1998 version, that would be the one to get.
Puccini: Manon Lescaut (1980)
All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.
Harry Potter and the Chamber of Secrets (2002)
Cars fly, trees fight back, and a mysterious house-elf comes to warn Harry Potter at the start of his second year at Hogwarts. Adventure and danger await when bloody writing on a wall announces: The Chamber Of Secrets Has Been Opened. To save Hogwarts will require all of Harry, Ron and Hermione's magical abilities and courage.
The Metropolitan Opera: Norma (2017)
Deep in a forest where druids and warriors seek revenge against the conquering Romans, Norma is scorned by the Roman proconsul Pollione, with whom she has two children. Her kindness turns to fury when she discovers that Pollione has taken Adalgisa, a novice priestess, as his new lover. When Pollione loses his high rank in the army and is offered as a sacrifice, Norma promises him freedom under one condition.
The Metropolitan Opera: The Exterminating Angel (2017)
After the acclaimed Met premiere of Thomas Adès's "The Tempest" in 2012, the composer returned with another masterpiece, this time inspired by filmmaker Luis Buñuel's seminal surrealist classic "El Ángel Exterminador", during the 2017–18 season. As the opera opens, a group of elegant socialites gather for a lavish dinner party, but when it is time to leave for the night, no one is able to escape. Soon, their behavior becomes increasingly erratic and savage. The large ensemble cast tackles both the vocal and dramatic demands of Adès's opera with one riveting performance after another. Tom Cairns, who also penned the work's libretto, directs an engrossing and inventive production, using a towering wooden archway to trap the characters onstage. And Adès himself takes the podium to conduct the frenzied score, which features a host of unconventional instruments, including the eerie electronic ondes Martenot.
The Metropolitan Opera: Tosca (2018)
Sir David McVicar’s bold new staging of Tosca, Puccini’s operatic thriller of Napoleonic Rome, thrilled Met audiences when it rang in the New Year in 2018. Only weeks later, the production was seen by opera lovers worldwide as part of the Met’s Live in HD series of cinema presentations. In this performance, Bulgarian soprano Sonya Yoncheva is the passionate title diva, opposite charismatic tenor Vittorio Grigolo as her lover, the idealistic painter Mario Cavaradossi. Baritone Željko Lučić is the menacing Baron Scarpia, the evil chief of police who employs brutal tactics to ensnare both criminals and sexual conquests. On the podium, Emmanuel Villaume conducts the electrifying score, which features some of Puccini’s most memorable melodies.
Benvenuto Cellini (2015)
With his affinity for the 16th-century sculptor Benvenuto Cellini's advocacy of artistic and personal freedom, Hector Berlioz went straight for the grand gesture with his first completed opera. Returning to it years after initial production debacles, Berlioz stated that he would 'never again find such verve and Cellinian impetuosity, nor such a variety of ideas.' The plot revolves around Cellini's wooing of Teresa, a match frustrated at every opportunity by his rival, the cowardly Fieramosca. Benvenuto Cellini is a pithy work combining romance, excitement, violence, comedy and spectacle; the perfect stage for Terry Gilliam's stylishly colorful and larger than life directing.
The Prank (2025)
When 12-year-old Chinese exchange student Xi Zhou's April Fools' prank goes disastrously wrong, it drags his host family, their son Lucas, and his crush Charlotte (Charly) into a tumultuous adventure full of gangsters, cash and chaos. With the mafia, a crew of rapper-thugs, and a bumbling police duo in pursuit, Lucas and Xi must team up to fix the mess they’ve created. Their only hope? Pulling off one final, genius prank.
Puccini: La bohème (1982)
"La Bohème" is one of Giacomo Puccini's most popular and timeless works and the second-most performed opera at New York's Metropolitan Opera. This production, directed by the legendary Franco Zeffirelli, features José Carreras, Teresa Stratas, Renata Scotto and Richard Stilwell. The opera is replete with extraordinary visual beauty as it presents the tragic story of young bohemians struggling to make it in the world.
The Pirates of Penzance (2020)
Sasha Regan’s award-winning All-male Company are set to lift everyone’s spirits with a treat in their new West End pirate’s cove. The swashbuckling pirates and their winsome lasses sail into the Palace Theatre with their inventive new take on W. S. Gilbert & Arthur Sullivan’s classic operetta THE PIRATES OF PENZANCE. Featuring a dazzling cast singing songs including: “I am a Pirate King”; “Oh, happy day, with joyous glee” and “A rollicking band of pirates we”, they are sure to raise the roof off the Palace Theatre!
The Spirit of Christmas (1953)
This Christmas film, created as a special for television broadcast throughout the Philadelphia, Pennsylvania viewing region, was produced by puppeteer Mabel Beaton and her husband Les for Bell Telephone Company and first aired in 1953. Following a short live-action opening portion, featured are two extended marionette segments, the first dramatizing Clement Moore's "A Visit from St. Nicholas", the second reverently telling the Nativity story; the two stories are staged in classic, traditional style. From 1953 onward, for several years, The Spirit of Christmas was broadcast in the intended region multiple times per holiday season. It was also available as a 16mm film licensed to schools for showings to students. This film often is misstated to have originally been broadcast in 1950.
Puccini: Gianni Schicchi (2004)
Opera in one act, libretto by G. Forzano based on Dante's Divine Comedy. Third part of his opera Triptych. The plot is based on canto XXX of "Inferno" from "The Divine Comedy", which are dedicated to the rogue and deceiver Gianni Schicchi, who was punished for his sins: he impersonated a dying rich man in order to make a forged will on his behalf. Gianni Schicchi is Puccini's only comic opera, a brilliant example of a modern opera buffa based on the tradition of Verdi's Falstaff. The most expressive recitative, bubbling melody, sharp character, impetuous tempo distinguish her music. Recorded live at Glyndebourne Opera House, Sussex, UK on 11 July 2004.
The Newspaper (2005)
The writer Dario Fo applies his inventive genius to Rossini's comic opera in its premiere DVD release. Recorded in 2005 under the musical direction of Maurizio Barbacini, Fo's production brings fresh vitality and colour to the story of Lisetta, and of her father Don Pomponio's increasingly ridiculous attempts to find a husband for her through an advertisement in the newspaper LA GAZZETTA. Filmed using high definition cameras with multitrack sound.
Ermione (1995)
Recorded at the Glyndebourne Festival Opera in 1995, this acclaimed presentation of composer Gioachino Rossini's epic opus ERMIONE is based on Jean Racine's play "Andromache." Set in Troy after the city fell to the Greeks, the production recounts the rancorous battle between widow Andromache and Helen of Troy's green-eyed daughter, Ermione for the love of Pyrrhus
Verdi Otello (1962)
Desdemona in Verdi's Otello was a career role for soprano Renata Tebaldi, from her first operatic performance outside of Italy to her final appearance on the opera stage. Between those landmarks she performed the role nearly 100 times all over the world and made studio audio recordings that became reference recordings for the role. This 1962 production with the Deutsche Oper Berlin and Giuseppe Patane was planned as a media event from the outset and blessedly captures a consummate artist in a signature role at the peak of her gifts.
Countdown to Disaster (1982)
International Rescue sends the incredible Thunderbirds on the most dangerous rescue missions yet. They must save the Empire State Building from collapsing on New York City and at the same time battle a deadly fire blazing out of control in a mid-Atlantic oil station.
La Finta Giardiniera (2006)
The Zurich Opera gathered a superb cast for this production: Italian soprano Eva Mei sings the Countess Violante, known as Sandrina, the feigned gardener of the title. Spanish soprano Isabel Rey is her opponent Arminda, and Arminda's former lover, the melancholy Cavaliere Ramiro, is sung by Romanian mezzo Liliana Nikiteanu. Moretti's staging presents the action in a modern villa in a hierarchical world of the rich and famous.
Mefistofele (2016)
The director, Roland Schwab, has created his version of Hell. The set is like a high iron walled hanger and the stage is continually occupied with people who look like fugitives from Mad Max and who interact with Mefistofele. The orchestra and choir are wonderful. Rene Pape gives a nuanced interpretation with a certain amount of sardonic humour under the evil. His singing and acting are first rate, as is that of Kristine Opolais and Joseph Calleja.