Met performances of Strauss’s white-hot one-act tragedy, which receives its first new production at the company in 20 years. Claus Guth, one of Europe’s leading opera directors, gives the biblical story—already filtered through the beautiful and strange imagination of Oscar Wilde’s play—a psychologically perceptive Victorian-era setting rich in symbolism and subtle shades of darkness and light.
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Paying a rare visit to her estate, a countess clashes with the man she hired to manage it.
Don Giovanni - Zurich (2006)
Live performance Zürich, May and July 2006. Modern dress performance which generated mixed reactions.
Don Giovanni live at the Innsbrucker Festwochen (2006)
Live performance filmed at the Innsbrucker Festwochen on 6 October 2006 at the Festspielhaus in Baden-Baden of Wolfgang Amadeus Mozart's opera Don Giovanni. Marcos Fink, Werner Güra and Alexandrina Pendatchanska perform as the principals, while the Freiburger Barockorchester and the Innsbruck Festival Chorus provide accompaniment. Georg Wübbolt directs.
Mozart Don Giovanni (2013)
A live recording of Don Giovanni from the Festspielhaus Baden Baden, recorded on May 23rd 2013.
Aida (2012)
Very nice set and costumes by Mauro Carosi. The procuction is well staged in the relatively small scene at Parma by Joseph Franconi Lee. Here's a performance that really works.Everything seems just right, but if you MUST have the top soloists (Pavarotti, Domingo...), look elsewhere. However, I think that the ones here (Susanna Branchini (Aida), Mariana Pentcheva (Amneris), Walter Fraccaro (Radames), Alberto Gazale (Amonasro), Carlo Malinverno (Il Re di Egitto) do a fantastic job. Also pluses for the ballet and the video production.
Aida (2003)
tt2266516. Aida (2003) Gran Teatre del Liceu. Verdi / Italian. Filmed at the Gran Teatre del Liceu, Barcelona, Daniela Dessì, Elisabetta Fiorillo, Fabio Armiliato, Juan Pons and Roberto Scandiuzzi lead the cast in the renowned period production filmed in 2003 against the historic paper trompe-l'œil sets painted between 1936-45 by Josep Mestres Cabanes, the last representative of the old Catalan school of scenography. Mestres Cabanes worked on his Aida vision for eight years. The opulent staging he created in 1945 is here in every detail. The seven magnificent sets he painted for Aida in 1945 have been subtly and painstakingly restored by Jordi Castells and his team – revealing the palaces, temples and surroundings of Memphis and Thebes which the set designer had wanted to evoke in his historical yet also fantasy-like vision.
Oberto (2007)
Part of Tutto Verdi series - Oberto (2007) Parma. Oberto was the first of Verdi’s operas to be staged and was heard for the first time at La Scala, Milan, in November 1839. As a young and unknown composer, Verdi was subject to the rules then governing the opera industry in Italy. Even so, there are already many scenes in this early work that reveal unmistakable signs of the composer’s individual style.
Die Entführung aus dem Serail (1998)
Legendary director Hans Neuenfels once again proves his great skill with this interpretation of Mozart’s “Entführung aus dem Serail” (Abduction from the Seraglio). This extraordinary production conducted by Lothar Zagrosek, and with Catherine Naglestad, Kate Ladner and Matthias Klink in the main roles, won the Bavarian Theatre Prize in 1999 and offers a refreshingly new view of one of the most frequently played operas worldwide. Special highlight: Neuenfels places an actor at every singer’s side who not only takes over his role for the spoken original scripts, but also interacts with his singing double and other characters of the piece. In recent decades, directors have sought to revitalise the somewhat naive plot of the “Entführung” with fresh interpretations. Hans Neuenfels, who produced his “first Mozart” here in Stuttgart, retains the story’s naivety and absurdity. He does this in a very stimulating and intelligent way.
Don Giovanni (1995)
Live from Glyndebourne Festival 1995. Yakov Kreizberg conducting the Orchestra of the Age of Enlightenment. Directed for the stage by Deborah Warner.
Don Giovanni (2002)
Live performance at Théâtre de l’Archevêché du Festival d’art lyrique d’Aix-en-Provence 2002. Daniel Harding conducting the Mahler Chamber Orchestra and Choeur de l'Académie Européenne de Musique. Directed for stage by Peter Brook.
The Marriage of Figaro (1994)
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Rigoletto (2017)
An outsider—a hunchbacked jester—struggles to balance the dueling elements of beauty and evil that exist in his life.
Tristan und Isolde (1999)
Inspired by Wagner’s own tortured affair with the wife of his patron, this searing masterwork is based on Arthurian legend and tells of an illicit romance between a Breton nobleman and the Irish princess betrothed to his uncle and king. The composer’s larger-than-life sensibilities are on full display throughout the score: Along with intoxicating orchestral music that surges in tandem with the couple’s burgeoning passion and a chord left symbolically unresolved until the last moments of the opera, the opera also features one of the repertory’s most soaring and ecstatic final climaxes, as Isolde surrenders to a love so powerful that she transcends life itself.
Rossini: L'Italiana in Algeri - Festival d'Aix-en-Provence (2007)
Live performance, Festival d'Aix-en-Provence, July 2006. 'L'italiana in Algeri' (English: 'The Italian Girl in Algiers') is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.
L'Italiana in Algeri (2015)
"This is Vienna State Opera live at home". April 2015. 'L'italiana in Algeri' (English: 'The Italian Girl in Algiers') is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.