Bizet: Carmen

Richard Eyre’s stunning new production of Bizet’s opera was the talk of the town when it was unveiled on New Year’s Eve 2009. Elīna Garanča leads the cast as the iconic gypsy of the title—a woman desired by every man but determined to remain true to herself. Roberto Alagna is Don José, the soldier who falls under her spell and sacrifices everything for her love, only to be cast aside when the toreador Escamillo (Teddy Tahu Rhodes) piques Carmen’s interest. With dances created by star choreographer Christopher Wheeldon and conducted by rising maestro Yannick Nézet-Séguin, this Carmen brings every aspect of Bizet’s tale to thrilling life, from its lighthearted beginning to its inevitably tragic climax.

Orlando

Olga Neuwirth, for a long time one of the great composers of the present, succeeds with this opera in creating a captivating arc across many musical genres. It’s an exciting, socially critical production by Polly Graham who puts a fantastically singing and playing Kate Lindsey in the center of the action.

Dalibor

Dalibor is based on events that took place in the 15th century: having led a peasant revolt, the Knight Dalibor of Kozojedy was imprisoned, by order of King Vladislav II of Bohemia, in a tower in Prague Castle that still bears the name “Daliborka” to this day. Legend has it that he learned to play the violin while he was incarcerated, and that the people passing by the tower would be moved on hearing his music.

The Metropolitan Opera: Die Walküre

Robert Lepage’s landmark staging of Wagner’s Der Ring des Nibelungen, unveiled over the course of the 2010–11 and 2011–12 seasons, was the first new Met production of the complete cycle in more than 20 years. Combining state-of-the-art technology with traditional storytelling, it brings Wagner’s vision into the 21st century. With Die Walküre, the story of the Ring enters the world of human beings. Jonas Kaufmann and Eva-Maria Westbroek are Siegmund and Sieglinde, the twin children of Wotan, sung by Bryn Terfel. Deborah Voigt stars in the title role of the Valkyrie Brünnhilde, Wotan’s favorite daughter. James Levine conducts.

Bizet: The Pearl Fishers

Bizet’s rarely heard opera returned to the Met for the first time in a century on New Year’s Eve 2015, in Penny Woolcock’s acclaimed new production. Star soprano Diana Damrau sings Leïla, the virgin priestess at the center of the story. Matthew Polenzani and Mariusz Kwiecien are Nadir and Zurga, rivals for Leïla’s love who have sworn to renounce her to protect their friendship—and who get to sing one of opera’s most celebrated duets, “Au fond du temple saint.” Nicolas Testé is the high priest Nourabad and Gianandrea Noseda conducts Bizet’s supremely romantic score.

The Metropolitan Opera: Boris Godunov

Stephen Wadsworth’s production of Mussorgsky’s epic masterpiece brilliantly captures the suffering and ambition of the Russian people at a critical time in their nation’s history. René Pape is riveting as the Tsar of the title, giving a commanding and charismatic performance of one of the greatest bass roles in the repertoire—his Boris is dominating, tortured, flawed and utterly unforgettable. The extraordinary cast and the Met Orchestra and Chorus are led by Russian maestro Valery Gergiev, the foremost Mussorgsky interpreter of our time.

Don Giovanni

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.

Rossini: Il Barbiere di Siviglia

Audiences went wild for Bartlett Sher’s dynamic production, which found fresh and surprising ways to bring Rossini’s effervescent comedy closer to them than ever before. The stellar cast leapt to the challenge with irresistible energy and bravura vocalism. Juan Diego Flórez is Count Almaviva, who fires off showstopping coloratura as he woos Joyce DiDonato’s spirited Rosina—with assistance from Peter Mattei as the one and only Figaro, Seville’s beloved barber and man-about-town.

Rossini: Armida

It is a rare opera indeed that calls for one soprano diva and no fewer than six tenors. Mary Zimmerman’s fanciful production of Rossini’s drama, designed by Richard Hudson and with choreography by Graciela Daniele, provides the perfect setting for superstar Renée Fleming’s captivating performance of the title role. A beautiful but evil sorceress in the times of the Crusades, Armida sets out to regain the love of the Frankish knight Rinaldo (Lawrence Brownlee) by putting her magical spells on him. She at first succeeds to draw him into her web of sorcery, but ultimately divine intervention—and his fellow soldiers—free Rinaldo from his enchantment—much to the vengeful fury of Armida and her demons.

Gounod: Faust

Tenor Jonas Kaufmann is riveting as the title character of Gounod’s popular opera, seen in this Live in HD presentation of Des McAnuff’s thrilling 2011 production that places the mythical and timeless story in an early 20th-century setting. René Pape as Méphistophélès is menacing and elegant in equal measure, and Marina Poplavskaya delivers a searingly intense portrayal of the innocent Marguerite. Russell Braun as her brother, Valentin, shines in his Act II aria. On the podium, Yannick Nézet-Séguin brings out all the lyricism and drama of Gounod’s score.

Академия детских наук. Музыка. Как сочинять оперы. Фильм 4

The Beggar's Opera

Adaptation of John Gay's 18th century opera, featuring Laurence Olivier as MacHeath and Hugh Griffith as the Beggar.

Il Trovatore

Features: Mario Del Monaco Leyla Gencer Ettore Bastianini Fedora Barbieri Laura Londi Plinio Clabassi Orchestra Sinfonica e Coro di Milano dell RAI Radiotelevisione Italiana

Rigoletto

Teatro de la Zarzuela 1989

The Nutcracker

This version of "The Nutcracker" gives the classic ballet a tragic spin, with Masha (instead of Clara) now the unloved, unappreciated daughter of the Town Council President. At a Christmas party, Masha is given a seemingly alive Nutcracker by her Uncle Drosselmeyer, and Masha instantly is enchanted with it. The toys come to life at midnight, and after Masha helps the Nutcracker defeat attacking mice, he takes her to his kingdom, where he is later revealed to be a handsome Prince. The Prince and Masha fall deeply in love, but their "happy ending" has a morbid twist not found in any other "Nutcracker".

Il Trovatore

The Count Di Luna believes that his younger brother was murdered years before by a vengeful gypsy but still hopes that he may be alive. When he attempts to court the beautiful Leonora, he is enraged to discover that she has a lover – the troubadour, Manrico. Manrico and the Count duel, and afterwards Manrico reveals to Azucena, the woman he believes to be his mother, that when he had the opportunity to kill the Count he felt something holding him back.