Der Rosenkavalier (1994)
Overview
Felicity Lott, Anne-Sofie Von Otter, and Kurt Moll star in this production of Richard Strauss' opera, staged in Vienna in 1994. A romantic comedy of errors. Princess von Werdenberg must hide her affair with Octavian from her family; when he disguises himself as a chambermaid to avoid scandalizing the Princess, he is pressed into presenting a gift to Baron Ochs von Lerchenau, who has arrived to propose marriage to Sophie von Faninal. However, Ochs soon finds himself infatuated with the chambermaid, much to Octavian's chagrin, which proves to be only the first of a long series of romantic misunderstandings. This production of Der Rosenkavalier is performed by the Vienna State Orchestra and Chorus, under the direction of Carlos Kleiber.
Production Companies
Additional Info
| Budget | $0.00 |
|---|---|
| Revenue | $0.00 |
| Original Language | de |
| Popularity | 0.458 |
Directed By
Horant H. Hohlfeld
TOP CAST
Carlos Kleiber
Conductor
Felicity Lott
Die Feldmarschallin
Kurt Moll
Der Baron Ochs Auf Lerchenau
Anne Sofie von Otter
Octavian
Gottfried Hornik
Faninal
Barbara Bonney
Sophie
Olivera Miljakovic
Marianne Leitmetzerin
Heinz Zednik
Valzacchi
Anna Gonda
Annima
Peter Wimberger
Polizeikommissar
Waldemar Kmentt
Haushofmeister Bei Der Feldmarschallin
Franz Kasemann
Haushofmeister Bei Faninal
Wolfgang Bankl
Notar
Peter Jelosits
Wirt
Keith Ikaia-Purdy
Sanger
Similar Movies
Love Affairs and Heartbreaks
This first film of Cyprus' first director, Giorgios Filis, depicts music and dance customs in the form and style of a folk opera, with traditional Cypriot dances and songs. The film consists of a folkloric inventory based on the folk culture of Cyprus, as well as on similar ritual happenings. The narration and dialogue are entirely in the Cypriot dialect and are characterized by a rhetorical and poetic mood.
Verdi: Macbeth
David McVicar's production of Verdi's 1847 opera Macbeth.
Aida - Arena di Verona
The grand scale and magnificent acoustics of the Roman arena in Verona are ideally suited to the pageantry of Verdi's Egyptian opera, presented here in a staging that is true to the original 1913 production, framed by obelisks and sphinxes and filled with chorus and dancers. Chinese soprano Hui He has won international acclaim for her portrayal of the eponymous slave girl whose forbidden love for the war hero Radamés (Marco Berti, the experienced Verdi tenor) brings death to them both.
Lady Macbeth of Mtsensk
A young woman, married to a wealthy man, but miserably lonely; trapped within a world ruled with an iron fist. Katerina is driven by a lust for life and for love. Her husband, though, is impotent; her father-in-law a tyrant. No wonder, then, that she longs to free herself from this yoke. When Sergei starts work on the family estate, she sees in him a chance for salvation. However, their subsequent affair marks the beginning of a descent into crime.
Tchaikovsky: Eugene Onegin
The pain of unrequited love is portrayed unforgettably by two of today’s greatest stars. Renée Fleming is musically and dramatically radiant as the shy Tatiana, who falls in love with the worldly Onegin, played with devastating charisma by Dmitri Hvorostovsky. Their mesmerizing vocalism and chemistry explode in one of opera’s most heartbreaking final scenes. With Valery Gergiev on the podium conducting Tchaikovsky’s passionate score, this performance is one for the ages.
Adolphe Appia Visionary of Invisible
The life and work of stage designer ADOLPHE APPIA, originator of the most profound agitations in contemporary theatre. Through the dynamic alternation of animated drawings and choreographies specially conceived for the film, we discover the steps of his artistic evolution.
Strauss: Elektra
It's hard to imagine confirmed Straussians not wanting this starry Metropolitan Opera performance of Elektra. Strauss and his librettist, Hugo von Hofmannstahl, transformed Sophocles' take on Homer's tale into a harrowing opera noir. Elektra lives for one reason, to kill her mother, Klytämnestra, and her stepfather, Aegisth, the murderers of her father, Agamemnon. In contrast to Elektra's vengeful obsession, her sister Chrysothemis desires to get on with life. When their long-missing brother, Orestes, returns to do the deed, Elektra celebrates with a dance of death and, her sole purpose in life fulfilled, dies. Strauss joined the hermetic plot to music of the utmost opulence, violent and yearning by turns, evoking the cardinal principles of Greek tragedy - pity and terror.
La Traviata
La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]
Die Walküre
Die Walküre (The Valkyrie), WWV 86B, is an opera in three acts by Richard Wagner with a German libretto by the composer. It is the second of the four operas that form Wagner's cycle Der Ring des Nibelungen (The Ring of the Nibelung). The story of the opera is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda.[1][2] In Norse mythology, a valkyrie is one in a group of female figures who decide which soldiers die in battle and which live. Die Walküre's best-known excerpt is the "Ride of the Valkyries". DVD release June 2009.
Arthur
Clay animation film by Guionne Leroy, based on the music of Henry Purcell's opera "King Arthur"
Aria
Ten short pieces directed by ten different directors, including Ken Russell, Jean-Luc Godard, Robert Altman, Bruce Beresford, and Nicolas Roeg. Each short uses an aria as soundtrack/sound, and is an interpretation of the particular aria.
Mozart: Le Nozze di Figaro
Le Nozze di Figaro New Production Teatro Real in co-production with Bilbao’s ABAO and Las Palmas Teatro Pérez Galdós. From the opening notes of the overture to the final curtain, Emilio Sagi’s classic, triumphant production brings to life all the elegant wit and theatricality of Mozart’s comic masterpiece Le nozze di Figaro. Leading baritone Ludovic Tézier shines as the lustful Count Almaviva who attempts to obtain the favors of Figaro’s bride-to-be, Susanna (Isabel Rey), while Luca Pisaroni gives a feisty performance as Figaro. Conductor Jesús López Cobos masterfully captures the enchanting score. A witty yet profound tale of love, betrayal, and forgiveness.
Rossini: La Cenerentola
La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.---- IMDB id refers to Great Performances: Season 24, Episode 12 La Cenerentola (3 Apr. 1996) from Houston Grand Opera so release date is misleading.
Così fan tutte
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.
Massenet: Thaïs
When the most voluptuous, sought-after courtesan in the world meets an ascetic monk whose life is devoted to God, you know erotic sparks are going to fly. And when the clash takes place in a glorious, but rarely performed, opera by Massenet, it’s a delight to the ear just as much as to the eye. Renée Fleming is every inch the glamorous Thaïs, swathed in elegant gowns designed by Christian Lacroix. Thomas Hampson is Athanaël, the tortured man of God. This production by John Cox, which premiered in December 2008, brilliantly sets the stage for a confrontation as old as civilization itself.
William Tell
“Let us assume that Switzerland is truly a paradise. The music hereto was written long ago. We have merely forgotten it.” (Daniel Schmid) This is the material from which the most Swiss of all operas is made: the legendary Wilhelm Tell – a Swiss hero: straightforward, a primus inter pares of the indomitable freedom fighters, a good shot, surefire. A myth that becomes a poetic playground: nature in turmoil, the struggle for freedom and forbidden love. A legendary overture at a gallop with an iconic post horn motif – all this and much more in the thirty-seventh and last opera by Rossini.
Lohengrin
A short experimental film shot on Super 8, inspired by the music of Richard Wagner.
Handel: Admeto
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.
Amor, vida de mi vida: Zarzuelas
The many passionate, fiery or lyrical vocal pieces of Spanish zarzuela have continued to thrive in concert and recitals all over the world. One of the most renowned and ardent supporters of zarzuela melodies is Plácido Domingo. Belying his 66 years, the world-famous tenor sings these rousing, seductive melodies with the beguiling sweetness of a much younger man and tranports the enraptured listener to the calles and plazas of Madrid and Seville, Domingo is accompanied by Mozarteum Orchestra underJesús López Cobos and, above all, by his partner for the evening, sprano Ana Maria Martínez, "a beautiful woman with a fascinating voice, full of velvety mezzoish half-tints in the middle and bottom ranges, with a gleaming top." (London Times) Martínez and Domingo serve up an evening of infectious good spirits and exquisite vocal treats."The dazzle of genuine stars shone brightly over Salzburg!" (Die Welt)
A Drone Opera
A self-contained and uniquely seductive world featuring custom built drones with live video feeds, laser set-design, opera singers and an original libretto that combines to drive a narrative of desire, fear and destruction.