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La Traviata is not only one of Giuseppe Verdi's best known works but ranks among the most popular operas of all times. Based on the novel and play La Dame aux camélias by Alexander Dumas (fils), the tragic story of the terminally ill courtesan Violetta who falls in love with the young gentleman Alfredo Germont has moved audiences to tears for more than 150 years. Live from the Arena di Verona, 2011
Teatro Regio’s 2013 revival of their highly successful 2006 production of Verdi’s Don Carlo celebrates the 40th anniversary of the theatre’s reopening in 1973. With traditional staging and lavish costume design, the production garnered high acclaim in the national and international press, with GB Opera commending the ‘sumptuous’ setting and French online music magazine ResMusica praising director Hugo de Ana’s decision to revive the show ‘in all its splendour’. Shown here in the four-act version, Don Carlo is the fascinating tale of father-son power struggles, adultery and love that borders on incest. The cast – under the powerful baton of Gianandrea Noseda – is headed by renowned Mexican tenor Ramón Vargas, and also features Ludovic Tézier, who has been hailed as ‘one of the best Verdian singers of our time’
As Aragon descends into unrest, a count jealously fights for a noble lady's heart. But she has already given it to a passionate troubadour whose mother holds a terrible secret. Surpassing its hugely successful spiritual predecessor Rigoletto, Il Trovatore was an instant triumph. Verdi’s music is so passionate and transcendent that one almost loses sight of opera’s notoriously most implausible plot, complete with burning babies and bloodthirsty vengeance. NCPA's production of Verdi's opera Il Trovatore will be performing at Opera house of NCPA from October 23-27, 2019.
Puccini’s melodrama about a volatile diva, a sadistic police chief, and an idealistic artist has offended and thrilled audiences for more than a century. Critics, for their part, have often had problems with Tosca’s rather grungy subject matter, the directness and intensity of its score, and the crowd-pleasing dramatic opportunities it provides for its lead roles. But these same aspects have also made Tosca one of a handful of iconic works that seem to represent opera in the public imagination.
Ernani is a love story about a young woman, Elvira, caught between three men: her lover, the nobleman-turned-outlaw Ernani; her guardian, the rich, elderly de Silva, who wants her for himself; and Don Carlo, the King of Spain who also has his eye on Elvira. Given the number of protagonists, it is also the story of a tragedy. Only 14 years after the premiere of Hernani, Giuseppe Verdi adapted Victor Hugo’s play into an opera to premiere at La Fenice, Venice in 1844. Ernani was an immediate and lasting triumph for the young Verdi, marking his prowess at adapting an historical event (the crowning of Charles V as emperor at Aachen Cathedral) to a psychologically convincing musical drama. The backdrop of three men paying court to one woman was the perfect foil for Verdi to explore the expressive qualities of three types of male voice. The tenor, the bass and the baritone.
This specific production from the "Le Grandi Operette" collection is a nostalgic gem, led by the legendary Sandro Massimini. If you're a fan of old-school European musical theater, this is the definitive Italian take on Franz Lehár's masterpiece.
Ernani is a gripping drama about love and revenge by Giuseppe Verdi. Written in his unique style it brims with poignant arias, rousing choruses and enthralling ensemble scenes. The rebel leader Ernani recognises his father's murderer in the Spanish King Carlo and seeks revenge on him. Both men love Elvira – as does old Silva whom she is to be married to ... Director Lotte de Beer and her set and costume designer Christof Hetzer devote themselves to the fictional plot which bears references to the 16th century. They demonstrate their rich scenic imagination in this production, conducted by Enrique Mazzola who “provides musically magic moments at the stand of the Wiener Symphoniker” (Schwäbische Zeitung). “Great singers, fiery music and an action-packed staging” (Allgäuer Zeitung). “A mixture of Tarantino’s ‘Kill Bill’ and Monty Python’s ‘The Knights of the Coconut’” (Deutschlandfunk).