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The last days of the American icon Walt Disney form a powerful and poignant subject for Philip Glass's latest opera, which was filmed at its first performances in Madrid in January 2013.
A contemporary take on the 17th-century genre of the pastiche, this delightful Baroque fantasy brings together some of the greatest arias and ensembles by Handel, Vivaldi, Rameau, Purcell, and other composers with a new English libretto by Jeremy Sams, inspired by Shakespeare’s The Tempest and A Midsummer Night’s Dream. The all-star cast is headed by David Daniels as Prospero, Joyce DiDonato as Sycorax, Danielle de Niese as Ariel, Luca Pisaroni as Caliban, and the legendary Plácido Domingo as Neptune. Early music specialist William Christie conducts this dazzling world-premiere production, designed and directed by Phelim McDermott and Julian Crouch.
Philip Glass’ opera “Akhnaten”, premiered in Stuttgart in 1984, forms the third part of the portrait opera trilogy about personalities who have influenced the course of human history. The conclusion of the trilogy deals with the ancient Egyptian pharaoh Akhenaten, who attempted to establish a kind of monotheistic cult around the god Aton during his reign in the 14th century BC, but failed due to the resistance of the priesthood. The production presented here was undoubtedly one of the very great successes of the 2019/20 season at New York’s Metropolitan Opera, due not only to the outstanding cast of singers (led by countertenor Anthony Roth Costanzo) but also to Phelim McDermott’s imaginative staging, which captivates with sometimes breathtaking imagery.
British director Phelim McDermott offers the audience a new take on the culture of the people of Ancient Egypt in Aida, one that allows us also to question the world in which we live. This new perspective entails a number of bold creative choices that do not make use of the traditional staging imagery associated with Aida. Aida’s command to Radames — “Ritorna vincitor!” — comes at a price. The triumphal march of the victorious Egyptians is a procession for the coffins of the heroes fallen in battle, the chorus are their grieving kinsfolk. McDermott’s staging resonates keenly with the images of so many civilian and military funerals that crowd our newsfeeds. Here is a triumphal march that does not seek to hide the true, lethal and disastrous nature of war, whatever side you are on.
In the depths of the Rhine, the three Rhinemaidens guard the Rhinegold, a treasure of immeasurable value. The Nibelung dwarf Alberich is dazzled by the sight of it. The girls explain that whoever wins the gold and forges it into a ring will gain power over the world, but must first renounce love. Frustrated by his unsuccessful attempts to catch one of the girls, Alberich curses love and steals the gold. Wotan, lord of the gods, is reproached by his wife Fricka: he has promised to give Freia, goddess of youth, to the giants Fasolt and Fafner in return for their building a fortress for the gods. When the giants demand their reward, Loge, the god of fire, suggests an alternative payment: the ring Alberich has forged from the Rhinegold, and his other treasures. The giants agree, and Wotan and Loge leave for the Nibelungs’ underground home.
Conductor Arnold Östmann leads the Stuttgart Radio Symphony Orchestra and the Choir of Theater im Pfalzbau Ludwigshafen in this production of Antonio Salieri's comic opera "Falstaff," filmed live at Germany's Schwetzinger Festspiele in 1995. John Del Carlo portrays the fat, licentious knight; the supporting cast includes Teresa Ringholz, Richard Croft, Darla Brooks, Carlos Feller, Jake Gardner and Delores Ziegler.
To mark the 250th anniversary of Handel's death, Vienna's Theater an der Wien realized a truly extraordinary project: the staging of Messiah, the composer's most popular oratorio. Collaborating with an exquisite cast of singers, Claus Guth, one of today's highly renowned stage directors, delivered 'an emotionally and psychologically charged sequence of images. . . The audience was thrilled' (Suddeutsche Zeitung).
This is an excellent production of Mozart's 1791 opera about Titus Vespasian, who prefers to be remembered for his clemency, even toward his best friend who instigated a revolt to overthrow him. It was recorded at Glyndebourne on August 3, 2017, in front of an audience, and the orchestra and singers perform the work beautifully
The definitive version of this rare opera by Wolfgang Amadeus Mozart. The costume and set design is truly visionary and other worldly and gives a convincing insight into what staged operas must have looked like during the Baroque and Rococo period. Singers are all excellent and well cast in their respective roles. One of the most thrilling things I have seen, just wish I could see this live.
This film follows the remarkable and inspirational true story of Paul Potts, a shy, bullied shop assistant by day and an amateur opera singer by night.