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The best in the performing arts from across America and around the world including a diverse programming portfolio of classical music, opera, popular song, musical theater, dance, drama, and performance documentaries.
An anthology series of various plays and dramatic performances.
In 1920s Ireland, an elderly couple reside over a tired country estate. Living with them are their high-spirited niece, their Oxford student nephew, and married house guests, who are trying to cover up that they are presently homeless. The niece enjoys romantic frolics with a soldier and a hidden guerrilla fighter. All of the principals are thrown into turmoil when one more guest arrives with considerable wit and unwanted advice.
The incompetent Richard II is deposed by Henry Bolingbroke and undergoes a crisis of identity once he is no longer king.
The imperious Onegin rejects naive Tatiana's proposal of love and also incites a duel with his best friend turned rival Lenski (Piotr Beczala). This sets the scene for a dramatic story of love, loyalty and betrayal. Acclaimed theatre director Deborah Warner presents this lavish new interpretation of the timeless tale. Set in the 19th century and moving episodically from farmhouse to ballroom, the production culminates in an unforgettable finale set during a snowstorm.
Hedda Gabler is a beautiful woman married to the solid and respectable academic George Tesman. Then an old flame, the dreamer Eilert Lovborg, turns up on the scene with tragic results
A film version of a performance by Fiona Shaw of T.S. Eliot's poem.
Live from Glyndebourne Festival 1995. Yakov Kreizberg conducting the Orchestra of the Age of Enlightenment. Directed for the stage by Deborah Warner.
A tribute to marriage coming from a bachelor is a tad suspicious. But for Beethoven the idealization of the woman-bride was heartfelt and sincere. It has always been a unique opera starring a courageous wife who wows audiences. Fidelio is a moral title, associated with the ideals of liberty of the French Enlightenment. Nobility and commoners are united in their thirst for justice against the oppression of power. For once the faithful consort of a desaparecido wins her battle against a treacherous tyrant, and the collective joy truly is “nameless”, as is sung on the stage. Especially because the “our heroes to the rescue” finale is recounted by the triumphant symphonic flair of the quintessential musician. Beethoven really does bring the world to collapse at the conclusion of this opera, which begins like a delightful little comedy, but which scales and transcends all the summits of the dramatic-musical art.
At the English National Opera, Deborah Warner has been directing Benjamin Britten's final opera, Death in Venice, conducted by Edward Gardner.