The Metropolitan Opera: Götterdämmerung

Rigoletto is an opera in three acts by Giuseppe Verdi. The Italian libretto was written by Francesco Maria Piave based on the play Le roi s'amuse by Victor Hugo. Despite serious initial problems with the Austrian censors who had control over northern Italian theatres at the time, the opera had a triumphant premiere at La Fenice in Venice on 11 March 1851. This 1994 recording, directed by Riccardo Muti, stars Roberto Alagna, Renato Bruson and Andrea Rost.

Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Viennese composer Wolfgang Amadeus Mozart.

This is an effective staging, though the set looks medieval and the costumes are modern. It’s well paced, well played, well sung. Jonas Kaufmann is an ideal Tito. His voice is not only beautiful and flexible, it’s also ample, retaining warmth and sweetness when he sings out. The character of Tito is too good to be true, but Kaufmann makes him intense, noble, and beliveable. Vesselina Kasarova is riviting as Sesto. Her voice is gorgeous and multi-colored, her technique exquisite, her immersion in the role complete.

Prince Abesalom runs into an orphaned Eteri while hunting, falls for her and brings the woman to his palace as his fiancé. The Prince’s aid Murman loses his self-control at Eteri’s beauty and gives her a spelled necklace as a wedding gift. Eteri contracts a mysterious disease that only Murman is capable to heal.

Star soprano Anna Netrebko created a sensation in her first Met performances as the malevolent Lady Macbeth, the central character in Verdi’s retelling of Shakespeare’s tragedy. She is joined by Željko Lucic, who brings dramatic intensity and vocal authority to the title role of the honest general driven to murder and deceit by his ambitious wife. René Pape is Banquo, Joseph Calleja is Macduff, and Principal Conductor Fabio Luisi presides over Adrian Noble’s atmospheric production.

Franco Zeffirelli directs these two legendary La Scala productions telling tragic tales of jealousy. Mascagni's Cavalleria Rusticana features performances by Elena Obraztsova, Plácido Domingo, and Renato Bruson. Leoncavallo's I Pagliacci stars Teresa Stratas, Plácido Domingo, and Juan Pons. Both are conducted by George Pretre. This production of Pagliacci earned director Franco Zeffirelli the coveted Emmy as Best Director in the category of Classical Music Programming.

One night in Judea, a disabled shepherd boy-turned-beggar and his mother are visited by three strangers. They are the Three Kings, and they are on their way to Bethlehem to visit the Christ Child, who has just been born.

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.

In Baden-Baden, Nayo Titzin follows the producers of the opera Don Giovanni, created for the Innsbruck Festival of 2006. He is looking for a musical truth... What if Mozart's masterwork Don Giovanni had been interpreted in a wrong way for more than two centuries? Conductor René Jacobs, famous for his performance of Così fan tutte and laureate of a Grammy Award for his innovative recording of The Marriage of Figaro, comes back with new ideas on the comprehension of one of the greatest operas of all times. In this relevant documentary, Nayo Titzin clarifies and highlights all the brightness of those melodies and recitatives. Rewarded with many praises in the international press, this production shows the dramaturgical perfection of the "opera of the operas," the absolute of the genre, as Wagner once said. Once more, the Bulgarian director offers a fun and subtle report, and makes sure that everyone will understand this myth.