Revealed How to Poison a Planet 2024 - Movies (Apr 28th)
Branching Out 2024 - Movies (Apr 28th)
The Assembly 2024 - Movies (Apr 28th)
Dora Say Hola to Adventure! 2023 - Movies (Apr 28th)
Boy Kills World 2023 - Movies (Apr 28th)
Curious Caterer Foiled Plans 2024 - Movies (Apr 27th)
Robert De Niro Hiding in the Spotlight 2023 - Movies (Apr 27th)
Clockwork Orange The Prophecy 2023 - Movies (Apr 27th)
Madame Web 2024 - Movies (Apr 27th)
Mean Girls 2024 - Movies (Apr 27th)
The Fall Guy 2024 - Movies (Apr 27th)
The Idea of You 2024 - Movies (Apr 27th)
The Doomsday Cult of Antares de la Luz 2024 - Movies (Apr 25th)
Sayen The Hunter 2024 - Movies (Apr 26th)
You Can Call Me Bill 2023 - Movies (Apr 27th)
Breaking Olympia The Phil Heath Story 2024 - Movies (Apr 26th)
Cash Out 2024 - Movies (Apr 26th)
Infested 2023 - Movies (Apr 26th)
All India Rank 2023 - Movies (Apr 26th)
Hack Your Health The Secrets of Your Gut 2024 - Movies (Apr 26th)
Humane 2024 - Movies (Apr 26th)
Reno 911! - (Apr 29th)
Summer House- Marthas Vineyard - (Apr 29th)
90 Day Fiance- Pillow Talk - (Apr 29th)
Race Against The Tide - (Apr 29th)
Canadas Ultimate Challenge - (Apr 29th)
Independent Lens - (Apr 29th)
Life Below Zero- Next Generation - (Apr 29th)
The Sympathizer - (Apr 29th)
Countryfile - (Apr 29th)
Paramedics on Scene - (Apr 29th)
MILF Manor - (Apr 29th)
The Jinx - Part Two - (Apr 29th)
Krapopolis - (Apr 29th)
The Great North - (Apr 29th)
24 in 24- Last Chef Standing - (Apr 29th)
The Equalizer - (Apr 29th)
Inside the Hilton- Park Lane - (Apr 29th)
The Piano - (Apr 29th)
Engineering Evolved - (Apr 29th)
Tracker - (Apr 29th)
Imbuing the familiar Don Juan myth with a captivating combination of comedy, seductiveness, danger, and damnation, Mozart created an enduring masterpiece that has been a cornerstone of the repertory since its 1787 premiere. The opera offers a rare opportunity for two baritones to star alongside one another as the title Lothario and his faithful yet conflicted servant, Leporello, as well as three memorable female roles—multifaceted women who both suffer the Don’s abuses and plot their revenge.
Live from Glyndebourne Festival 1995. Yakov Kreizberg conducting the Orchestra of the Age of Enlightenment. Directed for the stage by Deborah Warner.
Live performance at Théâtre de l’Archevêché du Festival d’art lyrique d’Aix-en-Provence 2002. Daniel Harding conducting the Mahler Chamber Orchestra and Choeur de l'Académie Européenne de Musique. Directed for stage by Peter Brook.
This highly acclaimed production of Strauss Salome from the Festspielhaus Baden-Baden is staged by German director Nikolaus Lenhoff. Starring Angela Denoke as a brilliant Salome, who is joined by a great ensemble of soloists, Kim Begley, Doris Soffel and Alan Held. Performing with great aplomb , the Deutsches Sinfonie Orchester Berlin, conducted by Stefan Soltez, was also enthusiastically celebrated by critics and audience.
Wagner’s mystic masterpiece Parsifal at the Staatsoper Berlin, staged by Dmitri Tcherniakov and conducted by Daniel Barenboim. Wagner’s last opera, Parsifal is a medieval epic story marked by Christian, Buddhist and esoteric references. It is about redemption and renewal, but this new production by Russian director Dmitri Tcherniakov adds a jarring note : revenge. This “Festival Play for the Consecration of the Stage” is similar to a Medieval epic, a blend of metaphysical dreams and esoteric battles with constant spiritual references. This new production is directed by Dmitri Tcherniakov, conducted by Daniel Barenboim and sung by an international cast of excellent singers: Andreas Schager, Anja Kampe, Wolfgang Koch, René Pape, Tomas Tómasson and Matthias Hölle.
Besides the landing on the moon by the Apollo 11 mission in 1969, Richard Nixon’s meeting with China’s leader Mao Zedong in February 1972 then represented one of the biggest media spectacles in history. Nixon himself established the reference between the two events: “We came in peace for all mankind” not only marked the lunar module Eagle’s landing spot – Nixon also spoke of it into the microphones just before his departure to China. It was not John Adam’s aim to create a superficial or even a caricaturing representation of Nixon’s visit when composing his opera. He attempted to create a “heroic opera” about the construction of modern myths by using archetypical characters and situations. Director Marco Štorman stages Adams’ minimal music opera as a deconstruction review about the power of images, the politics of staging and the staging of politics.
This all-star cast is framed by Peter Hall’s gritty, realistic production and conducted by James Levine, who brings out all the surging emotion and gripping drama in Bizet’s score. At the center of the story is Agnes Baltsa, whose smoky mezzo is tailor-made for the gypsy Carmen, an independent woman who glories in obeying only her own rules, but who is haunted by fate. Superstar tenor José Carreras is Don José, the solider from a small town who catches Carmen’s eye and is destroyed by his growing obsession with her. Samuel Ramey is the charismatic matador Escamillo, who lures Carmen away from Don José with tragic result. Leona Mitchell is Micaëla, the simple girl from Don José’s hometown who cannot save him. March 21, 1987 Matinee Broadcast.
Ernst Krenek's theatrical piece Karl V. consisting completely of twelve-tone series should have premiered at the Vienna State Opera. The political situation in the Vienna of 1933 and the fact that Krenek was despised by the Nazis because of this Jazz opera Jonny spielt auf, prevented the première. It only took place five years later in Prague, however Krenek had already emigrated to the USA. Karl V was the last emperor to hold to the idea of a Christian empire in which the sun never set, although its downfall was always inevitable, for numerous reasons. For the second production of Karl V. in the Nationaltheater, Carlus Padrissa in particular seeks out political power systems that are highly topical, and so very precisely analyses the treatment in the theatrical piece. At the core of the intellectually and linguistically highly qualified libretto, written by the composer himself, Karl V. reflects on his life and makes his confession to a young monk below Titian's La Gloria.
The season kicks off with Boitos resplendent retelling of Goethes Faust, a monumental work of 'choral grandeur and melodic richness' (The New York Times) in one of the most impressive productions ever seen at the War Memorial Opera House. The cast includes Ramón Vargas, a tenor 'in ravishing voice' (Financial Times), as the philosopher who sells his soul to the Devil; the 'luminous, compelling' Patricia Racette (Washington Post) as the woman he desires; and, in the vividly menacing title role, the 'seductively malevolent' bass-baritone Ildar Abdrazakov, a 'fullbodied bass-baritone' renowned for his 'wonderfully evil portrayals' (The New York Times).
Concert and documentary celebrating the 1st Anniversary of Moscow’s Zaryadye Hall