Aida

Pushkin folk tale as comedic opera whose sultry elements expand an Oriental influence. Korsakov portrays the story of Tsar Nicholas II, punished for his cowardice and despotism, using satire to condemn Russia's autocratic ruler.

Composer Thomas Adès conducts the Met premiere of his powerful opera based on Shakespeare’s last play, in Robert Lepage’s brilliantly inventive production. Simon Keenlyside is the magician Prospero, who conjures the storm that shipwrecks his enemies and sets in motion the course of events. Rising Met stars Isabel Leonard and Alek Shrader are the young lovers, Miranda and Ferdinand, Alan Oke sings the sinister Caliban, and Audrey Luna gives a memorable performance as the sprite Ariel.

Director David McVicar’s new production brings opera’s favorite double bill to new life, setting the two operas in the same Sicilian setting, separated by two generations. Marcelo Álvarez takes on the rare feat of singing both leading tenor roles. In Cavalleria, he is Turiddu, the young man who abandons Santuzza (Eva-Maria Westbroek) in his pursuit of the married Lola (Ginger Costa-Jackson)—and ends up being killed in a duel with her husband, Alfio (George Gagnidze). In Pagliacci, Álvarez is Canio, the leader of a traveling vaudeville troupe. Patricia Racette sings Nedda, his unfaithful young wife, whose plans to run away with her lover are foiled by her spurned admirer Tonio (George Gagnidze)—with equally tragic consequences. Met Principal Conductor Fabio Luisi is on the podium.

Concert footage of The White Stripes recorded in January of 2004, featuring tracks from the band's four studio albums as well as live favorites like the Dolly Parton cover "Jolene"

This 2 hour video was recorded live at Budakan Hall in Tokyo, Japan on February 15, 2002. It features 14 classic tracks spanning Ozzy's career and also behind-the-scenes footage of The Osbournes In Japan. Known for biting the head off of a bat, bickering with his vulgarity-happy family on MTV, and being one of the icons of heavy metal music, Ozzy Osbourne is nothing less than a cultural treasure. 01) I Don't Know 02) That I Never Had 03) Believer 04) Junkie 05) Mr. Crowley 06) Gets Me Through 07) Suicide Solution 08) No More Tears 09) I Don't Want to Change The World 10) Road to Nowhere 11) Crazy Train 12) Mama, I'm Coming Home 13) Bark at the Moon 14) Paranoid

Led Zeppelin – The Untold Story reveals an often overlooked side of the saga. Using early performance footage, seldom seen interviews and previously unpublished photographs, as well as contributions from colleagues, friends, and associates who worked alongside the future members of Led Zeppelin, The Untold Story is finally made public.

For the first time in her career, global superstar Billie Eilish is releasing a visual record of her formidable live performance. Featuring intimate and unforgettable moments between Billie and her audience, this compelling concert film takes viewers on a visually captivating journey from beginning to end, to the heart of Eilish's record-breaking sold-out Happier Than Ever, The World Tour.

Charming, light-hearted and fizzing with subversive wit, Neil Armfield's sparkling production of the marriage of Figaro captures Mozart's most popular Opera. In this classic performance, recorded live at the Sydney Opera House, Patrick Summers conducts a energetic fresh-voiced cast, headed up by baritone Teddy Tahu Rhodes and Taryn Fiebig who make a vivacious, appealing pairing as Figaro and Susanna, while Peter Coleman-Wright triumps as the lascivious Count Almaviva.

Vivian, Roe, JJ, Ines and a mysterious French man through a 20 year musical memory of New York City. As people and places in their lives drift away, visual impressions meld with sound and narrative stories to reveal a complex yet moving tableau. As the characters recall their own personal histories, conflicting images reveal their past, present and future.

The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective-the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time-so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.