Verdi: Don Carlos

The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.

At the twenty-year apex of their career, the Japanese quartet add another captivating live release to their extensive catalog. Shot ‘in the round’ at le Poisson Rouge in NYC, DOKU-EN-KAI delivers the band completely absorbed by their element in a kinetic, impassioned and frenzied set that brings toe's renown and allure into sharp, unmistakable focus.

A four piece powerhouse of riff heavy rock, lyrically charged politics, and explosive live shows have taken Corrosion of Conformity from the tiniest basement clubs to international tours with the likes of Metallica, Soundgarden, Faith No More, and Bad Brains. Now we bring you that unparalleled experience with Corrosion of Conformity's first live album, Live Volume. Recorded at Harpo's Concert Theatre in Detroit on April 20, 2001, Live Volume showcases the songs the fans want to hear with 75 minutes of pure Corrosion. Tracks: These Shrouded Temples; Diablo Blvd.; Senor Limpid; King of the Rotten; Wiseblood; Who's Got the Fire; Albatross; My Grain; Congratulations Song; 13 Angels; 7 Days; Vote with a Bullet; Zippo; Long Whip; Big America; Shelter; Clean My Wounds.

Herbert von Karajan directed this film of Verdi’s Shakespearan masterpiece as well as conducting the Berlin Philharmonic. As the tragic Moor of Venice, arguably his greatest role, John Vickers (in the words of critic David Cairns) "commands both the notes and the moral grandeur of the part. … And he has the aura of greatness – greatness of heart, of bearing, of musical and dramatic conception". Mirella Freni is a heartbreakingly lovely and fragile Desdemona, while the fine English baritone Peter Glossop plays the villainous Jago.

First seen at La Monnaie in Brussels on 13 May 1998, this production of Monteverdi’s L’ORFEO seen through the eyes of Trisha Brown and René Jacobs has become an operatic classic in a few short years. This is doubtless because it offers a total symbiosis of music, text and movement – described by the critic of the Daily Telegraph of London as being ‘as close to the perfect dance opera as I have ever seen’. Or to quote Gilles Macassar in Télérama: ‘In the pit and onstage, the Brussels production has only one watchword: mobility, nimbleness, dexterity. The singers run, fly, whirl like dancers defying gravity. From the flies down to the footlights, the whole theatre is under a fantastic spell.’ For Christophe Vetter, on ConcertoNet: ‘This Orfeo can be seen again and again with immense pleasure. . . . René Jacobs’s conducting continues to arouse admiration for its precision, its stylistic rigour, its inexhaustible inventiveness and its feeling for the contrasts so vital to this repertoire.’

Filmed in October 2015, “Live At The Olympia Paris” captures Melody Gardot in concert at the legendary Belle Époque era venue in the French capital. The show focuses primarily on songs from her most recent album “Currency Of Man” and 2009’s “My One And Only Thrill” with a couple of surprise tracks thrown in for good measure. Melody Gardot’s performance is both intimate and emotional and her band are at the top of their form.

"The Queen of Spades" is considered Tchaikovsky's best creation by the world-famous conductor, People's Artist of the USSR Vladimir Ivanovich Fedoseev. He took over the leadership of the musical process of recreating the production at Helikon Opera. The original reading, modern stage language, love for Tchaikovsky's music, which became the hallmarks of Helikon's "Queen of Spades," are preserved in the new version. To this were added the thoughtful gaze of maestro Fedoseev, the stunning stage capabilities of the new hall and the artistic talent of the Helikon troupe.

A staging of Britten's opera filmed at the Teatro La Fenice in Venice in June 2008.

Davina McCall chats to Ariana Grande in this musical extravaganza. Ariana performs songs from her latest album Sweetener and some of her biggest hits accompanied by her band and an all-female orchestra.

Glyndebourne's wartime history as a home for evacuee children is the ingenious context for a new production of this unclassifiable entertainment in which low comedy and high tragedy compete for our attention, "borne aloft by Strauss's divine music and Hofmannsthal's visionary poetry". At the centre of this production from Katharina Thoma is the noble, tragic figure of the abandoned Ariadne herself, in a haunting performance from Soile Isokoski, 'with brilliant support from the pit' (The Independent).