BBC Proms (2012): Gilbert & Sullivan - The Yeomen of the Guard

マクロスΔ LIVE2018“ワルキューレは裏切らない“at 横浜アリーナ＜Day-1

マクロスΔ LIVE2018“ワルキューレは裏切らない“at 横浜アリーナ＜Day-2

BABYMETAL's "Live at Tokyo Dome: Red Night" concert was a monumental event in the band's career, showcasing their impressive rise in the music world. Held at the iconic Tokyo Dome, this performance drew a massive audience, highlighting the group's immense popularity in Japan and internationally. The "Red Night" theme was reflected in the stage design and lighting, creating a dramatic and visually captivating setting. Su-metal, Moametal, and their backing band, the Kami Band, performed a dynamic setlist that included hits like "Karate" and "Road of Resistance," delivering a powerful blend of vocal prowess, intense metal riffs, and synchronized dance moves. This concert not only demonstrated BABYMETAL's unique genre fusion but also cemented their status as a major live act in the global music scene.

The "Live at Tokyo Dome: Black Night" concert was a monumental finale to BABYMETAL's World Tour 2016, held at one of Japan's most iconic venues. This performance, part of a two-night event, showcased BABYMETAL at the peak of their theatrical and musical prowess. Su-metal, Moametal, and Yuimetal performed a diverse setlist that spanned their entire repertoire, including epic renditions of songs like "Karate" and "THE ONE." The massive stage production, complete with elaborate lighting, pyrotechnics, and moving platforms, created a visually stunning spectacle that matched the intensity of their music. The Black Night concert was not only a display of BABYMETAL's dynamic ability to fuse metal and pop but also a celebration of their global success and cultural impact, drawing thousands of fans from around the world.

LEGEND "1999" YUIMETAL & MOAMETAL Birthday Festival (LEGEND "1999" YUIMETAL & MOAMETAL 聖誕祭; LEGEND "1999" YUIMETAL & MOAMETAL Seitansai) was a concert held on June 30, 2013 at NHK Hall in Tokyo, Japan. This show celebrated the 14th birthdays of YUIMETAL and MOAMETAL. The concert started with BABYBONES, followed by the appearance of the KAMI BAND beginning with NO RAIN, NO RAINBOW. At the concert's end, it was announced that the LEGEND "1997" SU-METAL Birthday Festival would be held on December 21st.

LEGEND "1997" SU-METAL Birthday Festival (LEGEND "1997" SU-METAL 聖誕祭; LEGEND "1997" SU-METAL Seitansai) was a concert held on December 21, 2013 at Makuhari Messe in Chiba, Japan. This show celebrated SU-METAL's 16th birthday and marked BABYMETAL's first solo arena live performance.

Celebrate the last night of the Pythons on the big screen! With John Cleese, Eric Idle, Terry Gilliam, Terry Jones and Michael Palin.

Johann Strauss, Jr., a would-be composer of waltzes in mid-19th Century Vienna, attempts to thwart his father's efforts to prevent his success when the older man becomes jealous of his melodic skill.

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.

A production of Mozart's opera recorded live at Zurich Opera House in 2000. Cecilia Bartoli leads an all-star cast including Roberto Saccà, Liliana Nikiteanu, and Agnes Baltsa. The conductor is Nikolaus Harnoncourt. Filmed live at the Zurich Opera House in February 2000 on a set which visualises the subtitle "The School for Lovers", the plot revolves around two army officers arguing about the fidelity of their brides, then setting out to test their chastity. Despite the often playful humour, this is not only psychologically telling music-making, but reveals Mozart exploring the structure of opera, discarding convention to mix large ensemble sections with arias for as many different combinations of singers as possible. With Liliana Nikiteanu attractively contrasted with Bartoli, and thoroughly convincing performances by Roberto Sacca (Ferrando) and Oliver Widmer (Guilelmo), this Così has a freshness and flow which, coupled with the timeless romantic themes, feels very contemporary.

This live version of Puccini s superbly dramatic opera was recorded in Rome in the exact locations and at the precise times of day as Puccini had written into his score. The action opens in Rome's beautiful 16th-century church of Sant Andrea della Valle, where Cavaradossi (Plácido Domingo) is innocently painting, moves to the Farnese Palace where Tosca (Catherine Malfitano) dramatically stabs the lustful Scarpia (Ruggero Raimondi), and finally to the battlements of the Castle Sant Angelo at dawn the following day where Cavaradossi is cruelly killed, and Tosca takes her own life.

“And, 'twixt the shadows and frights of nocturnal splendors, My beloved will secretly be hiding. Say what you will, say what you may.” The sound of a distant whistle and theorbo calls a sleeping singer through the empty streets of Stuttgart in a midnight journey to the opera house. ‘dei notturni splendori’ is an experimental opera film made for the Staatsoper Stuttgart in the early months of the Coronavirus pandemic lockdown. Anderson Matthew captures the singer Helene Schneiderman through a midnight dream with a hand-cranked kino camera in an ecstatic 35mm photo roman, in search for her own performance of the Tarquinio Merula madrigal Folle é ben chi se crede from 1638.

St. Margarethen is a magnificent structure and a grand setting for Nabucco. This venue, along with the gorgeous costumes, spectacular lighting, lasers and pyrotechnics made for one grand, five star production! This is reason enough to see it and it must be an advantage to view it on DVD.--It would probably be harder to digest the whole spectacle if you were actually sitting in the audience, as there is so much to take in. The whole cast was in great form, both in singing and acting. Simon Yang as Zaccaria and Igor Morosow as Nabucco were excellent. Gabriella Morigi was a convincing Abigail who got better and better. Bruno Ribeiro as Ismaele and Elisabeth Kulman as Fenena were great, too.

Live performance from Cologne Opera. Conlon conducts a skittishly dynamic performance of Don Giovanni. He relies on Thomas Allen’s tough Don to give the work much of its dark menace and on Holle’s terrifying Commendatore to provide the moral outrage – his job is to keep things moving, and he does. The exteriors – blank city spaces reminiscent of the paintings of Giorgio De Chirico – and moodily claustrophobic interiors mirror effectively the anguish of the orphaned Anna and the abandoned Elvira; this is a performance in which the two women victims of the Don function effectively as correctives to his libertine charm. Andrea Rost as Zerlina brings real delicacy to her role, reminding us that “La ci darem la mano” is a duet about her flirtation with Don Giovanni and not just a famous stand-alone moment. This is an admirable presentation of a fine performance.

A 12-year-old boy tries everything to join a music lovers club.

In the awe-inspiring Teatro Olimpico,Vicenza, Cecilia Bartoli, recognised as one of the best singers of our time, gives the most outstanding recital of work from a variety of composers such as Caccini, Schubert, Handel, Vivaldi, Bellini, Donizetti,Mozart, Rossini, Viardot and Bizet.

The director, Roland Schwab, has created his version of Hell. The set is like a high iron walled hanger and the stage is continually occupied with people who look like fugitives from Mad Max and who interact with Mefistofele. The orchestra and choir are wonderful. Rene Pape gives a nuanced interpretation with a certain amount of sardonic humour under the evil. His singing and acting are first rate, as is that of Kristine Opolais and Joseph Calleja.

The Lyric Opera of Chicago's 1985 production of Puccini's opera, set in the late nineteenth century in the city of Nagasaki, about a young Japanese woman who weds an American naval officer who later abandons her and the child she bore him.

Viva Vivaldi! is a concert by the Italian mezzo-soprano Cecilia Bartoli interspersing arias from the 20 surviving operas of Vivaldi with two concertos. Given with the early music ensemble Il Giardino Armonico before a very appreciative audience in the Théâtre des Champs-Élysées, the performance is part of Bartoli's exploration of the Venetian composer's opera music which also includes The Vivaldi Album. There is a startling dynamic energy, which contrasts powerfully with the more restrained interpretations by singers such as Emma Kirkby. Bartoli's natural Italian and the live atmosphere of Maria Grazia d'Alessio's oboe gives her interpretation of the quietly haunting and melodically rich "Non ti Lusinghi la Crudeltade" from Tito Manlio a particular piquancy. The Flautino Concerto is a most attractive interlude, while the more famous Lute/Violin Concerto beguiles with its exquisite lyricism.

The celebrated mezzo-soprano Cecilia Bartoli joins Bryn Terfel for a recital of arias and duets recorded at Glyndebourne Opera House in 1999. The programme features favourite pieces from Mozart, Rossini and Donizetti, with the London Philharmonic Orchestra conducted by Myung-Whun Chung.