Magic opera, Singspiel, a comedy with spectacular stage effects, Masonic ritual with Egyptian mysteries, heroic-comic opera? Die Zauberflöte is heard more often and has been more frequently performed, discussed, queried and interrogated than almost any other work in the history of opera. It is rare for the mysteriousness and multiformity of a work to be adjured with such mantric intensity. It is equally rare for a work to enjoy such undisputed success despite all these debates – and for over two hundred years at that.
Die Zauberflöte is one of Mozart’s most famous works and one of the most beloved of the entire operatic repertoire. Generations of spectators have been fascinated by the melodies and adventures of Papageno, the Queen of the Night, Tamino, and Pamina, the ordeals faced by the young lovers, and the work’s inexhaustible allegorical depth. The director Romeo Castellucci has deliberately stepped back from the narrative dimension of the opera in order to explore its raw emotion and its philosophical heart. For his part, the conductor Antonello Manacorda brings Mozart’s immortal music to life with the help of an outstanding cast that includes Sabine Devieilhe, one of today’s finest interpreters of the Queen of the Night.
A year has passed since Menma's ghostly return to the Super Peace Busters. Although the time they spent together during that summer was short, the five members reminisce about what happened as they each write a letter to their lost friend.
France, 1792. Chenier is an idealistic poet, in love with the aristocratic Maddalena. While Chenier supports such notions as "liberte, fraternite egalite," his sympathies do not extend to the current Reign of Terror. Likewise, the Revolutionary Tribunal has no need for poets or their girlfriends, especially those judged to be an Enemy of the State. Heads will roll.
Part folklore, part opera-ballet, this féerie presents local pagan traditions on the day of the summer solstice and historical events from Cossack times to the more recent 2014 Ukrainian Revolution of Dignity.
Visionary artist Matthew Barney returns to cinema with this 3-part epic, a radical reinvention of Norman Mailer’s novel Ancient Evenings. In collaboration with composer Jonathan Bepler, Barney combines traditional modes of narrative cinema with filmed elements of performance, sculpture, and opera, reconstructing Mailer’s hypersexual story of Egyptian gods and the seven stages of reincarnation, alongside the rise and fall of the American car industry.
A reporter must race against time to prevent hordes of rotting corpses spewing forth from the gates of hell.
A group of teenagers will now step foot on this island to capture paranormal encounters on tape. On the island, the teenagers are thrilled as they explore. However, their excitement is short-lived. They realize something ominous is creeping up on them and the hair-raising truth unveils through the lens of the camera.
A live performance of Giuseppe Verdi's opera.
Amour, the messenger of the gods, tells Orpheus that he may descend to the underworld and return with Eurydice. His singing has the power to appease the Furies and animate the blessed Shadows. Yet, his voice cannot reassure Eurydice who despairs of the feigned indifference of Orpheus, put to the test by Jupiter. Raphaël Pichon conducts the opera of operas and Aurélien Bory displays the giddiness of the mental and supernatural spaces traveled by Orpheus and beyond. Marianne Crebassa plays a new breeches role with Hélène Guilmette (Hélène in Le Timbre d’argent) and Lea Desandre (the title role in Alcione).
In 1935 Toronto, Jane Stuart's mother has taken ill, and the two of them have temporarily moved in with her rich, snobbish grandmother, where Jane is verbally abused and her mother bullied. Jane is forced into a private academy, in which the other girls tell her that her father, whom Jane believes to be dead, is actually alive. Soon after, Andrew Stuart sends word that he would like to meet his long-lost daughter, so Jane is sent by train to Bright River to stay with him, where she encounters an old mystery that she must help her father overcome, new friends, and the chance to bring her father and mother back together again.
The film is set in the fictional Utah community of Santa Ynez, which is being terrorized by a mysterious black coupe that appears out of nowhere and begins running people down. After the car kills off the town's Sheriff, it becomes the job of Captain Wade Parent to stop the murderous driver.
Carla Moran, a hard-working single mother, is raped in her bedroom by someone — or something — that she cannot see. Despite skeptical psychiatrists, she is repeatedly attacked by this invisible force. Could this be a case of hysteria or something more horrific?
While exploring the local area Jill discovers a small Chinese box in an antique shop and takes it home to add to her collection. Over the next few days Jill's dreams become troubled, turning into disturbing nightmares that stay with her when she wakes. After being prescribed sleeping pills the nightmares seem to fade and Jill begins to relax. Then the waking dreams return, far more intense than before, blurring Jill's perception of reality.
An introspective dentist's suspicions about his wife's infidelity stresses his mental well being and family life to the breaking point.
After a young woman is kidnapped, her captors soon come to realize that in fact they may be the ones in danger and this young woman has a dark secret inside her.
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).
Lumee, one of the two main characters (of the opera p r i s m), sings this aria while smoking outside a nightclub in the second act, providing a window into her selfish fantasies. Not a recorded section of the opera, but a companion piece meant to depict the character's imagined realities.
La Belle Hélène
Desperate to fit in at school, Sam rejects her East Indian culture and family to be like everyone else. However, when a mythological demonic spirit latches onto her former best friend, she must come to terms with her heritage to defeat it.