The Girl Downstairs

A weekend at a marquis’ country château lays bare some ugly truths about a group of haut bourgeois acquaintances.

Naši furianti

Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.

Verdi’s grand opera “Aida” is given an intimate treatment in Busetto, Italy, in 2001, in a staging with young singers, all coached by the legendary tenor Carlo Bergonzi and staged by Franco Zeffirelli. The result is an astonishing musical and dramatic piece of theater, proving that with the right mix of ingredients, an opera can be staged in a small theater and still achieve a thrilling and moving effect.

A silent black-and-white comedy inspired by the fizzing rollercoaster of Largo al factotum - the familiar aria from Rossini's The Barber of Seville - featuring the young apprentice hero and a recalcitrant, increasingly monstrous hairball.

A famous operette star Kirsti Kalpa escapes her busy and selfish fiance and hides as maid to house of 3 bachelors ( professor, composer and butler) , who basically hate women.

A young man asks a hat check girl to pose as his fiancée in order to make his dying father's last moments happy. However, the old man's health takes a turn for the better and now his son doesn't know how to break the news that he's engaged to someone else, especially since his father is so taken with the impostor.

O komínku zedníky laškovně nakřivo postaveném aneb Souboj pantátův se zedníky

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.

In this espionage movie, set in Washington during WW II, the daughter of an ex-senator has become a dress model. She is approached by an American counter-espionage agent who offers her a chance to serve her country. The carefree son of a naval official receives a similar offer. He is asked to secure secret Naval plans. Unbeknownst to them, the man they work for is actually a Nazi spy. The two dupes finally figure it out, and the spy kidnaps them. Somehow they escape and break up the spy ring.

Mr. Edmond is a middle-aged playboy, living by his wits on the Riviera. Among the women with whom Edmond dallies are three gorgeous ladies.

The title character is a resourceful young man who knows a whole little about a whole lot of things, and who concentrates by playing his saxophone. Clarence ingratiates himself with the wealthy and eccentric Wheeler family, though daughter Cora can't stand the boy.

During World War II, two French civilians and a downed British Bomber Crew set out from Paris to cross the demarcation line between Nazi-occupied Northern France and the South. From there they will be able to escape to England. First, they must avoid German troops - and the consequences of their own blunders.

Spoiled Jessie Montgomery, whose wild behavior and spending excesses cause her well-meaning but exasperated millionaire father Charles to wish he never had her, is visited by fairy godmother Stella. In an effort to save Jessie, Stella casts a spell which causes Charles to no longer have a daughter. Jessie, now penniless and without a friend, must take a maid's job to earn a living, and hopefully to learn her lesson.

Marisa Ventura is a struggling single mom who works at a posh Manhattan hotel and dreams of a better life for her and her young son. One fateful day, hotel guest and senatorial candidate Christopher Marshall meets Marisa and mistakes her for a wealthy socialite. After an enchanting evening together, the two fall madly in love. But when Marisa's true identity is revealed, issues of class and social status threaten to separate them. Can two people from very different worlds overcome their differences and live happily ever after?

Cecile is a decadent young girl who lives with her rich playboy father, Raymond. When Anne, Raymond's old love interest, comes to Raymond's villa, Cecile is afraid for her way of life.

This film, adapted from a work of fiction by author Tracy Chevalier, tells a story about the events surrounding the creation of the painting "Girl With A Pearl Earring" by 17th century Dutch master Johannes Vermeer. A young peasant maid working in the house of painter Johannes Vermeer becomes his talented assistant and the model for one of his most famous works.

V studni

Le Bourgeois gentilhomme satirizes attempts at social climbing and the bourgeois personality, poking fun both at the vulgar, pretentious middle-class and the vain, snobbish aristocracy. The title is meant as an oxymoron: in Molière's France, a "gentleman" was by definition nobly born, and thus there could be no such thing as a bourgeois gentleman.

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.