Don Carlo

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive.

The complete version of Verdi's Otello performed by Placido Domingo and Kiri Te Kanawa, at the Royal Opera House, Covent Garden. Gala Performance in honour of Sir Georg Solti's 80th birthday.. 27 October 1992. BBC 2 Television live relay.

Captain's daughter Josephine and common sailor Ralph Rackstraw are in love. However, their relationship is complicated by her arranged marriage to the high-ranking Sir Joseph Porter. A secret about the characters' true identities revealed by Little Buttercup, which leads to a farcical resolution.

The Met’s spectacular production of Verdi’s Egyptian epic captures both the grandeur and the intimacy of this powerful tale of love and politics. Liudmyla Monastyrska is Aida, the Ethiopian princess-turned-slave in love with the Egyptian warrior Radamès, sung by Roberto Alagna. Olga Borodina is her rival, Amneris, daughter of the Pharao, and George Gagnidze sings Aida’s father, Amonasro, the King of Ethiopia. Principal Conductor Fabio Luisi is on the podium.

An Egyptian military commander, Radamès, struggles to choose between his love for the enslaved Ethiopian princess Aida, and his loyalty to the Pharaoh. To complicate the story further, the Pharaoh's daughter Amneris is in love with Radamès, although he does not return her feelings.

The Gershwins’ modern American masterpiece has its first Met performances in almost three decades, starring bass-baritone Eric Owens and soprano Angel Blue in the title roles. Director James Robinson’s stylish production transports audiences to Catfish Row, a setting vibrant with the music, dancing, emotion, and heartbreak of its inhabitants.

Verdi’s IL TROVATORE again storms the Met stage in a star-studded, anvil-wielding cast , including Sondra Radvanovsky, Dolora Zajick and Dmitri Hvorostovsky. Marcelo Álvarez sings Manrico, the troubadour of the title. The story is well-known already: The gypsy Azucena has harbored a grudge for thirty years, but she is about to have revenge at last. Meanwhile, her son Manrico is in love with Leonora, but so is his arch-enemy, the Count Di Luna. A pot-boiler, where every tune is a hit.

A Victor Hugo play, haunting and scandalous, provided the inspiration for Verdi’s mid-career masterpiece. A vengeful but misguided court jester strives to save his daughter from a duke’s licentious clutches, but can't part with the feeling that a curse looms over all of his actions. In Rigoletto, the composer introduces several of his most iconic arias and duets—as well as an 11th-hour quartet that counts among the finest moments in opera.

‘Nabucco’, or ‘Nebuchadnezzar’ (Italian: Nabucco), is an opera by Giuseppe Verdi with a libretto by T. Solera, based on events described in the Bible. (Nabucco is a shortened Italian rendering of the name of King Nebuchadnezzar II). It was this opera, the third in Verdi’s oeuvre, that brought him true fame. It tells of the tribulations of the Jews, their captivity by the Babylonians, and their subsequent release to their homeland by Nebuchadnezzar, King of Babylon. Giuseppe Verdi’s opera ‘Nabucco’, is a monumental work that tells the story of the enslavement of the Hebrew people by the Babylonian king Nebuchadnezzar (Nabucco) and their journey towards redemption. The premiere took place on 9 March 1842 at La Scala in Milan. The first performance of the final version was held at the Teatro San Giacomo in Corfu in September 1844. From the box set of 27 Verdi operas, ‘Tutto Verdi’. Recorded live at the Teatro Regio in Parma, 12–14 October 2009.

Inspired by Carl Maria von Weber's Der Freischütz, the film opera Hunter's Bride traces the romantic rivalry between two veterans of the Napoleonic Wars who each vie for the heart of the same woman.

José Cura, Dmitri Hvorostovsky, Verónica Villarroel and Yvonne Naef lead the star cast of Verdi's blazingly passionate opera IL TROVATORE, in Elijah Moshinsky's new Royal Opera House production co-produced with Teatro Real Madrid, with sets by the noted film designer Dante Ferretti and costumes by Anne Tilby.

Offenbach’s mockery of bourgeois ideals, the sublimity of music and the institution of marriage ensures that the moralistic sermonizing of ‘Public Opinion’ falls on deaf ears. The mysterious figure of John Styx tells the story of behind-the-times Orpheus and his hacked-off Eurydice, of gods and goddesses seeking diversion, jaded with humdrum life in Olympus. He tells of the rebellion in the pantheon, which Jupiter adeptly averts by promising an amusement for his entourage. Burning with curiosity to see the beauteous captive and the contest between Jupiter and Pluto for Eurydice’s favour, the illustrious company embarks on an infernal ride to the underworld that culminates in what is surely the most wellknown can-can in the history of music. And what of Eurydice? She ends up putting a spoke in everyone’s wheel…

Screen adapatation of Mozart's greatest opera. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Anna's father, the Commendatore, (whom Giovanni killed) makes his appearance. He offers Giovanni one last chance to repent for his multitudinious improprieties. He will not change his ways So, he is sucked down into hell by evil spirits. High drama, hysterical comedy, magnificent music!

A colorful and comedic staging of the classic opera buffa by the Vienna State Opera.

A return to its roots for Castor et Pollux, Jean-Philippe Rameau’s lyric tragedy first performed in 1737 at the Académie royale and inspired by the mythological episode of the Gemini. Rarely performed in its original version – the score was reworked by Rameau himself in 1754 –, this daring work plays on contrasts and expressiveness, as in the famous “Tristes apprêts”. The aria is sung by Télaïre mourning the death of her fiancé Castor, killed in battle, before his twin brother Pollux descends into the Underworld to ask his father, Jupiter, to bring him back to life. While this opera celebrates brotherly love, its prologue poses an essential question for director Peter Sellars: how do you stop a war and its attendant hatred and resentment?

Riccardo Chailly inaugurates the 2024-2025 Opera Season with a new production of La forza del destino, conducting his ninth Verdi title at La Scala. Leo Muscato will direct yet another cast of extraordinary prestige. A complex opera in terms of dramaturgy, first performed in St. Petersburg in 1862 and debuting in its final form at La Scala in 1869 with the creation of the famous overture, La forza del destino offers some of the most memorable Verdi melodies. It has been absent from the programme since the Verdi centennial in 2001, when it was brought to La Scala by the artists of the Mariinsky Theatre of St. Petersburg; the La Scala Orchestra and Choir have not performed it since 1999.

Clara is given an enchanted Nutcracker doll on Christmas Eve. As midnight strikes, she creeps downstairs to find a magical adventure awaiting her and her Nutcracker. The magician Drosselmeyer transforms the drawing room into a battle between mice and toy soldiers. During the battle, Clara saves the Nutcracker’s life – so breaking a magical spell that turned him from a boy to a toy – and the Mouse King is defeated. In celebration, Drosselmeyer sweeps Clara and the Nutcracker off to the Kingdom of Sweets, where they meet the Sugar Plum Fairy and take part in a wonderful display of dances. The next morning, Clara’s adventures seem to have been more than just a dream.

“In a world that often demands certainty, Dialogues des Carmélites invites us to sit with profound questions that have no easy answers: What makes a life worthy? How can we be truly prepared for our inevitable end? What does security mean when everything familiar is threatened? What sustains us when our institutions crumble? … Rather than imposing answers, the opera creates room for reflection on how faith manifests not as abstract doctrine, but as lived experience under extraordinary pressure.” — Louisa Muller, Director’s Note. Juilliard Opera directed by Louisa Muller. Matthew Aucoin conducts the Juilliard Orchestra. Performed and recorded on April 26, 2025 at the Peter Jay Sharp Theater. Dialogues des Carmélites, an opera by Francis Poulenc. Libretto adapted by the composer.

Part of Tutto Verdi series - Macbeth (2006) Parma. Macbeth is one of the most multi-layered, profound and demanding roles that Verdi ever wrote for a baritone and the Italian singer Leo Nucci is arguably the most distinguished in his field. The role has repeatedly brought him lasting success and he enacts it with an intensity that only the very experienced stage personality can muster. French singer Sylvie Valayre is known for her versatile interpretations of spinto and dramatic coloratura soprano parts, especially for particularly gruelling roles like Lady Macbeth. Supported by Italian bass Enrico Iori as Banco and tenor Roberto Iuliano as Macduff, they make up a wonderful cast under the baton of Bruno Bartoletti, musical director of the Teatro Regio di Parma.

Conducted by Riccardo Muti, the master of the Scala in Milan for twenty years, the Verdian melodrama unfolds before our eyes. This Cavani's approach is ageless and excellence is pre-eminent: to start with, the role of Riccardo is played by the wonderful Salvatore Licitra. As for Maria Guleghina, she plays an exceptionally good Amelia. Riccardo Muti proves once again what a wonderful Verdian he is.