Falling for Figaro

After rocker Kurt Cobain's death, ruled a suicide, a film crew arrives in Seattle to make a documentary. Director Nick Broomfield talks to lots of people. Portraits emerge: a shy, slight Kurt, weary of touring, embarrassed by fame, hooked on heroin; an out-going Courtney, dramatic, controlling, moving from groupie to star.

A victim of his own anger, the Kid is a Minneapolis musician on the rise with his band, the Revolution, escaping a tumultuous home life through music. While trying to avoid making the same mistakes as his truculent father, the Kid navigates the club scene and a rocky relationship with a captivating singer, Apollonia. But another musician, Morris, looks to steal the Kid's spotlight -- and his girl.

This superb 2006 production of the Los Angeles Opera's La Traviata stars Renée Fleming, who joins the ranks of the elite handful of sopranos whose vocal and acting talents make their portrayals memorable. Her Violetta Valéry is a vulnerable figure torn between self-indulgence and love, sacrificing personal happiness to become a victim of the social mores of mid-19th-century bourgeois France. Fleming's acting captures the complexity of the character and her vocalism is flawless. She negotiates the wild coloratura of Act One with aplomb, and is stunning in the lyric passages that pervade the opera, and touching in her scenes with her lover, Alfredo, and his father. Her singing is free of the mannerisms that have sometimes crept into her work and at the same time she brings countless personal touches to the role, phrasing and verbal emphases that shed fresh light on the character.

Concerned about his small stature, a young Scottish boy applies for a mail-order body building course, successfully gaining both height and strength. The film was released as "Wee Geordie" in the USA.

To open its 2019-2020 season, La Scala in Milan has chosen Tosca, in a new production directed by Davide Livermore. The production is part of the rediscovery of Italian opera led by Riccardo Chailly, the conductor of the production and music director of La Scala. He has chosen the original version of Tosca, as created by Puccini in Rome in January 1900, which included eight "additional musical inserts" that were removed from the work after its second performance in Turin in February 1900 and will now be rediscovered for the first time on December 7 at La Scala.

Makhmalbaf puts an advertisement in the papers calling for an open casting for his next movie. However when hundreds of people show up, he decides to make a movie about the casting and the screen tests of the would-be actors.

The tale of a quick-witted fox and her escape from confinement for a life in the forest.

Kent Nagano superbly masters the challenges presented by this score, shapes the dynamics with subtle intensity, and casts the score in a mellow glow. As Marfa, the spurned lover of Ivan Khovansky‘s son Andrei, Doris Soffel unfolds such a rich palette of sonorities, from the pathos of the lower ranges to shaded discant heights, that “one is tempted to speak of a Russian mezzo”. The final chorus, which Mussorgsky did not compose, is played in the orchestrally transparent version of Igor Stravinsky – the third great Russian composer who contributed to making “Khovanshchina“ a timeless, gripping stage work. With his stripped-down sets and historicising costumes, director Dmitri Tcherniakov, one of the new voices of contemporary Russian theatre, builds a bridge to the political present. A lesson in history and music!

At first glance, the title of Shostakovich’s opera seems to speak for itself: Katherina, neglected and unhappy in her marriage, commits the most heinous crime just like the Shakespearian Lady Macbeth. But Nikolai Leskov’s short novel, which portrays Katherina as a monster, was only the starting point for Shostakovich to elicit understanding for an oppressed woman whose pursuit for self-determination is suppressed by society. Through combining satiric, grotesque and tragic elements in his music, Shostakovich succeeds in striking the balance between repulsion at Katherina’s immoral acts and sympathy for her. Violence, eroticism and the paralysing boredom of Russian society in the 19th century are the founding elements of this composition. The choir and orchestra of the Maggio Musicale Fiorentino conducted by James Conlon accompany tremendous soloists such as Jeanne-Michèle Charbonnet, Vladimir Vaneev and Vsevolod Grivnov in the original language in this live recording.

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.

Politics and love leads to a love triangle between father, son and stepmother.

2014 marks a year of celebration recognizing the 150th birthday year of the German late-Romantic orchestral, operatic and lied master composer, Richard Strauss (1864-1949). Arabella (premiered 1933, Dresden) was the last of the half dozen Strauss works to feature a libretto by the great Austrian writer Hugo von Hofmannsthal. This production, from the most recent Salzburg Easter Festival is, after Capriccio, the second of three Richard Strauss operas C Major is releasing in honor of the composers birth, life and work. The star-laden cast includes soprano Renèe Fleming, baritone Thomas Hampson, Albert Dohmen (Covent Garden, Wiener Staatsoper, MET) and Gabriela Beaková (Wiener Staatsoper, Covent Garden). With Christian Thielemann and the Staatskapelle Dresden, the music of Richard Strauss is in the best of hands. (ORF) Thielemann gets the best out of the cast...especially Renée Fleming with her luxurious soprano FAZ

An aging opera singer looks back on her long life, including her relationships with her vocal teacher and a student.

The recently widowed Mary Stuart returns to Scotland to reclaim her throne but is opposed by her half-brother and her own Scottish lords.

A concert performance of the most famous parts of Dvořák's opera Rusalka in the park of Liteň Castle, directed by the Caban brothers with multimedia elements and original choreography... The year 2021 marks an important milestone in the history of Dvořák's opera Rusalka, which premiered in 1901, 120 years ago. At the same time, the non-profit organization Liteň Castle and the Jarmila Novotná Festival are celebrating ten years of activity. Its mission is to popularize the name of the legendary diva, actress, patriot, and important personality Jarmila Novotná and to care for the cultural monuments on the grounds of Liteň Castle—and on the occasion of both anniversaries, it did so with an extraordinary performance of the opera Rusalka in the picturesque surroundings and magical summer atmosphere of Liteň Castle.

Janie lives to dance and will dance anywhere, even stripping in a burlesque house. Tod Newton, the rich playboy, discovers her there and helps her get a job in a real Broadway musical being directed by Patch. Tod thinks he can get what he wants from Janie, Patch thinks Janie is using her charms rather than talent to get to the top, and Janie thinks Patch is the greatest. Steve, the stage manager, has the Three Stooges helping him manage all the show girls. Fred Astaire and Nelson Eddy make appearances as famous Broadway personalities.

Aspiring stage actress Zou Zou tries to help her childhood friend prove his innocence after he's accused of murder.

Rose Sargent, a Roaring '20s singer, becomes a Ziegfeld Follies star as her criminal husband gets deeper in trouble.

Leonora plans to elope with Don Alvaro, but he accidentally shoots and kills her father, who curses them as he dies. The lovers go on the run, but get separated. Bent on revenge, Leonora's brother Don Carlo, hunts them down. Verdi painted an immense canvas with this dark but tuneful opera, vividly brought to life in John Dexter’s production, with sets by the great Eugene Berman. The legendary Leontyne Price is seen in one of her greatest roles, Leonora. Price’s soaring voice encompasses every nuance of Leonora’s emotion as she moves from joy through resignation to ultimate heartbreak. James Levine’s brilliant leading of the Met orchestra and chorus is a lesson in Verdi style. Giuseppe Giacomini is Alvaro, the man Leonora loves, and Leo Nucci is Don Carlo, the dark instrument of their Fate.

A beautiful singer and a battling priest try to reform a Barbary Coast saloon owner in the days before the great earthquake and subsequent fires in 1906.