Lohengrin

Composer Thomas Adès conducts the Met premiere of his powerful opera based on Shakespeare’s last play, in Robert Lepage’s brilliantly inventive production. Simon Keenlyside is the magician Prospero, who conjures the storm that shipwrecks his enemies and sets in motion the course of events. Rising Met stars Isabel Leonard and Alek Shrader are the young lovers, Miranda and Ferdinand, Alan Oke sings the sinister Caliban, and Audrey Luna gives a memorable performance as the sprite Ariel.

Director David McVicar’s new production brings opera’s favorite double bill to new life, setting the two operas in the same Sicilian setting, separated by two generations. Marcelo Álvarez takes on the rare feat of singing both leading tenor roles. In Cavalleria, he is Turiddu, the young man who abandons Santuzza (Eva-Maria Westbroek) in his pursuit of the married Lola (Ginger Costa-Jackson)—and ends up being killed in a duel with her husband, Alfio (George Gagnidze). In Pagliacci, Álvarez is Canio, the leader of a traveling vaudeville troupe. Patricia Racette sings Nedda, his unfaithful young wife, whose plans to run away with her lover are foiled by her spurned admirer Tonio (George Gagnidze)—with equally tragic consequences. Met Principal Conductor Fabio Luisi is on the podium.

Giuseppe Verdi based his famous opera on the novel “The Lady of the Camellias” by Alexandre Dumas. Robert Wilson’s production of Violetta Valéry’s tragic fate is his first work at the State Theater of Linz, Austria, one of the most modern operatic stages in Europe by architect Terry Pawson. After the run in Linz, the production was transferred to the Opera House in Perm, Russia, where the production was conducted by Teodor Currentzis. In 2017, the work received a “Golden Mask”, the most prestigious Russian theater award, in three categories (Teodor Currentzis, Best Conductor; Nadezhda Pavlova, Best Female Singer; Robert Wilson, Best Lighting Design).

The struggles of a group of outcasts living in "Yentown", in an alternate-future Japan.

A collectively made filmic opera in 35 parts. The Black and predominantly queer art collective, an evolving line up of poets and artists from across the world, abstracts and reimagines opera in any traditional conception. Set to hip-hop, blues, noise, R&B and electronica, the piece uses the voice (chanting, singing, screaming; written by poet and activist Dawn Lundy Martin) as its primary tool, verbalising centuries of alienation, vulnerability and protest in the global African diaspora through its disruptive libretto.

At a music academy, veteran Professor Victor faces challenges as he prepares to conduct his final concert with a choir of children who lack passion for music. The arrival of the academy director complicates matters, and Victor learns of his dismissal just before the performance. Determined to overcome adversity, Victor, with the help of former student Angelica and the child Albert, manages to lead the choir to a heartfelt performance, rekindling their connection with music.

Lang Lang returned to China in 2005-2006 for an eight-city concert and to record the Dragon Songs album. This documentary of Lang Lang's China visit offers an intimate portrait of the pianist giving masterclasses, surrounded by fans, at home with his family, and on the road.

The story of sex, violence, race and rock and roll in 1950s Chicago, and the exciting but turbulent lives of some of America's musical legends, including Muddy Waters, Leonard Chess, Little Walter, Howlin' Wolf, Etta James and Chuck Berry.

Opera Gala - Live from Baden Baden

Toymaker's Dream is a vibrant, high-energy theatrical presentation that retells the biblical narrative of creation, the fall of man, and redemption through the life and death of Jesus Christ. The story is presented as a fantasy allegory, portraying God as the "Toymaker," humanity as his beloved "toys" living in "Dreamland," and Satan as the "Dream Hater" who incites rebellion against the Toymaker.

Una Vida es el Tango

Trpělivý Sokrates

Meet the Raisins! spoofs musical documentaries with its use of anthropomorphic food characters. Through its historical perspective, the special also provided an opportunity to elaborate on the personalities and introduce names of the simple yet popular characters. It follows the California Raisins' humble beginnings, rise to musical success, fall from stardom, and eventual comeback. This includes "home movie" clips, scenes of the group's early days as the Vine-Yls, concert footage, and interviews with the people behind the success of the California Raisins including manager Rudy Begaman. The group is also shown performing various hit songs

An experimental and short compilation of rhythmic documents about the devolving state of entertainment and reactionaries in it's entirety. From the parodic controls between the obscure artifacts of media-consumed culture, to the real world consequences of how film discussion shapes the political and mental state in a society.

The Marx Brothers take on high society and the opera world to bring two lovers together. A sly business manager and two wacky friends of two opera singers help them achieve success while humiliating their stuffy and snobbish enemies.

In Rigoletto, the deformed figure of the hunchbacked jester at the Mantuan court acts as a foil to his cynical and powerful master, an unscrupulous philanderer contrasted with his cruel and unforgiving fool. Rigoletto encourages and welcomes the Duke's conquests, pitilessly mocking his victims until he discovers that the Duke has abducted the one person he genuinely loves, his own daughter. As a result, the character of the court jester is transformed into a tragic figure who, in spite of his evident immorality and malice, allows us to sense the devotion he feels for his daughter and his horror at being destroyed by the same despotic world as that which he himself has helped to create.

Das Mauerkonzert

Bios. Vidas que marcaron la tuya: Charly García

How Cardi B became a household name and a legend in her own time.

Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.