Let's Sing Again

Soprano Anna Netrebko appears in her highly anticipated Met role debut as Leonora, the tortured heroine who sacrifices her own life for the love of the Gypsy troubadour. Dmitri Hvorostovsky sings Count di Luna, Yonghoon Lee is Manrico in his Met role debut as the title character, Dolora Zajick sings her signature role of the gypsy Azucena, and Štefan Kocán is Ferrando. Marco Armiliato conducts Sir David McVicar’s Goya-inspired production.

Rebellious servants, capricious lovers, cross-dressing farce and a happy ending: the fast paced action of this comic Baroque opera had all the ingredients to please the self-confessed ‘low-brow taste’ of an Austro-German prince, who commissioned Giuseppe Scarlatti for a piece to celebrate his son’s wedding. This is the opera’s first revival in modern times, and it takes place in the very same Baroque theatre, impeccably restored to its original glory, which hosted the first performance. With a cast of young singers drawn from Prague’s National Theatre and a stylish period-instrument ensemble, this vivid reconstruction will delight audiences as much today as it did the aristocratic guests at Český Krumlov in 1768. Filmed in High Definition and recorded in true Surround Sound.

Renée Fleming sings one of her signature roles, the title character in Dvořák’s sumptuously melodic Rusalka. The story of the opera, which is about a water spirit’s tragic romance with a human prince, is drawn from several folktale sources including Hans Christian Andersen’s “The Little Mermaid.” Star conductor Yannick Nézet-Séguin leads a cast that also includes Piotr Beczala as the handsome Prince whom Rusalka yearns to love; Dolora Zajick as the cackling swamp witch Ježibaba; Emily Magee as the Foreign Princess, Rusalka’s rival; and John Relyea as Rusalka’s father, the Water Sprite.

Radiant mezzo-soprano Susan Graham and dashing Italian tenor Marcello Giordani are unlucky lovers in La Damnation de Faust, Hector Berlioz’s classic take on dancing with the devil.

Valery Gergiev conducts Mariusz Trelinski’s thrilling new production of these rarely heard one-act operas. Anna Netrebko stars as the blind princess of the title in Tchaikovsky’s lyrical work, opposite Piotr Beczala as Vaudémont, the man who wins her love—and wakes her desire to be able to see. Nadja Michael and Mikhail Petrenko are Judith and Bluebeard in Bartók’s gripping psychological thriller about a woman discovering her new husband’s murderous past.

Bill Morrison’s experimental short features decayed film reels from the lost, German silent film Pawns of Passion (1928).

Sándor Barinkay joins the gypsies en route to his home village hiding his real identity as an Hungarian nobleman, whose parents were sent to exile. He claims his former properties, now taken by a pig merchant who plays the fool to the villagers' delight. Yet this man has an interesting daughter, and there's also the beautiful gypsy Saffi to consider. And a family hidden treasure to be found.

A millionaire sets out to prove his theory that his pet chimpanzee is as intelligent as the teenagers who hang out on the local beach, where he is intending to build a retirement home.

Without question, this is an incredibly bizarre production. The revised storyline makes little sense, and there is a surprising amount of violence and sexual innuendo. However, the singers are superb, both vocally and in regard to their stage presence and acting, the orchestra plays beautifully, the chorus is wonderful, and the set is as clever as it is strange. It's definitely not for purists, or for someone new to this particular opera. But for someone who's seen Die Entfuhrung before, and is familiar enough with the original story to not miss it, watching Belmonte, Constanze, Blonde, Pedrillo, and Osmin embark on an entirely new adventure -- and push the boundaries of good taste -- is rather enjoyable.

An orphan is provisionally adopted by the manager of a hotel populated by show business people. The hotel's owner doesn't like the entertainers and wants the girl returned to the orphanage.

Sutton Foster takes over City Center—filling it with her indomitable spirit for a concert with her friends that celebrates their connections to the historic theater and reflects on the challenges facing all of us. Bring Me to Light reunites Foster with fellow Encores! cast members Raúl Esparza and Joaquina Kalukango, City Center alum Kelli O’Hara, and Wren Rivera—Foster’s student at Ball University. Together, they enliven City Center with the hope of what lies ahead through performances of music theater favorites from Anyone Can Whistle, Camelot, Oklahoma!, South Pacific, Violet, The Wild Party, and more. Accompanied by Music Director Michael Rafter (piano) and Matt Hinkley (guitar), Bring Me to Light is directed by Leigh Silverman, with Jeanine Tesori serving as Creative Producer.

In this musical, four young hopefuls from different parts of the country head to New York for a shot at Broadway stardom.

The stupendous climax to Wagner’s four-part Ring cycle is brilliantly realized by the Otto Schenk/Günther Schneider-Siemssen production and byJames Levine’s monumental conducting. The Met orchestra, chorus, and an all-star cast make this Götterdämmerung one that truly rises to the occasion. Hildegard Behrens’s Brünnhilde must be experienced to be believed, as does Matti Salminen’s richly sung, domineering Hagen. At the center of the drama is Siegfried Jerusalem as Siegfried, who does not realize he has been drawn into a plot of betrayal until it is too late. Christa Ludwig is magnetic as Waltraute and Ekkehard Wlaschiha is a compelling Alberich.

The wealthy patriarch of a Mumbai family learns more than he wants to about his own origins after his refusal to accept his sons' chosen spouses drives them and his own wife away.

The opera Turandot by Giacomo Puccini from the Arena di Verona (2024), with desings by late Franco Zeffirelli. Turandot is sung by Ecaterina Semenchuk.

Last production staged by Patrice Chéreau, this Elektra will remain as the main and most striking lyrical event of these last years in Aix-en-Provence. This production is leaded by three amazing singers: the German soprano Evelyn Herlitzius gave a tremendous, never-to-be-forgotten account of the title role, Waltraud Meier portrays a human and chilling Clytemnestra and Adrianne Pieczonka is a fantastic Chrysothemis. Everyone's loneliness and intimate struggles are Patrice Chéreau's favorites theatrical themes. With Esa-Pekka Salonen conducting the Orchestre de Paris, this production of Elektra becomes an unforgettable experience.

Gustl Bayrhammer takes audiences big and small on a musical journey to “Wonderland”. There he meets various characters from comic books, fairy tales and legends.

Cher... Special is a television special starring American singer/actress Cher and featuring guest stars Dolly Parton and Rod Stewart. The show was broadcast on ABC on April 3, 1978 and was a ratings success for ABC, ranking among the Top 10 most watched programs of the week. The Special is best remembered for its first number where over fifteen minutes, Cher sings and dances to a medley of songs from the musical West Side Story, playing both male and female characters. In the fall of 1978, it was honored with a technical Emmy Award for "Best Achievement in Lighting Direction". It also received an Emmy nomination for "Best Art Direction for a Comedy-Variety or Musical Special" and Dolly Parton was also nominated for an Emmy in the category of "Best Supporting Actress in a Variety or Musical Special".

Visually this is a gripping production which captures the drama of this opera perfectly. It's downright exciting! and I found the singing, acting, and orchestral playing reasonably fine. I found only one major problem with it, a problem that kept Puccini for quite a few years. Turandot has been looking for an opportunity to kill Calif and Calif has singlemindedly tried to get Turandot to love and wed him focusing on her and ignoring a better looking girl who loves him truly. The problem is how to get the audience to applaud the match once Calif gets his wish. Puccini couldn't figure out how to do it. The traditional quick ending doesn't do it, and Berio's attempt is longer , tries its best, but ends up making it plain this is one wierd couple.

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina, in this screen adaptation of the beloved Mozart opera. 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.