This Time for Keeps

The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.

O komínku zedníky laškovně nakřivo postaveném aneb Souboj pantátův se zedníky

37-year-old Italian-American widow Loretta Castorini believes she is unlucky in love, and so accepts a marriage proposal from her boyfriend Johnny, even though she doesn't love him. When she meets his estranged younger brother Ronny, an emotional and passionate man, she finds herself drawn to him. She tries to resist, but Ronny, who blames his brother for the loss of his hand, has no scruples about aggressively pursuing her while Johnny is out of the country. As Loretta falls for Ronny, she learns that she's not the only one in her family with a secret romance.

Led by a strange dream, scientist Aki Ross struggles to collect the eight spirits in the hope of creating a force powerful enough to protect the planet. With the aid of the Deep Eyes Squadron and her mentor, Dr. Sid, Aki must save the Earth from its darkest hate and unleash the spirits within.

Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on the podium. Tenor Matthew Polenzani brings both steely resolve and compassionate warmth to the title king of Crete, who is faced with an impossible decision. With her rich mezzo-soprano, Alice Coote sings the trouser role of Idomeneo’s son Idamante, who loves the Trojan princess Ilia, sung with delicate lyricism by Nadine Sierra. Elza van den Heever gives a thrillingly unhinged portrayal of the jealous Elettra. Jean Pierre-Ponnelle’s timeless production blends the grandeur of ancient myth with the elegance of Enlightenment ideals.

Tchaikovsky’s setting of Pushkin’s timeless verse novel is presented on the Met stage in Deborah Warner’s moving production, starring Anna Netrebko as Tatiana and Mariusz Kwiecien and Peter Mattei sharing the title role. Alexey Dolgov sings the role of Lenski, and Robin Ticciati conducts.

In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask

Shortly after WWII, the DEFA Studios produced a series of operas and operettas which belonged to the classical German musical heritage. This enchanting film, the very first opera production of DEFA, stands out because of its lavish decor and costumes, its outstanding actors and their masterful voices of that time.

Here is a rare and exceptional example in which the director and costume designer amuse themselves with `silly' costumes, but it actually works. I usually loath the stupid concept of 'clever' producers' of dressing opera singers in an motley set of `modern' and bizarre costumes (mostly tasteless) to help the `stupid' spectators to understand the universality of the opera across time and place. However, in this particular production I enjoyed every moment of it. All my reservations withstanding, I found that the costumes have actually helped highlight the `buffa' aspects of this supposedly `siria' opera. This work may not be among Handel's greatest masterpieces, but the way it is presented and sung here makes it a thorough pleasure for the senses.

Desdemona in Verdi's Otello was a career role for soprano Renata Tebaldi, from her first operatic performance outside of Italy to her final appearance on the opera stage. Between those landmarks she performed the role nearly 100 times all over the world and made studio audio recordings that became reference recordings for the role. This 1962 production with the Deutsche Oper Berlin and Giuseppe Patane was planned as a media event from the outset and blessedly captures a consummate artist in a signature role at the peak of her gifts.

La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]

Die Walküre (The Valkyrie), WWV 86B, is an opera in three acts by Richard Wagner with a German libretto by the composer. It is the second of the four operas that form Wagner's cycle Der Ring des Nibelungen (The Ring of the Nibelung). The story of the opera is based on the Norse mythology told in the Volsunga Saga and the Poetic Edda.[1][2] In Norse mythology, a valkyrie is one in a group of female figures who decide which soldiers die in battle and which live. Die Walküre's best-known excerpt is the "Ride of the Valkyries". DVD release June 2009.

When Sir John Falstaff decides that he wants to have a little fun he writes two letters to a pair of Window wives: Mistress Ford and Mistress Page. When they put their heads together and compare missives, they plan a practical joke or two to teach the knight a lesson. But Mistress Ford's husband is a very jealous man and is pumping Falstaff for information of the affair. Meanwhile the Pages' daughter Anne is besieged by suitors.

A recent widow travels with her son to her Virginia hometown for Christmas. On the way they meet a man who is also heading to the same destination. As they continue to spend time together, the pair grows closer.

The true WWII story of Audie Murphy, the most decorated soldier in U.S. history. Based on the autobiography of Audie Murphy who stars as himself in the film.

Can the darkest moments of life also lift our souls? Drawing on his own experience in a Siberian prison in the company of misfits, murderers and theives, Dostoevsky was inspired to write his novel Notes from a Dead House, telling his brother at the time: ‘Believe me, there were among them deep, strong, beautiful natures, and it often gave me great joy to find gold under a rough exterior.’ In Janáček’s hands, Dostoevsky’s inspiration and the raw material drawn from an appalling world of incarceration find an even more powerful form of expression in his last opera, From the House of the Dead. Unfettered by conventional story-telling, Janáček wrote his own libretto, freely weaving together a series of stories of everyday prison life and of the fates of individual convicts.

"The Queen of Spades" is considered Tchaikovsky's best creation by the world-famous conductor, People's Artist of the USSR Vladimir Ivanovich Fedoseev. He took over the leadership of the musical process of recreating the production at Helikon Opera. The original reading, modern stage language, love for Tchaikovsky's music, which became the hallmarks of Helikon's "Queen of Spades," are preserved in the new version. To this were added the thoughtful gaze of maestro Fedoseev, the stunning stage capabilities of the new hall and the artistic talent of the Helikon troupe.

Officers Ferrando and Guglielmo are certain that their lovers Dorabella and Fiordiligi are faithful to them, but the cynical Don Alfonso challenges them to a bet that the women will be unfaithful given the chance. The officers thus pretend to go off to war, and return in disguise as Albanian strangers, to woo Dorabella and Fiordiligi incognito. The ladies are initially frosty, but soon warm to their new suitors, spurred on by their maid Despina. Performed at the La Scala Theatre in Milan.

The Lyric Opera of Chicago's 1985 production of Puccini's opera, set in the late nineteenth century in the city of Nagasaki, about a young Japanese woman who weds an American naval officer who later abandons her and the child she bore him.

On a June night in 2017, opera lovers thronged to the Royal Opera House in London to hear tenor Jonas Kaufmann, recently acclaimed by The Daily Telegraph as the world s greatest tenor, make his eagerly anticipated debut in the title role of Otello Verdi s greatest and most demanding role for tenor voice. As the New York Times wrote Mr. Kaufmann made his debut in the part, and he calmly, confidently sang it for the ages.