Pelle Svanslös

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.

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…

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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!

Met performances of Strauss’s white-hot one-act tragedy, which receives its first new production at the company in 20 years. Claus Guth, one of Europe’s leading opera directors, gives the biblical story—already filtered through the beautiful and strange imagination of Oscar Wilde’s play—a psychologically perceptive Victorian-era setting rich in symbolism and subtle shades of darkness and light.

Mythology goes to church in New Zealand Opera's unique, site-specific staging of Handel's baroque masterpiece. This sensual story explores a love triangle between Jupiter, King of the Gods, his wife, the goddess Juno, and his lover, the mortal but overly ambitious princess Semele. This engrossing film of an in-the-round live performance showcases Handel's exquisitely lyrical music and presents a powerful story of ambition that is as relevant today as it was when written nearly three centuries ago.

The innocent Candide discovers that human beings aren't all they are cracked up to be and ultimately focuses on building his own life on his own terms.

From the Baroque Theater at Český Krumlov Castle: Christoph Willibald Gluck's Orfeo ed Euridice (Orpheus and Eurydice) starring Regula Mühlemann, Bejun Mehta and Eva Liebau, with Collegium Vocale 1704 & Collegium 1704 under the baton of Václav Luks. Directed by Ondřej Havelka A co-production of Clasart / Unitel / ORF in association with Czech Television / SVT / YLE / RSI / Arthaus Music

The Prince, Don Ramiro (who has changed places with his valet, Dandini), meets Cenerentola and they are instantly attracted to each other. When the Philosopher, Alidoro, later takes Cenerentola (dressed in magnificent clothing) to the palace, Dandini (still posing as the prince) tries to talk of love to her, but Cenerentola rejects him, saying that she is in love with his 'valet'. Ramiro, who has overheard this comment, is overjoyed, and immediately proposes to her, but Cenerentola says that he must first seek her out and then, if he still felt the same way, she would marry him. She gives him one of a matching pairs of bracelets, telling him to look for its companion on her right arm (she then leaves the palace). Ramiro ends the masquerade, and he and Dandini resume their true identities. The Prince then sets out on his quest - little realising that destiny, in the form of a violent thunderstorm, is about to take a hand in the affair.

In an epic tale of good versus evil, Faust sells his soul to the Devil and tries to save Marguerite from an eternity in Hell.

This opera was filmed live at La Scala in 1992. The all-star cast includes Luciano Pavarotti, Samuel Ramey, aolo Coni, Daniela Dessi, Luciana d'Intio, and Alexander Anismov. Riccardo Muti conducts.

A meditation on the female body as a source of both power and pain that focuses on the tragic figure of renowned American-Greek opera singer Maria Callas (1923-77), whose stunning soprano voice captivated audiences around the world in the mid-20th century while her life was wracked by scandal and personal suffering.

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.

Director Carrie Cracknell makes her Met debut, reinvigorating the classic story with a staging that moves the action to the modern day, in a contemporary American industrial town.

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.

ENO revival of the classic Gilbert and Sullivan operetta as reimagined in a 1930s grand hotel setting with Marx Brothers-inspired humour and Busby Berkeley-style dance numbers

As the saying goes, “Shakespeare invented him, Verdi made him immortal” – and, surely, it was Bryn Terfel who defined him. Terfel first sung Falstaff in 1999, and in 2021, the bass-baritone superstar returns once more to the role at Grange Park Opera. In a production by Stephen Medcalf first shown in the 17th century Farnese theatre in Parma in 2011 with designs that are truly Falstaffian including sensational backcloths by Italian supremo Rinaldo Rinaldi.

Based on Gluck's masterpiece and performed entirely on location in and around the environs of the Baroque Theatre at the Cesky Krumlov Castle in the Czech Republic; it's an opera production designed specifically for the film with outstanding sets and production values. Countertenor Bejun Mehta sings the role of the torn main character and acts as an artistic advisor, making for an involving and impeccably performed opera.

Filmed production of Bizet’s Carmen at Earls Court in London, June 1989.

The heroic Koroghlu is a poor youngster who leads a peasants' revolt against the tyrannic Khan.