La Clemenza di Tito (1980)

Segunda Guerra Mundial (1939-1945). Parodia de la ocupación de Francia por los alemanes. Terry-Thomas es un piloto inglés que se encuentra perdido en la Francia ocupada, mientras que Bourvil y Louis de Funès son dos parisinos que, casi involuntariamente, ayudan a la resistencia contra los nazis. Un film que en Francia obtuvo un enorme éxito de taquilla.

La hija mayor de una pareja de artistas, Hannah, es una esposa devota, madre cariñosa y actriz de éxito. Defensora leal de sus dos hermanas, Lee y Holly, es también la columna vertebral de una familia que parece casi tan resentida de su estabilidad como depende de ella. Pero cuando la rivalidad fraternal sabotea silenciosamente el mundo perfecto de Hannah, finalmente se da cuenta de que está tan perdida como todos los demás, y para ser capaz de encontrarse tendrá que elegir entre la independencia y... la familia sin la cual no puede vivir.

Antonio Salieri es el músico más destacado de la corte del Emperador José II de Austria. Entregado completamente a la música, le promete a Dios humildad y castidad si, a cambio, conserva sus extraordinarias dotes musicales. Pero, después de la llegada a la corte de un joven llamado Wolfang Amadeus Mozart, Salieri queda relegado a un segundo plano. Irritado por la pérdida de protagonismo, hará todo lo posible para arruinar la carrera del joven músico. Mientras tanto, Mozart, ajeno a las maquinaciones de Salieri, sorprende a todos con su genialidad como músico, pero también con sus excentricidades.

En los sótanos de la Ópera de París vive oculto el misterioso Eric, el hombre de voz de ángel y rostro desfigurado de demonio, que acecha entre pared y pared a la hermosa soprano Christine Daeé, a la que desea catapultar hasta la cima de la fama; pero cuando se entera de que la cantante está prometida al apuesto vizconde Raoul, se vuelve loco de celos.

Mozart’s allegorical fairy tale has charmed audiences and inspired artists, for more than 200 years. A few weeks before this telecast, the Met unveiled a new production of the opera featuring the colorful designs of acclaimed artist David Hockney. His bold colors and vivid images enchanted audiences and seemed to inspire the striking cast, led by James Levine’s affectionate conducting. Francisco Araiza is the young prince Tamino, who finds himself in a strange land, forced to undergo mysterious tests so he can rescue, then marry, the woman he loves, Pamina, played by Kathleen Battle. Kurt Moll is the compassionate Sarastro and Luciana Serra is the Queen of the Night.

An adaptation from the controversial John Adams opera about the true life incident that took place in the mid 80s. The liner "Achille Lauro" is on a 12-day cruise in the Mediterranean. While the ship is docked in Alexandria, a maid discovers that four of the passengers are actually members of the Palestine Liberation Organization traveling incognito. Startled by their discovery, the PLO cadre is forced to act. They take the passengers on board hostage and demand the release of 50 Palestinian activists held in Israeli jails. As Egyptian, American, Italian, and Palestinian authorities bicker over the best way to handle the situation (and who would negotiate with the terrorists), the kidnappers find themselves dealing with rebellion among their captives, and an argument between the four PLO members and Leon Klinghoffer, a Jewish-American confined to a wheelchair, eventually escalates into violence.

A young girl and her father are kicked out of their house by a cruel noblewoman, and the girl's heart is broken when her sweetheart, the noblewoman's son, won't go to Paris with them. After becoming an opera star in Paris, the girl returns to her homeland and finds her romance with the nobleman rekindled.

Count Almaviva is in love with Rosina. However, she is currently staying with Dr. Bartolo – who desires to marry her. By using a series of disguises, Almaviva manages to pass letters to Rosina and serenade her with his beautiful voice. Dr. Bartolo does his best to stop Almaviva but is constantly thwarted. In the end, Count Almaviva marries Rosina and Dr. Bartolo comes to terms with his defeat.

In this musical, a tempermental opera singer falls in love with a hearing-impaired young woman.

Mark Elder leads the orchestra and chorus in a lavish performance . . . She certainly has the temperament to play Adriana, who can present herself as humble and sweet but, in a scene where she takes the stage, is nothing if not intense . . . this recording provides a reminder of how secure and uniquely attractive her singing can be. Her soprano glides effortlessly, its top still silvery, over the oft-excerpted arias "Io son l'umile ancella" and "Poveri fiori." There's a real core even in much of her soft singing, and the recording flatters her lower register. As Maurizio, Jonas Kaufmann has the ideal chiaroscuro sound to portray both poet and warrior. It's great to hear his robust tenor at full force . . . Olga Borodina makes for an imperious princess . . . Alessandro Corbelli employs luster and dignity.

There are many "editions" of this opera (Offenbach died before completing the score)and this tape offers the standard one.

A documentary film about singing and a young man in search of himself and his voice.

Performances from Pamela Coburn, Brigitte Fassbaender, Janet Perry, Eberhard Wachter, the Choir und Ballet der Bayerischen Staatsoper, and the Bayerisches Staatsorchester. Rosalinde, wife of Eisenstein, is having an affair with Alfred. Eisenstein is due to begin a prison sentence the next morning, and the prison governor, Frank, is expected to collect him at any moment. However, Eisenstein allows himself to be talked into attending a fancy dress ball by Dr Falke, and when Frank arrives to find Alfred with Rosalinde, he assumes him to be Eisenstein and carts him off to prison.

Escenas en vivo de París y un narrador que da continuidad a las escenas integran cuatro coreografías dramáticas, de las cuales es autor Roland Petit.

Un director de orquesta es contratado para dirigir en París la ópera de Wagner "Tannhauser". Sin embargo, cuando llega a la capital francesa, tropieza con toda clase de obstáculos para realizar su trabajo: unas veces debido a las exigencias de los sindicatos y otras a causa de los caprichos de algunos cantantes. Así, su primer encuentro con la diva es frustrante, aunque acaban viviendo una apasionada historia de amor.

La Scala went all out for its 1986 production of this grandest of grand operas, with a strong cast and, most important for a video recording, a larger-than-life staging. The Triumph Scene in Act II is by no means Aida's only attraction, but it is the part that makes the strongest and most lasting impression and it is the visual and musical climax of this production. Stage director Luca Ronconi brings on a procession to dwarf all processions: looted treasures, heroic statuary, miserable captives struggling under the lash of whip-bearing slave drivers. On par with these visuals is Lorin Maazel's first-class performance of the popular Grand March with the outstanding La Scala chorus and orchestra. In Act III, the contrasting tranquility of the Nile Scene also gets a visual treatment to match the music's qualities.

Renée Fleming has matured into one of the finest sopranos around at the moment, a true star with a sparkling personality and a velvet-toned voice that is capable of wringing the finest emotions out of works by Strauss and Tchaikovsky that from a lesser singer could sound rather cold and clinical. I wouldn't have thought her voice would be so well suited to Violetta Valéry in La Traviata, and it does take some getting used to, but I think she at least brings a distinct quality to the role with an emotional heart that isn't always necessarily there when a leading diva uses it primarily as a display for her vocal talents. It's served well also by Antonio Pappano's conducting of the Royal Opera House Orchestra in a traditional, but effective production by Richard Eyre.

Verdi’s monumental score is fully the equal of Shakespeare’s famous tragedy—and both demand great actors. This is one performance where both playwright and composer are well served. Plácido Domingo’s Otello is one of the glories of the operatic world, beautifully sung and so commandingly acted that audiences are devastated by the end. Renée Fleming’s ravishingly beautiful Desdemona is deeply moving, and as Iago, James Morris is as beguiling as he is menacing. Under James Levine’s conducting the Met orchestra and chorus are vital characters in the drama.

Including world-class artists such as Bryn Terfel, Cecilia Bartoli, Anne Sofie von Otter, Jose Cura, Simon Keenlyside and Agnes Letestu, this 50-minute sampler will give you a taste of many beloved classics in opera and ballet.

La carrera de Maria Callas fue demasiado temprana y demasiado breve para recibir documentación en video completa y satisfactoria como la que ahora se otorga a cantantes como Renée Fleming y Luciano Pavarotti. Este recital televisado en blanco y negro (el debut de Callas en París) tuvo lugar en la Ópera de París el 19 de diciembre de 1958 cuando la televisión aún estaba en pañales. Podríamos desear que hubiera sucedido antes, cuando su voz estaba en mejores condiciones, o más tarde, cuando la tecnología de grabación de video era más avanzada, para que, por ejemplo, no tuviéramos que tomar la palabra del narrador de que Callas está usando un traje rojo. vestir. Pero esta es probablemente la mejor grabación de video disponible de Callas, y sus admiradores la recibirán calurosamente. Los elementos visuales eran tan importantes como las dimensiones vocales en su arte.