Gyula Nagy

A solitary man and woman become increasingly aware that their separate worlds consist of uniquely enclosed environments. Are they listening to their surroundings? Can they survive without listening? They discover that the sounds of five words are their only means of communication and perhaps their only means of escape.

Richard Jones’ “La bohème” is an important weapon in the Royal Opera’s commercial arsenal. This is its second revival since Jones’ production hit the stage in autumn 2017, replacing John Copley’s beloved 40-year old staging, resplendent with period detail and resolutely naturalist. Jones brings a considerable break with the past in his approach, pointing the way towards thought-provoking possibilities for the work, though it is a clearly a show that defers to the need for regular revival and breadth of appeal.

담배공장에서 담뱃잎을 말아 생활하던 가난한 하층민 집시 여성 카르멘은 싸움에 말려 감옥에 갈 위기에 처하지만 군인 호세를 유혹하여 풀려난다. 다시 만난 호세와 카르멘은 사랑에 빠지게 되지만 몇 달 후 호세는 자신에게 싫증이 난 그녀의 마음이 투우사 에스카미요에게 있다는 것을 알게 되고 극단의 선택을 하기에 이른다.

Cio-Cio-San, the young Japanese bride of dashing American officer Lieutenant Pinkerton, finds her romantic idyll shattered when he deserts her shortly after their marriage. She lives in hope that one day he will return. Three years later, Cio-Cio-San and her little son see Pinkerton’s ship in the harbour. She excitedly expects his visit – but Pinkerton and his American wife Kate have come only to take the boy away, to raise him in America. Cio-Cio-San bids her son farewell and then takes her own life.

A young woman living in the country is told by her dying father that he is really her uncle and raised her as his own when her mother was sent to prison for killing her husband. Alone and not knowing her mother’s fate, Betty travels to the city in search of work. There she finds employment as a maid in the house of a wealthy couple and their dashing son, Nick, with whom she falls in love...