Maurizio Muraro

Servants Figaro and Susanna are filled with excitement on their wedding day, but there’s a hitch: their employer, the Count Almaviva, has dishonourable intentions of his own towards the bride-to-be. With more twists than a page boy’s stockings, the story of Mozart’s comic opera will surprise and delight you at every turn. Come for the music and stay for the cross-dressing hilarity, all unfolding over the course of one crazy, topsy-turvy day in the Almaviva household. Antonio Pappano conducts a truly international cast in David McVicar’s timeless production.

co-production with the Teatro Real (Madrid).

A count has designs on his personal valet's fiancée and is determined to stop their wedding taking place. Meanwhile, the countess tries to regain her husband's love by any means necessary. Mozart's great comic opera is a tale of intrigue, misunderstanding and forgiveness. Christian Gerhaher plays the clever Figaro and Simon Keenlyside his aristocratic master in this revival of David McVicar's much-loved production at the Royal Opera House.

19세기 초 스위스의 산골 마을. 전쟁 중인 이 마을에는 프랑스 제 21연대가 주둔하고 있다. 주인공 마리는 이 제 21 연대의 마스코트다. 병사들은 마리를 ‘연대의 딸’ 이라고 부르며 무척 사랑한다. 어릴 때 전쟁터에서 발견되어 연대의 보살핌을 받으며 자라난 마리는 얼마 전 벼랑에서 꽃을 따다가 미끄러져 위험에 처했을 때 한 청년이 구해주었다고 말하며, 자꾸 그 사람 생각이 나서 슬퍼한다. 한편, 병영을 엿보는 스파이로 토니오라는 청년이 체포되어 처형당할 위기에 놓인다. 이 때, 토니오를 발견한 마리는 이 청년이 자신을 구해주었다고 말하며 풀어줄 것을 요청하게 되는데...

A young student, Ernesto, who lives with his old bachelor uncle, Don Pasquale, has refused to wed the woman of his uncle’s choosing because he is in love with a young widow, Norina. Pasquale has decided to punish Ernesto by getting married and fathering an heir, thereby cutting off his nephew without a penny. Dr. Malatesta, a friend of Pasquale as well as Ernesto and Norina, has devised a plan to both save Pasquale from his folly and help the young couple.

With his affinity for the 16th-century sculptor Benvenuto Cellini's advocacy of artistic and personal freedom, Hector Berlioz went straight for the grand gesture with his first completed opera. Returning to it years after initial production debacles, Berlioz stated that he would 'never again find such verve and Cellinian impetuosity, nor such a variety of ideas.' The plot revolves around Cellini's wooing of Teresa, a match frustrated at every opportunity by his rival, the cowardly Fieramosca. Benvenuto Cellini is a pithy work combining romance, excitement, violence, comedy and spectacle; the perfect stage for Terry Gilliam's stylishly colorful and larger than life directing.

A youthful cast brings Rossini’s immortal comedy to sparkling life, led by Christopher Maltman as Figaro, the resourceful barber and man-about-town of the title. The lovely Isabel Leonard is Rosina, the clever young woman at the center of the story, and Lawrence Brownlee sings Count Almaviva, the man who loves her and—with Figaro’s help—rescues her from the house of her elderly and smitten guardian, Bartolo, played by Maurizio Muraro. Paata Burchuladze is the bumbling music master Basilio, and rising conductor and bel canto specialist Michele Mariotti leads the Met’s musical forces in Bartlett Sher’s lively production.

Manon Lescaut's production was updated and it worked. Highly professional production with two of the best performances I've ever witnessed in any opera. By the end of the third act I was crying and by the end of the fourth act I could not stop the tears. These two can not only sing up a storm they act one as well. This is the best Manon Lescaut I've ever seen and hope the upcoming one at the Met is as good. It truly was thrilling. Kaufmann and Opolais were unbelievably fantastic and the orchestra was superb. Pappano is the kind of maestro you want to sing for as he coaches as in the old days of maestros like Levine, etc. This is highly recommended as a keeper!

Met Music director James Levine conducts a cast of youthful stars in Mozart’s sophisticated comedy about testing the ties of love. Susanna Phillips and Isabel Leonard are the sisters Fiordiligi and Dorabella, who are led to believe their fiancés have gone off to war. Matthew Polenzani and Rodion Pogossov are Ferrando and Guglielmo, the lovers who return in disguise to test their girls' fidelity. Danielle de Niese sings the scheming maid Despina and Maurizio Muraro is Don Alfonso, the philosopher and mastermind pulling the strings.

Starring Angela Gheorghiu as the celebrated French actress Adriana Lecouvreur and Jonas Kaufmann as her lover Maurizio, Count of Saxony, Cilea s verismo drama explores celebrity, romance, jealousy, and death. The trio of sublime voices is completed by Russian mezzo-soprano Olga Borodina as Adriana s jealous rival, the Princess de Bouillon. David McVicar s hit production the first performance of the opera at the Royal Opera House, Covent Garden for more than a century presents the life of the French actress as a blurring of the distinction between fantasy and reality. The action revolves around a life-size Baroque Theatre, taking us from the bustle and colour of the first act backstage at the playhouse, to the bare final scenes as the drama reaches its fatal climax.

Wolf-Ferrari’s comic opera La vedova scaltra (The Cunning Widow), is among the works he based on plays by Goldoni. It matches closely the conventions of 18th-century opera buffa in its witty if sceptical look at the mechanisms governing the interplay of human relations. Four hopeful suitors, English, French, Spanish and Italian, vie for the hand of Rosaura, the cunning widow of the title, who disguises herself to meet each wooer, eventually choosing the only one who can demonstrate his sincerity. This production, filmed live at the Teatro La Fenice in February 2007 in celebration of the 300th anniversary of the birth of Goldoni in Venice in 1707, is the first to appear on DVD.

Diana Damrau, Ildebrando D'Arcangelo, Pietro Spagnoli, Marcella Orsatti Talamanca, and Monica Bacelli star in this La Scala production of the Mozart opera conducted by Gerard Korsten and directed by Giorgio Strehler.

Live from La Scala Wednesday 10 December 2003

감옥에서 탈출한 국사범 안젤로티가 죄수복을 입은 채 누이동생이 가르쳐 준대로 성당에 숨어들었다가, 거기서 그림을 그리던 친구 카바라도시를 우연히 만난다. 안젤로티를 돕기로 한 카바라도시는 만일의 경우 자기 별장 정원의 낡은 우물에 비밀 지하실에 숨으라고 한다. 그때 대포 소리가 울리고, 탈옥이 발각됐다고 생각한 두 사람은 곧 떠날 준비를 하고 성당에서 나간다. 엇갈려서 등장한 성당지기 앞에 스카르피아가 경관들을 데리고 나타나 도망간 국사범을 찾기 위해 구석구석 조사하라고 명한다. 경관이 점심 바구니를 발견하여 가지고 오자 성당지기는, 카바라도시는 손도 대지 않았다고 말하고, 스카르피아는 안젤로티가 먹었다고 판단한다. 그때 토스카가 들어오자 스카르피아는 아타반티 가의 부채를 꺼내 보이며, 분명 누가 떨어뜨렸다고 토스카의 질투심을 선동하고, 그녀는 그의 계략을 모른 채 카바라도시의 변절에 분개하는데...

Marie was found on a battlefield as a baby, and raised by the entire 21st Regiment as their 'daughter'. Her foster-father Sulpice has decreed that she should marry a soldier from the Regiment. When Marie falls for the Tyrolean Tonio, it looks as though she may have to choose between her family and true love.