La Fille du Régiment

Jessye Norman Sings Carmen is a gripping vérité study of the famous dramatic soprano’s approach to mastering Bizet’s heroine in recording sessions with Seiji Ozawa and the Orchestre National de France. Musical segments include performances of three arias and the great duets between Carmen and Don José

Live performance by Les Arts Florissants at the Théâtre de Caen, recorded on 18 Octorber 2011. "One of the earliest operas deserving of the name, Didone is our first surviving musical version of the famous episode in Virgil's Aeneid where the Trojan Hero loves and then cruelly leaves the noble Dido." — from the DVD back cover

Having disposed of his enemies, Lucio Silla is now all-powerful. He wants to marry Giunia, but underestimates how much she hates him. After all, he has not only had her father murdered, but has also banished her beloved, Cecilio. At first, Giunia is misled into thinking that Cecilio is dead; with the help of Cinna, however, the lovers manage to meet up again. The power of love and Cinna’s machinations finally persuade Silla to relinquish his power.

With war and acts of violence in the background, Aida tells the story of a fascinating and tense love triangle between the Egyptian princess, Amneris, Ramades, an officer, and Aida, a Nubian princess, captured and reduced to slavery. The historical scenes and triumphal marches, which have contributed to the popularity of this opera, are followed by intimate but powerful duets and introspective moments of great intensity.

Tristan, King Marke’s most loyal vassal, takes the Irish princess Isolde to Cornwall to be married off to his master. During the journey, Isolde uses a deadly poison in an attempt to extinguish the intense but unspoken love between her and Tristan that had arisen beforehand. Isolde’s confidante Brangäne, however, replaces the poison with a love potion. From that moment, Tristan and Isolde become inseparably linked. Their secret love is soon betrayed to King Marke by the jealous Melot, who also fatally wounds Tristan. He is brought to his island, longing for one final meeting with Isolde before he dies. When she eventually comes, he himself pulls open his wound and collapses in her arms. Isolde follows him, dying in the most sublime ecstasy.

Maria Callas, the world's greatest opera singer, lives the last days of her life in 1970s Paris, as she confronts her identity and life.

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.

As renowned for its harmonious overture as for its romantic storybook characters, this three-act masterwork features some of the composer’s most groundbreaking and unforgettable music, as well as a theme the young Wagner would revisit again and again later in his career—the redemptive and transcendent power of a woman’s love. The enchanting plot harks back to medieval history: Wolfram is a lovesick troubadour who desires the virtuous Elisabeth. She, however, has eyes for another: the rebellious knight Tannhäuser, who in turn cannot get over an overwhelming sensual experience in the realm of the goddess Venus, and is banished for singing her praises at court. Only saintly Elisabeth’s death can atone for his misdeeds.

Princess Fedora, who is to marry the Count the following day, arrives and sings of her love for him, unaware that the dissolute Count has betrayed her with another woman. The sound of sleigh-bells is heard, and the Count is brought in mortally wounded. Doctors and a priest are summoned, and the servants are questioned. It is proposed that Count Loris Ipanov, a suspected Nihilist sympathiser, was probably the assassin. De Siriex (a diplomat), and Grech (a police inspector) plan an investigation. Fedora swears on the jewelled Byzantine cross she is wearing that Count Andrejevich's death will be avenged.