Keeping Score - Hector Berlioz Symphonie fantastique

Berlioz’s colossal masterpiece requires stupendous forces—dozens of soloists, enormous chorus, orchestra and ballet, a superb conductor who understands the uniqueness of the score—plus a production that does visual justice to the work. “A stupendous achievement” was one critic’s assessment of Peter Wexler’s inventive production. And with James Levine’s wizardry galvanizing the marvelous all-star cast, this is truly a gem. Plácido Domingo is the legendary hero Aeneas, Jessye Norman the obsessed prophetess Cassandra, and Tatiana Troyanos is Queen Dido, who commits suicide when Aeneas leaves her.

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.

‘La course à l’abîme’ is a depiction of the final ride into hell from ‘La Damnation de Faust’ (1846) by Hector Berlioz.

In this 23-minute documentary interview clips from the album's entire recording lineup — Brian Johnson, Angus Young, Malcolm Young, Cliff Williams and Phil Rudd — collectively recall the crossroads the band was at following the tragic death of Bon Scott in February of 1980. Brian Johnson was officially named the new singer of AC/DC on April 1, 1980 and the group quickly got to work with returning producer Mutt Lange, who was at the helm of the group's previous record, Highway to Hell. Ultimately, Back in Black was a tribute to AC/DC's late singer, with the black album cover serving as a memorial.

Interview without filters, Paul Arcand questions the 76-year-old performer on the sidelines of the release of her autobiography "Ginette" and her most recent album, "C'est tout moi".

A detailed look at the Doolittle Raid, and the final official public reunion of the surviving Raiders.

SET 1: Everything's Right, Back on the Train, Wolfman's Brother, Maze, Leaves, Life Saving Gun, Dirt, Carini SET 2: Sand > Tweezer -> My Friend, My Friend > Mike's Song > Lifeboy, Weekapaug Groove, Blaze On > Fluffhead ENCORE: Farmhouse[1], Run Like an Antelope [1] Began and ended with Trey on acoustic guitar.

Despite the increasing number of people entering the field of documentary filmmaking, historical subjects are less popular due to limited materials and the difficulty in handling them. Hu Jie has chosen to stay in this field and work hard. "I know that shooting these historical subjects is very dangerous, so how can you ask others to do it? It can only be their choice after they have seen your work." Since 2014, due to health reasons, Hu Jie has not been actively making documentaries. This year, in response to an invitation from the Lung Ying-tai Cultural Foundation, he still provided the film "A Sidelight of the 1968 Up to the Mountains and Down to the Countryside Movement." Over the past three years, he has primarily engaged in printmaking, producing about 70 to 80 pieces, in addition to many small print bookplates.

An insight into the life and works of Michel Foucault and how his work on Knowledge and Power still has an impact on daily life. This is applied practically to the real world of SOAS University and the online world of Social Media. Presented by Merle Tschirschnitz, Kiran Thomas and Adam Brocklesby

A short featurette on the making of Parasite.