Orphée aux Enfers - Salzburger Festspiele 2019

Filmed production of Bizet’s Carmen at Earls Court in London, June 1989.

The innocent Candide discovers that human beings aren't all they are cracked up to be and ultimately focuses on building his own life on his own terms.

In a village in a country far away, the community live well and support each other. But when civil war breaks out this idyll of existence is devastated as the community is broken and homes destroyed. We follow the fortunes of a father, mother and their three teenage children – Leto, Mati and Tana – who face this brutal reality together. They are confronted with impossible choices in order to survive. They must leave their homeland and undertake a perilous journey to safer shores. Along the way they will be separated from each other and have to persevere alone.

At a glittering party in 18th-century Paris, the poet Andréa Chenier delivers an impassioned denunciation of Louis XVI. Five years later, the Revolution has given way to the Terror, transforming the power balance between Chénier, his beloved Maddalena, and Gérard, the man who could destroy him...

Rusalka, a water spirit, lives with her family in the pure waters of the forest lake. When she falls in love with a Prince, she sacrifices her voice and leaves her home in the hope of finding true love in a new world – a world that does not love her back.

Met performances of Strauss’s white-hot one-act tragedy, which receives its first new production at the company in 20 years. Claus Guth, one of Europe’s leading opera directors, gives the biblical story—already filtered through the beautiful and strange imagination of Oscar Wilde’s play—a psychologically perceptive Victorian-era setting rich in symbolism and subtle shades of darkness and light.

Count Almaviva lives with his Countess on their estate near Seville. The Count has his eye on his wife’s maid Susanna, who is betrothed to the Count’s servant, Figaro. Much to Figaro’s dismay, the Count plans to seduce Susanna on wedding night. Meanwhile, Cherubino, the Count’s young page, is infatuated with the Countess, but has just been dismissed after being discovered with Barbarina, the gardener Antonio’s daughter.

Mezzo-soprano Aigul Akhmetshina headlines a winning ensemble as the feisty heroine, Rosina, alongside high-flying tenor Jack Swanson, in his Met debut, as her secret beloved, Count Almaviva. Baritone Andrey Zhilikhovsky stars as Figaro, the titular barber of Seville, with bass-baritone Peter Kálmán as Dr. Bartolo and bass Alexander Vinogradov as Don Basilio rounding out the principal cast.

Director Carrie Cracknell makes her Met debut, reinvigorating the classic story with a staging that moves the action to the modern day, in a contemporary American industrial town.

The Gershwins’ modern American masterpiece has its first Met performances in almost three decades, starring bass-baritone Eric Owens and soprano Angel Blue in the title roles. Director James Robinson’s stylish production transports audiences to Catfish Row, a setting vibrant with the music, dancing, emotion, and heartbreak of its inhabitants.

The Prince, Don Ramiro (who has changed places with his valet, Dandini), meets Cenerentola and they are instantly attracted to each other. When the Philosopher, Alidoro, later takes Cenerentola (dressed in magnificent clothing) to the palace, Dandini (still posing as the prince) tries to talk of love to her, but Cenerentola rejects him, saying that she is in love with his 'valet'. Ramiro, who has overheard this comment, is overjoyed, and immediately proposes to her, but Cenerentola says that he must first seek her out and then, if he still felt the same way, she would marry him. She gives him one of a matching pairs of bracelets, telling him to look for its companion on her right arm (she then leaves the palace). Ramiro ends the masquerade, and he and Dandini resume their true identities. The Prince then sets out on his quest - little realising that destiny, in the form of a violent thunderstorm, is about to take a hand in the affair.