The Oratorio
In “The Oratorio,” filmmaker Martin Scorsese helps tell the story of an 1826 performance that forever changed America’s cultural landscape with the introduction of Italian opera to New York City.
Portrait about the planning and rehearsal of Richard Wagner's Parsifal directed by Calixto Bieito at the opera house in Stuttgart.
In “The Oratorio,” filmmaker Martin Scorsese helps tell the story of an 1826 performance that forever changed America’s cultural landscape with the introduction of Italian opera to New York City.
This film is at once a self-portrait and an homage to Jean-Marie Straub, Farocki's role model and former teacher at the Film Academy.
The creative processes of avant-garde composer Philip Glass and progressive director/designer Robert Wilson are examined in this film. It documents their collaboration on this tradition breaking opera.
This is funny or rather crazy adaptation of classical opera Carmen inspired by famous czech theatre Ypsilon play of the same name shot at various bizarre locations such as airport, botanical garden and winter forest.
Three children living in a displacement camp in northern Uganda compete in their country's national music and dance festival.
Documentary about female opera stars.
Documentary about opera in Hollywood.
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The life and work of stage designer ADOLPHE APPIA, originator of the most profound agitations in contemporary theatre. Through the dynamic alternation of animated drawings and choreographies specially conceived for the film, we discover the steps of his artistic evolution.
This film traces the life of Jan Kapr, a prominent Czech composer of the 20th century. A documentary opera with an ambitious libretto and playful and refined editing work, Kapr Code is an unexpected celebration of creativity that shakes up our ideas of biography and pays tribute to the importance of resisting homologation and censorship through art and creation.
The film follows the staging of the opera Olimpiade while at the same time exploring the dramatic life of its composer Josef Mysliveček, a friend and teacher of W. A. Mozart.
In the spotlight of global media coverage, the first transgender woman ever to perform as Don Giovanni in a professional opera, makes her historic debut in one of the reddest states in the U.S.
Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.
A short film by Walerian Borowczyk in two parts. The first 'panel' follows the morning routine of Leon Boyer who, despite being almost 100 years old, still farms the land, drives a vintage car, and plays with his two dogs. The second panel shows shots of beautiful flowers and a cat, to a recording of Tino Rossi singing 'La romance de Nadir / Je crois encore entendre' from Bizet's opera 'Les pêcheurs de perles'.
A look at the entire process of creating and developing Patrice Chéreau’s third staging of "In the Solitude of Cotton Fields" by Bernard Marie Koltès with Pascal Greggory and Chéreau himself. From the first reading around the table through the first contact with the performance space, rehearsals and lighting to opening night, the entire creative process unfurls in front of our eyes. The film shows us the evolving and ongoing dialogue between Greggory and Chéreau, a dialogue full of crises and magical moments of harmony and insight via which the truth, intensity, complexity, mystery and depth of Koltès’ text gradually emerge to form an implicit bond between these two men. The film also shows Chéreau directing rehearsals for Mozart’s "Don Giovanni" in Salzburg, revealing both the unity of and profound differences between his opera and theater work.
Imagine a window into the past. Imagine finally connecting singers' bodies to the voices you have always treasured on record, watching footage of performances from another era. All of singers featured here have something in common (with one exception, Sutherland): they sang and performed on stage before the advent of filmed opera. . And it shows, for the first time, a few tantalizing minutes of recently recovered footage from Callas' legendary Lisbon Traviata, featuring Addio dal Passato and Parigi oh cara with Alfredo Kraus. This DVD will leave you asking for more.
This was Domingo's last set of performances as Otello in La Scala. In spite of his relatively advanced age, he is still in excellent form, both vocally and in terms of stage presence. Nucci is also his usual self, delivering a performance of very high standard. Barbara Frittoli is an excellent Desdemona, in good voice and gives a very moving performance. Muti conducts with great emotion and tight accuracy, conveying the full orchestral drama of the score.
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