
29 Sep 1940

Dananeir
A concubine to a ruling family is challenged when the family is overthrown.
A version of Benjamin Britten's opera based on the Melville story. Will the virtuous young sailor Billy Budd be hanged for murder?
Captain Vere
John Claggart
Mr. Redburn
29 Sep 1940
A concubine to a ruling family is challenged when the family is overthrown.
01 Jan 1986
Dvořák's "Rusalka" in a production by David Pountney at the English National Opera in 1986. Mark Elder conducts the orchestra, accompanied by the English National Opera Chorus in English.
14 Oct 1945
No overview found
01 Jan 1944
After the death of the girl's father, Berlanti, her means of life become more limited and her mother falls ill, so Berlanti is forced to work as a singer so that she can be treated. The lawyer Sami marries her, and as events unfold, Berlanti sees that she is standing in the way of Sami's success. She sacrifices her reputation so that he can leave her. He believes this and expels her. He marries the girl, Samiha, and as events develop, Berlanti is accused of murder.
13 Oct 1960
No overview found
19 Sep 1984
Disciplined Italian composer Antonio Salieri becomes consumed by jealousy and resentment towards the hedonistic and remarkably talented young Salzburger composer Wolfgang Amadeus Mozart.
07 Nov 2009
Franco Zeffirelli's magnificient staging of Puccini's final opera - a fairy tale set in a mythical China - is one of the most popular in the Met repertory. In this Live in HD production, Maria Guleghina takes on the title role and Marcello Giordani is Calaf, the unknown prince. Marina Poplavskaya and Samuel Ramey co-star, and Andris Nelsons conducts in his Met debut.
Like Handel’s Orlando (1732) and Ariodante (1734), Alcina derives from the narrative material in Ariosto’s Orlando furioso. The story of the sorceress Alcina, an initially hedonistic, manipulative woman who later finds herself a victim of love, fits into the genre of the ‘magical opera’ with numerous magical elements, but Handel achieved considerable emotional authenticity in his characterisations. This makes Alcina one of the most deeply felt and multifaceted operas. ‘You may despise what you like ; but you cannot contradict Handel,’ said the Irish playwright George Bernard Shaw. As in Tamerlano, Pierre Audi based this production on the stage at the baroque theatre at Drottningholm, for which he originally developed the directing concept. His set is thus based on the principles of perspective, with wings in the form of painted panels. The result is marvellous modern musical theatre in a historizing frame.
19 Jul 1953
A Ukrainian comic opera with spoken dialogue in three acts with music and libretto by the composer Semen Hulak-Artemovsky (1813–1873). The orchestration has subsequently been rewritten by composers such as Reinhold Glière and Heorhiy Maiboroda. This is one of the best-known Ukrainian comic operas depicting national themes.
01 Jan 1937
Adapted from the opera written by the composer Semen Hulak-Artemovsky.
06 Oct 1927
A young Jewish man is torn between tradition and individuality when his old-fashioned family objects to his career as a jazz singer. This is the first full length feature film to use synchronized sound, and is the original film musical.
29 Jun 1925
The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.
25 Mar 2017
Mozart’s early masterpiece returned to the Met for the first time in more than a decade with Music Director Emeritus James Levine, who led the work’s company premiere in 1982, again on the podium. Tenor Matthew Polenzani brings both steely resolve and compassionate warmth to the title king of Crete, who is faced with an impossible decision. With her rich mezzo-soprano, Alice Coote sings the trouser role of Idomeneo’s son Idamante, who loves the Trojan princess Ilia, sung with delicate lyricism by Nadine Sierra. Elza van den Heever gives a thrillingly unhinged portrayal of the jealous Elettra. Jean Pierre-Ponnelle’s timeless production blends the grandeur of ancient myth with the elegance of Enlightenment ideals.
22 Apr 2017
Tchaikovsky’s setting of Pushkin’s timeless verse novel is presented on the Met stage in Deborah Warner’s moving production, starring Anna Netrebko as Tatiana and Mariusz Kwiecien and Peter Mattei sharing the title role. Alexey Dolgov sings the role of Lenski, and Robin Ticciati conducts.
13 May 2017
In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask
01 Mar 1999
While excerpts of the score are popular today, like the Hungarian March in the first part or Marguerite's romanza "D'amour l'ardente flamme" in the fourth part, the complete "légende dramatique," as the composer called it, is rarely performed. But you must remind of this opera for its unity, its dramaturgy, its libretto (written by Gérard de Nerval) and its long lyrical flights of poetry. Alex Ollé and Carlos Padrissa (La Fura dels Baus) well understood it, when they staged this blazing and infernal version of Berlioz’s score. The musical direction by Sylvain Cambreling, but also the performance by Vesselina Kasarova (Marguerite), Paul Groves (Faust), Williard White (Méphistophélès) and Andreas Macco (Brander), joined by the Staatskapelle Berlin Orchestra, the Chorus Orfeón Donostiarra from San Sebastián and the Tölzer Knabenchor made this production at the Salzburg Festival a reference version of Berlioz’s score.
11 Dec 1956
(Atiya Abu Hadid) is a thug and a thief who leads a gang to commit his crimes. He loves one of the neighborhood girls (Naana’a), who is engaged to her cousin (Al-Atra), a soldier in the army, who goes to participate in the Palestine war, so the atmosphere is clear for Atiya. He devises a plan to make the master (Hassan), Naana’a’s brother, fall in love with Zenouba, a girl whom Atiya exploits for his own despicable purposes.
31 Dec 1981
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.
19 Oct 1939
No overview found
01 Jan 1982
Benjamin Britten’s opera of the Henry James novel. An inexperienced governess is sent to a country house to care for two children, whom she is gradually convinced have been corrupted by the ghosts of a previous manservant and governess…