Renée Fleming lights up the Met stage as Hanna Glawari, the fabulously wealthy widow of the title in Lehár’s beloved operetta, set in Paris and seen in a glittering production directed and choreographed by Broadway’s Susan Stroman. Nathan Gunn is Danilo, Hanna’s former flame, who is supposed to woo and marry her in order to keep her fortune in their home country of Pontevedro. Kelli O’Hara sings Valencienne, the flirtatious young wife of the Pontevedrian ambassador in Paris, Baron Zeta, played by Thomas Allen, and Alek Shrader is her suitor, Camille. Andrew Davis conducts the waltz-rich score, and the new English translation is by Jeremy Sams.

La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.---- IMDB id refers to Great Performances: Season 24, Episode 12 La Cenerentola (3 Apr. 1996) from Houston Grand Opera so release date is misleading.

There are elements of Eurotrash in this outdoor Aix-en-Provence summer opera production. Nevertheless, the splendid singing and acting transform the story, normally treated as farce, into something considerably more serious. As many other critics have noted, the young lovers have not yet sorted everything out as this performance ends. Act One begins with the principal characters running around in the outdoor theater -- while the audience takes it in as if they had been advised to sit back and enjoy the novelty. Very likely they were also asked to refrain from applauding at the end of arias and ensemble pieces, in which the three-hour opera abounds.

When the most voluptuous, sought-after courtesan in the world meets an ascetic monk whose life is devoted to God, you know erotic sparks are going to fly. And when the clash takes place in a glorious, but rarely performed, opera by Massenet, it’s a delight to the ear just as much as to the eye. Renée Fleming is every inch the glamorous Thaïs, swathed in elegant gowns designed by Christian Lacroix. Thomas Hampson is Athanaël, the tortured man of God. This production by John Cox, which premiered in December 2008, brilliantly sets the stage for a confrontation as old as civilization itself.

Live recording from Oper Zurich, 2008, DVD release 2014. Jonas Kaufmann, 'the Prince of Tenors', appears with international star Vesselina Kasarova in Zürich Opera's starkly palpable staging of Bizet's ever-popular Carmen. The production sees Don José (Kaufmann) abandon his teenage attitudes in pursuit of Kasarova's free and independent Carmen - realising too late that his self-control has vanished, along with his youth.

This TV production is from 1970 and the color picture is accordingly rich and beautiful. The sound however is below average for the era, but still ... twiddle the knobs, turn the bass up a little, and get acclimated. This is a fully traditional production, actually very pleasing in that regard.

The opera's dramatic structure frames and enhances the characters. Scenes of magnificence regularly alternate with scenes of darkness and squalor. From sumptuous interiors, we move to a dark street, a lonely inn. The secondary figures are astutely counterpoised: the plotting courtiers against the plotting Sparafucile and Maddalena (also ambiguously tender-hearted). When Rigoletto says "Pari siamo", he could be expressing the motto of the whole work: the beautiful and the ugly can be equally good, equally evil.

In the awe-inspiring Teatro Olimpico,Vicenza, Cecilia Bartoli, recognised as one of the best singers of our time, gives the most outstanding recital of work from a variety of composers such as Caccini, Schubert, Handel, Vivaldi, Bellini, Donizetti,Mozart, Rossini, Viardot and Bizet.

"Giovanna d'Arco; ossia, la pulzella d'Orléans" is an operatic dramma lirico with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The opera partly reflects the story of Joan of Arc and is based on a play by Friedrich von Schiller, although claimed by the librettist to be "an entirely original Italian drama." If the thought of Anna Netrebko strutting her stuff in a suit of armour and tin hat sets your factor tingling then this is a must. It's an inconsistent opera but has some quite wonderful music along the way. The rest of the cast is good and the production won't offend either. Get it for Ms Netrebko's incredible performance alone.

A stellar cast brings Puccini’s spellbinding opera to life, seizing every opportunity to thrill the audience. Luciano Pavarotti is Cavaradossi, the painter and political revolutionary in love with the beautiful and famous singer Tosca (the riveting Shirley Verrett). Rome’s diabolical chief of police, Baron Scarpia (Cornell MacNeil), wants Tosca for himself—but he underestimates the fury of a woman in love. With torture, murder, and a suicide in its final moments, Tosca packs more dramatic punches than most other operas—and this classic telecast captures them all. James Conlon conducts in a production by the incomparable Tito Gobbi, one of the great Scarpias of the 20th century.

Christian Thielemann conducts this Staatskapelle Dresden production of Richard Strauss' chamber opera. The opera follows events at the home of the wealthiest man in Vienna, who has booked both a comedy burlesque act and a serious opera group for entertainment. When the dinner runs long he declares that both forms of entertainment must take place at the same time - much to the chagrin of the opera's proud young composer. Filmed live in Baden-Baden on Feb. 25 by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne.

This superb 2006 production of the Los Angeles Opera's La Traviata stars Renée Fleming, who joins the ranks of the elite handful of sopranos whose vocal and acting talents make their portrayals memorable. Her Violetta Valéry is a vulnerable figure torn between self-indulgence and love, sacrificing personal happiness to become a victim of the social mores of mid-19th-century bourgeois France. Fleming's acting captures the complexity of the character and her vocalism is flawless. She negotiates the wild coloratura of Act One with aplomb, and is stunning in the lyric passages that pervade the opera, and touching in her scenes with her lover, Alfredo, and his father. Her singing is free of the mannerisms that have sometimes crept into her work and at the same time she brings countless personal touches to the role, phrasing and verbal emphases that shed fresh light on the character.

Flemings voice might have been made for Ariadne and she achieved a great personal triumph in this production: The chief glory of the evening was hearing Renee Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strausss enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...

The classic Mariinsky (Kirov) production of the greatest of all ballets. Filmed in the imperial splendor of the Mariinsky Theatre, St Petersburg. Starring Ulyana Lopatkina, Danila Korsuntsev and the breathtaking Mariinsky corps de ballet. Conducted by the great Russian maestro Valery Gergiev.

La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]

Werther loves Charlotte, but she promised her mother on her deathbed that she would marry Albert. After the marriage Charlotte suggests that Werther should travel - but not forget her. In addition to the singing and orchestral accompaniment, the entire cast acts very convincingly. And, there's no backstage mugging, entrances and spoken nonsense to spoil the experience of the drama.

A conceptual digital masterpiece of The Gods We Can Touch, the new album from AURORA

Ute Lemper sings a collection of art songs by Michael Nyman based on texts by Paul Celan, Wolfgang Amadeus Mozart, William Shakespeare and Arthur Rimbaud. It was filmed at the Musikhalle, Hamburg, 4 February 1992.

The Jacques Loussier Trio represents something of an anomaly: a musical ensemble devoted to presenting jazzed-up versions of traditional classical pieces. The group originated in the late 1950s via the innovative efforts of Jacques Loussier, founder of the Play Bach Trio, then reformed some thirty-five years later (c. 1985) with Loussier, bassist Vincent Charbonnier and percussionist André Arpino, and an emphasis on stringing together an entirely new repertoire. This concert release presents an extended set by the second incarnation of the group. Selections include: Pastorale in C minor, Gavotte in B Minor, Fugue No. 5 in D Major, and Gavotte in D Major.

Wagner's Lohengrin is the mythical tale of the mysterious Knight of the Grail, who appears to defend the princess Elsa - wrongly accused of the murder of her brother. Highlights of Wagner's most lyrical score include the famous Wedding March, which accompanies the marriage of Lohengrin and Elsa. Superstar tenor Jonas Kaufmann ("currently the hottest tenor in opera" - The New York Times) makes his role debut in this performance from 2009 and filmed in Munich. He is joined by German soprano Anja Harteros - a former winner of the prestigious Cardiff Singer Of The World competition.