Verdi - Un ballo in maschera / Domingo · Barstow · Quivar · Jo · Nucci · Rydl · Chaignaud · Wiener Phil. · Solti · Schlesinger · Salzburg Festival 1900
Giuseppe Verdi - Un Ballo in Maschera is of 2 hour(s) and 25 minute(s). It is Produced By: Salzburger Festspiele. It was released on 1990-07-11.
Genres: Music
Top 20 Movies like Giuseppe Verdi - Un Ballo in Maschera
Passion, loyalty and political conspiracy are the three pillars of Un ballo in maschera , the 'most operatic of all operas'. Set in 19th-century Boston, Mario Martone's atmospheric production for the Teatro Real brings out all the innate theatricality and drama of Verdi's work. World famous Argentinean tenor Marcelo Álvarez, in the role of Riccardo, leads a fabulous cast including Lithuanian soprano Violeta Urmana as his lover Amelia, and Elena Zaremba as the witch Ulrica. Jesús López Cobos conducts the Madrid Symphony Orchestra and Chorus in a performance that emphasises the lyricism and majesty of this wonderful work, in which grand opera and opera comique are woven into the Classical Italian Opera style.
Live performance of Puccini's opera at the Salzburg Festival in Austria. Piotr Beczala stars as Rodolfo with Anna Netrebko as Mimi, Massimo Cavalletti as Marcello and Nino Machaidze as Musetta. Daniele Gatti conducts the Vienna Philharmonic, the Vienna State Opera Chorus and the Salzburg Festival and Theatre Children's Choir.
It has an average vote of 8 on TMDB.
In Guy Joosten's ingenious production of Bellini's masterpiece, Norma is about more than just beautiful singing. It becomes a layered, timeless drama in which Norma is the archetypal successful woman struggling to retain her dominant but vulnerable position. Hasmik Papian's lyrical and intense interpretation of the title role accentuates the striking similarity between a Druid high priestess and a modern opera diva. Conductor Julian Reynolds guides the brilliant cast, choir and Netherlands Chamber Orchestra to great heights, providing a refreshing new take on the chef d’oeuvre of bel canto.
(Tannhäuser)
It has an average vote of 7 on TMDB.
In its most ambitious effort yet to bring the joy and artistry of opera to audiences everywhere during the Met’s closure, the company presented an unprecedented virtual At-Home Gala, featuring more than 40 leading artists performing in a live stream from their homes all around the world.
It has an average vote of 9 on TMDB.
“Foolish indeed is he who marries in old age.” Thus ends Don Pasquale: with a wise dictum not lacking in irony that sums up the disappointments of its hero, a rich bachelor keen to marry who is deceived by his nephew Ernesto and his young bride-to-be Norina. First performed in Paris in 1843, at the turning point of several eras, Don Pasquale, a composite and varied work, is the apotheosis of opera buffa. Performed for the first time at the Paris Opera, the production has been entrusted to the Italian director, Damiano Michieletto, who transports us directly to the sincerity and dramatic splendour at the heart of an apparently light‑hearted work.
It has an average vote of 8 on TMDB.
With its cast of hundreds, thrilling score, and sweeping tale of love and heroics in ancient Egypt, Verdi’s Aida has long been a fixture on the stages of every major opera house in the world. For the 2018 revival of Sonja Frisell’s monumental production of this grand masterpiece, the Met assembled a truly all-star cast. Soprano Anna Netrebko takes on the title role for the first time at the Met, and mezzo-soprano Anita Rachvelishvili plays her rival, the conniving princess Amneris. Tenor Aleksandrs Antonenko is Radamès, the warrior that both women love, and Quinn Kelsey lends his robust baritone to Aida’s father, the fallen king Amonasro. Maestro Nicola Luisotti is on the podium to conduct this epic performance, filmed as part of the Met’s series of Live in HD cinema transmissions.
It has an average vote of 9 on TMDB.
A towering biblical epic, Saint-Saëns’s operatic take on the story of Samson and Delilah has many of the hallmarks of grand opera—show-stopping vocal displays, thrilling choruses, and an engrossing plot set against a sweeping, pseudo-historical backdrop. It’s fitting, then, that Samson et Dalila has been chosen to celebrate the opening of the Met’s season four times in the company’s history, including when Darko Tresnjak’s bold new production premiered on the first night of the 2018–19 season. A few weeks later, the opera was shown as part of the Met’s series of live cinema transmissions, featuring an exceptional cast. Tenor Roberto Alagna was the heroic Samson, who ultimately falls victim to the seductive power of Dalila—the captivating mezzo-soprano Elīna Garanča. Bass-baritone Laurent Naouri sang the sinister High Priest of Dagon, with conductor Sir Mark Elder on the podium.
Soprano Eva-Maria Westbroek sings Puccini’s gun-slinging heroine in this romantic epic of the Wild West, with the heralded return of tenor Jonas Kaufmann in the role of the outlaw she loves. Tenor Yusif Eyvazov also sings some performances. Baritone Željko Lučić is the vigilante sheriff Jack Rance, and Marco Armiliato conducts.
Composer Nico Muhly unveils his second new opera for the Met with this gripping reimagining of Winston Graham’s novel, set in the 1950s, about a beautiful, mysterious young woman who assumes multiple identities. Director Michael Mayer and his creative team have devised a fast-moving, cinematic world for this exhilarating story of denial and deceit, which also inspired a film by Alfred Hitchcock. Mezzo-soprano Isabel Leonard sings the enigmatic Marnie, and baritone Christopher Maltman is the man who pursues her—with disastrous results. Robert Spano conducts.
It has an average vote of 10 on TMDB.
Tenor Javier Camarena and soprano Pretty Yende team up for a feast of bel canto vocal fireworks—including the show-stopping tenor aria “Ah! Mes amis,” with its nine high Cs. Alessandro Corbelli and Maurizio Muraro trade off as the comic Sergeant Sulpice, with mezzo-soprano Stephanie Blythe as the outlandish Marquise of Berkenfield. Enrique Mazzola conducts.
Yannick Nézet-Séguin leads the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom. Mezzo-soprano Isabel Leonard sings the touching role of Blanche and soprano Karita Mattila, a legend in her own time, returns to the Met as the Prioress.
As Aragon descends into unrest, a count jealously fights for a noble lady's heart. But she has already given it to a passionate troubadour whose mother holds a terrible secret.
(Italka v Alžíru)
Concert and documentary celebrating the 1st Anniversary of Moscow’s Zaryadye Hall
It has an average vote of 7 on TMDB.
Christian Thielemann conducts the Bayreuth Festival Orchestra in this production of Wagner's opera recorded in 2015. Starring Stephen Gould as Tristan and Evelyn Herlitzius as Isolde, the cast also includes Georg Zeppenfeld, Iain Paterson, Raimund Nolte and Christa Mayer.
High Definition recording June 2014, Arena di Verona. This opulent production was directed by Franco Zeffirelli and sung by an international cast of excellent singers: Russian mezzo-soprano Ekaterina Semenchuk, soprano Irina Lungu, tenor Carlo Ventre and Carlos Alvarez. The famous opera is staged as a colourful feast for the eyes, true to its source and convincingly acted by soloists, chorus and ballet alike. Conducted by Henrik Nánási it is a gloriously sung musical experience.
Hammerstein and Kern’s Show Boat is a true classic of American musical theater - a tale of life on the Mississippi from the 1880s to the 1920s is both a poignant love story and a powerful reminder of the bitter legacy of racism. The exuberant production from the San Francisco Opera features songbook classics such as “Ol’ Man River” and “Can’t Help Lovin’ Dat Man”.
It is to composer and librettist Arrigo Boito and his constant pestering of the octogenarian Verdi that there remained within him one last great comedy fighting to get out that we owe this absolute miracle of an opera. Produced in 1893 as Verdi turned 80 there is much in this masterpiece that can be identified as a modernist neoclassical work. The use of short motifs instead of long arioso melodic lines, the spry and reduced orchestral textures and the lack of a single 'stand and deliver' dramatic declamatory aria all serve to make this more of a 20th century work than an example of 19th century late-Romanticism.
It has an average vote of 8.2 on TMDB.
