The West is a Land of Infinite Beginnings

Daybreak Express

Set to a classic Duke Ellington recording "Daybreak Express", this is a five-minute short of the soon-to-be-demolished Third Avenue elevated subway station in New York City.

Rusalka

The water fairy Rusalka falls in love with an earthly prince. In vain, Father Aquarius warns her. Her sincere feelings are met with human treachery...

O komínku zedníky laškovně nakřivo postaveném aneb Souboj pantátův se zedníky

Memory Vague

Sourced entirely from YouTube, converted and edited using Windows Media Maker. A comprehensive list of video credits is available at pointnever.com Root Strata, 2009 Pro-duplicated DVD-R in a slimline DVD case with translucent colour cover and transparent insert. Limited to 250 copies.

The Maiden and the Princess

During a game of catch-the-boy-and-kiss-him, Emmy, a precocious ten-year-old, kisses another little girl, Alice.

Olivier Messiaen: The Music of Faith

Olivier Messiaen played a leading role in the evolution of 20th-century music. In this classic interview, the late composer talks on topics such as his love of nature and his fervent Christian faith, two themes that profoundly shaped his work; his views on rhythm and tonal color; his relationship with his mother, the poet Cécile Sauvage; and his professorship at the Paris Conservatoire. Film clips of Messiaen improvising on the organ and notating birdsong for his compositions—plus excerpts of his music, some of which are performed by his wife, the celebrated pianist Yvonne Loriod—provide a deeper appreciation of his special genius. (79 minutes)

Otello

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.

The Magic Flute

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive.

Tower Bawher

This animated short by Theodore Ushev is like a whirlwind tour of Russian constructivist art and is filled with visual references to artists of the era, including Vertov, Stenberg, Rodchenko, Lissitsky and Popova.

RYANGOSLINGIMYOURBIGGESTFAN

Im a big fan of Ryan Gosling. He is a great actor and man.

The Song Plugger

'Blind Bob' has written a song and the folks at the music publishing company think that Joe Frisco, his old friend from the Bowery is just right for it. So we see Joe at stage doing his peddler routine. He goes over to the publishing company, where he flirts with a girl act, and then tries out some eccentric dancing to the new song, which happens to be 'Get Happy.'

Small Town Glory

In 1986 Terri had a hit record. Still touring - same tune, same band - she longs for new material, but Paul her guitarist and boyfriend, can't see it. When teenage musician Jack can, she flees her gig on Canvey Island for a one night adventure, and finds her voice at last.

Apocalypse

Deep in Hellfest, gigantic metal festival, music gradually takes possession of metalheads.

Andrea Chenier

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.

Royal Opera House: La Bohème

Richard Jones’ “La bohème” is an important weapon in the Royal Opera’s commercial arsenal. This is its second revival since Jones’ production hit the stage in autumn 2017, replacing John Copley’s beloved 40-year old staging, resplendent with period detail and resolutely naturalist. Jones brings a considerable break with the past in his approach, pointing the way towards thought-provoking possibilities for the work, though it is a clearly a show that defers to the need for regular revival and breadth of appeal.

Royal Opera House: Fidelio

Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, Jonas Kaufmann plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout and includes the famous Act I Quartet, the Prisoners’ Chorus and Florestan’s impassioned Act II cry in the darkness and vision of hope. Tobias Kratzer’s new staging brings together the dark reality of the French Revolutionary ‘Terror’ and our own time to illuminate Fidelio’s inspiring message of shared humanity.

The Metropolitan Opera: Don Giovanni

Simon Keenlyside smolders dangerously in the title role of Mozart’s version of the legend of Don Juan, creating a vivid portrait of a man who is a law unto himself, and all the more dangerous for his eternally seductive allure. Adam Plachetka is his occasionally unruly servant Leporello. It’s when Giovanni tangles with Donna Anna (Hibla Gerzmava) that things start to unravel, aided by the reappearance of Donna Elvira (Malin Byström), who is determined not to let her seducer go. With Paul Appleby as Don Ottavio, Donna Anna’s eternally steadfast fiancé. Principal Conductor Fabio Luisi leads the Met Orchestra and Chorus.

Alcina

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.

One Night Only

A romantic drama about two couples shifting sexual dynamics over one night in a music bar.

Gypsy Sweetheart

Tina, a singing Gypsy with a band of roving gypsies, is invited by Tom to come over to his mother's estate where a lawn party is in progress. She brings along her friends and a whole caravan of gypsies take over the green, telling fortunes, singing and dancing. Most of the comedy is supplied by the kleptomaniac butler, Bellingham, and his employer who humors his nutty ways...as good help seems to be hard to find.