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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

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.

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.

The Legend of the Invisible City of Kitezh

Opera lies at the heart of Rimsky-Korsakov's colourful idiom, but performances are few and far between; this realisation of his penultimate and grandest stage work is a very rare and special experience. Kitezh is known as "the Russian Parsifal", which encapsulates its mystical flavour and steady unfolding of a legend of redemption

Amor, vida de mi vida: Zarzuelas

The many passionate, fiery or lyrical vocal pieces of Spanish zarzuela have continued to thrive in concert and recitals all over the world. One of the most renowned and ardent supporters of zarzuela melodies is Plácido Domingo. Belying his 66 years, the world-famous tenor sings these rousing, seductive melodies with the beguiling sweetness of a much younger man and tranports the enraptured listener to the calles and plazas of Madrid and Seville, Domingo is accompanied by Mozarteum Orchestra underJesús López Cobos and, above all, by his partner for the evening, sprano Ana Maria Martínez, "a beautiful woman with a fascinating voice, full of velvety mezzoish half-tints in the middle and bottom ranges, with a gleaming top." (London Times) Martínez and Domingo serve up an evening of infectious good spirits and exquisite vocal treats."The dazzle of genuine stars shone brightly over Salzburg!" (Die Welt)

Lohengrin

After Tristan und Isolde (2016), Parsifal (2017) and Die Meistersinger von Nürnberg (2018) this is the fourth installment of the exclusive, multiyear partnership between Deutsche Grammophon and the Bayreuth Festival, in which the Yellow Label is the exclusive audiovisual partner of the mythical Wagner festival, releasing each edition's new production on Blu-ray. This year, we are proud to release on Blu-ray the celebrated production of Lohengrin which was premiered on 25 July 2018, featuring an illustrious cast including Piotr Beczala and Anja Harteros in their house debuts, as well as the acclaimed return of Waltraud Meier to the Bayreuth Festival. The New York Times praised Piotr Beczala’s Lohengrin as “outstanding”, Anja Harteros [making] her impressive Bayreuth debut” as Elsa, and Ortrud “played with dominant presence by the incomparable Waltraud Meier”.

Salome

This filmed version of Strauss' shocker features Teresa Stratas as opera's most depraved teenager, and she's as perfect a Salome as one would ever hope to see or hear. Stratas inhabits the role, exploring the character's sensuousness as she vainly woos Jochanaan, her venomous hatred when she's rejected, the crazed look in her eyes when she demands his head--on a silver platter, no less. Such complete identification with a role, especially of a character so malignant helps make this 1974 Salome stand out among the many fine DVDs of the opera.

Handel: Admeto

Axel Kohler, the internationally renowned countertenor has brought Admeto into the modern era in timeless style by the skillful application of imaginative theatrical digressions. Köhler's production at the Halle Opernhaus revisits a work that encompasses comedy, tragedy and almost absurd grotesqueness, couching it in the convincing metaphor of a modern hospital.

Médée

A lonely mother and her son go to the opera where a performance of Cherubini’s opera Medea is given. It is the mother’s birthday and she wanted to surprise her son by inviting him to the opera. But, the son’s plan were different and he is quite upset about it. His mother tries to break the silent barrier behind which he hides. A semblance of discussion begins, not without humour. Tension is present but, as the performance goes on, both find themselves astounded, captured, alone in the opera house.

Richard Strauss - Der Rosenkavalier

Die Zauberflöte aus der Semperoper Dresden

Rossini: La cenerentola

In late 18th-century Italy, in the mansion of Don Magnifico, the young and pretty Angelina works as a maid. Teased by her two frivolous half-sisters, Clorinda and Tisby, Angelina believes she is in love with a young valet and goes to the ball. Dressed in her finest finery, she meets the man who is in fact the Prince and flees from him after giving him a bracelet that will allow him to recognise her a little later. The masks come off, and kindness and love triumph! ‘La Cenerentola’ is the last opera buffa composed by Gioachino Rossini for an Italian audience. A dramma giocoso in two acts, with a libretto by Jacopo Ferretti, freely adapted from Charles Perrault’s fairy tale ‘Cinderella’ (1697), omitting the magic in favour of a realism tinged with humour and social criticism. Premiered for the Rome Carnival at the Teatro Valle in Rome on 28 January 1817. Recorded live at Glyndebourne Opera, Lewes, East Sussex, on 2 and 4 June 2005.

The Newspaper

The writer Dario Fo applies his inventive genius to Rossini's comic opera in its premiere DVD release. Recorded in 2005 under the musical direction of Maurizio Barbacini, Fo's production brings fresh vitality and colour to the story of Lisetta, and of her father Don Pomponio's increasingly ridiculous attempts to find a husband for her through an advertisement in the newspaper LA GAZZETTA. Filmed using high definition cameras with multitrack sound.

Giacomo Puccini: Gianni Schicchi

In the mid-20th century, in Fucecchio, near Florence, Buoso Donati, an elderly collector and wealthy antique dealer, has just passed away. He lies in his bed, surrounded by relatives feigning grief. They are all worried, as the deceased has bequeathed his entire fortune to a monastery. They search frantically for the will. The young Riniccio, Donati’s nephew, finds it but agrees to show it to the family only if they promise to let him marry Lauretta, the daughter of Gianni Schicchi, a local figure of dubious reputation. Everyone accepts the condition and discovers to their horror that the rumour was true: the monks are set to inherit the fortune. Riniccio suggests calling on Schicchi for help, much to the family’s disgust. Summoned, Riniccio arrives at the house accompanied by his daughter. He proposes keeping the death a secret, taking his place, and instructing a doctor and a notary to alter ‘his’ testamentary dispositions. But has the hunter become the hunted? Not so sure...