Opus Arte

Before the Trojan War, Agamemnon gathered the Greek armies at the port of Aulis. The goddess Diane sent unfavorable winds to prevent the Greeks from sailing. Her oracle set a condition for Agamemnon: to earn the right to sail forth and destroy an innocent country, he would have to sacrifice his own daughter. Agamemnon accepted these terms and killed his young daughter Iphigénie on the altar. In his play Iphigenia in Tauris Euripides imagines that Diane plucked Iphigénie from that altar and delivered her to a temple in distant Tauride, where Iphigénie began to serve the enemy Scythians as Diane’s high priestess—all the while Iphigénie’s family believing her dead.

The Bayreuth Festival mounted this 2009 production of Richard Wagner's 1865 opera Tristan und Isolde, with Michael Beyer directing. It stars Robert Dean Smith as Tristan, Iréne Theorin as Isolde, Michelle Breedt as Brangäne and Robert Holl as King Marke. The Bayreuth Festival Orchestra and Chorus lend musical accompaniment, under the baton of Peter Schneider, while Anna Viebrock designed the costumes and the sets; Cristoph Marthaler produced. The production at hand opened the 2009 Bayreuth Festival.

The grand scale and magnificent acoustics of the Roman arena in Verona are ideally suited to the pageantry of Verdi's Egyptian opera, presented here in a staging that is true to the original 1913 production, framed by obelisks and sphinxes and filled with chorus and dancers. Chinese soprano Hui He has won international acclaim for her portrayal of the eponymous slave girl whose forbidden love for the war hero Radamés (Marco Berti, the experienced Verdi tenor) brings death to them both.

Mozart's genius in setting to music da Ponte's comic play of love, infidelity and forgiveness marks COSI FAN TUTTE as one of the great works of art from the Age of Enlightenment. Nicholas Hytner's beautiful new production, with its sure touch and theatrical know-how, lives up to its promise to be "shockingly traditional" as Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.

The impulsive and charismatic Don Giovanni travels through Europe seducing women, accompanied by his long-suffering servant Leporello. But when Don Giovanni commits murder, he unleashes a dark power beyond his control. Kasper Holten’s production is rich in both colourful comedy and exhilarating drama. Set designs by Es Devlin (Les Troyens) and costume designs by Anja Vang Kragh (Stella McCartney, John Galliano for Christian Dior), with video projections by Luke Halls and choreography by Signe Fabricius, portray the visually entrancing world of Don Giovanni. At the heart of the production are the beauty and invention of Mozart’s dazzling score, which ranges from gorgeous arias and dramatic duets to the brilliant layering of dance melodies that bring Act I to a virtuoso close.

Renée Fleming has matured into one of the finest sopranos around at the moment, a true star with a sparkling personality and a velvet-toned voice that is capable of wringing the finest emotions out of works by Strauss and Tchaikovsky that from a lesser singer could sound rather cold and clinical. I wouldn't have thought her voice would be so well suited to Violetta Valéry in La Traviata, and it does take some getting used to, but I think she at least brings a distinct quality to the role with an emotional heart that isn't always necessarily there when a leading diva uses it primarily as a display for her vocal talents. It's served well also by Antonio Pappano's conducting of the Royal Opera House Orchestra in a traditional, but effective production by Richard Eyre.

Miyako Yoshida dances the title role originally created for Margot Fonteyn in the hauntingly beautiful underwater world of Ondine, vividly brought to life by The Royal Ballet. Frederick Ashton's shimmering choreography, Lila de Nobili's impressionistic designs and Hans Werner Henze's specially commissioned, vibrant and inventive score, memorably combine to evoke the many moods and colours of the sea. Filmed in High Definition and recorded in true surround sound.

The Italian and international press were unanimous in their praise for "Peter Grimes" at La Scala, which revived the tradition of Britten's operas on the lyric stages of Italy. A top British cast was marshaled by the baton of Robin Ticciati. Richard Jones's production focuses on the fisherman as the outside in a brutal and brutalized 1980s society, cut off by mutual suspicion and misunderstanding: an unforgettable production of a 20th-century operatic masterpiece that never loses its power. Filmed in High Definition and recorded in true Surround Sound.

This epic opera follows Virgil, beginning as the Greeks appear to have ceded the field after ten years of the Trojan War. Cassandra tries to warn of the terrible fate to come, but fate is set and Troy falls. The first two acts cover this tragic end, then the flight of survivors to Carthage and events at Carthage continue in acts 3 - 5, culminating in the further voyage for Italy and Rome. This is Virgil's classic epic, in operatic form, in about a three and a half hour performance from French Opera.

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

"William Christie and Les Arts Florissants propel this exuberant production of Jean-Philippe Rameau's second opera to great heights. Andrei Serban's extravagant, highly baroque staging presents the four exotic love stories vibrantly. In 'Le Turc généreux' Osman sets free his captive, Emilie, whom he loves, so that she may be reunited with her former lover, Valère; 'Les Incas de Pérou' is all about the rivalry of the Inca Huascar and the Spaniard Don Carlos, both in pursuit of Princess Phani; 'Les Fleurs' offers a Persian love intrigue, as the Sultana Fatime tries to detect whether her husband Tacmas has his eye on the lovely Atalide; and 'Les Sauvages' takes us to North America, where a Spaniard and a Frenchman compete for the love of Zima, daughter of a native chief, who prefers one of her own people." — from the DVD cover

Teatro Regio’s 2013 revival of their highly successful 2006 production of Verdi’s Don Carlo celebrates the 40th anniversary of the theatre’s reopening in 1973. With traditional staging and lavish costume design, the production garnered high acclaim in the national and international press, with GB Opera commending the ‘sumptuous’ setting and French online music magazine ResMusica praising director Hugo de Ana’s decision to revive the show ‘in all its splendour’. Shown here in the four-act version, Don Carlo is the fascinating tale of father-son power struggles, adultery and love that borders on incest. The cast – under the powerful baton of Gianandrea Noseda – is headed by renowned Mexican tenor Ramón Vargas, and also features Ludovic Tézier, who has been hailed as ‘one of the best Verdian singers of our time’

A one-off production of Boris Godunov was staged by Andrei Konchalovsky at the Teatro Regio in Torino in 2010, with Orlin Anastassov in the leading role and Gianandrea Noseda conducting the Orchestra del Teatro Regio.

David McVicar's exhilarating new production, with Anne Sofie von Otter in the title role, restores the Opera Comique to Bizet's masterpiece. Philippe Jordan, in his Glyndebourne debut, conducts the London Philharmonic Orchestra, the Glyndebourne Chorus, and a cast which includes Marcus Haddock, Laurent Naouri, and Lisa Milne.

Pacific Ballet Northwest performs with soloists Cynthia Fleming, Libby Crabtree, and Judith Harris in this ballet created by George Ballanchine to music by Mendelssohn based on a story by Shakespeare, conducted by Stewart Kershaw.

Captain Vere, an old man, is haunted by a moment in his life when he was tested and found wanting. Based on Herman Melville's novella of naval life in the late 18th Century, Benjamin Britten's 'Billy Budd' is a gripping reflection on good and evil, innocence and corruption.

Leonard Bernstein was on his honeymoon in 1951 when he began composing his one-act opera, Trouble in Tahiti, a candid portrait of the troubled marriage of a young suburban couple. Written between his biggest Broadway successes— On the Town in 1944 and Candide and West Side Story in 1956 and 1957, respectively— Trouble in Tahiti draws upon popular songs styles to deliver an uncompromising critique of post-war American materialism. Beneath the couple's marital discord is a profound longing for love and intimacy. Their spiritual emptiness, in contrast to a veneer of happy consumerism, creates the heart of the drama and is emphasized by sudden stylistic shifts in the music.

This Wagner opera is rarely performed because of the scandals that engulfed the Magdeburg Theatre when it was performed in 1836 under the title The Novice of Palermo, and became known as a cursed opera from which the composer had to distance himself. Wagner's adaptation of the story reflects the rebellious mood of a Revolutionary Germany, vindicating sensual love and attack the fanatical repression of sexuality by a puritanical and hypocritical authority. As the prose says, "Shame to him whose cruel striking/Kills for faults of his own liking!". One of the most extraordinary musicals based on a text by Shakespeare, especially worthy of a new performance as it is four hundred years since the death of the Bard.

Carlos Acosta's first venture directing one of ballet's 19th century classics was eagerly anticipated, as was his own starring role in the production (as Basilio), opposite the Argentinian Royal Ballet principal Marianella Nuñez (Kitri). Still built on Petipa's original choreography, Acosta's clear dramatic structure and vivid stage action gave the ‘boy gets girl despite her father’ story a more convincing air than usual, with Don Quixote's parallel obsession with Dulcinea-Kitri coherently woven into the plot.

Il tabarro is a tale of jealousy and murder between Michele, his young wife Giorgetta and her lover Luigi, set aboard a barge on the Seine. Suor Angelica tells the story of the nun Angelica’s familial loss, sacrifice and suicide. Gianni Schicchi is an opera full of trickery, greed and romance as a family dispute breaks out over a missing will. The Olivier-nominated Royal Opera production featuring a trio of one-act Puccini operas was first performed together on the same bill at Covent Garden in September 2011, and was acclaimed by the Telegraph as "an operatic treat... three hours of gorgeous music that allows big voices to let emotion rip" and by the Evening Standard as "a triumphant vindication of the social awareness and dramatic power of Puccini's triptych". The trio of operas offers a panorama of emotions, with the dark and foreboding Il tabarro and comic Gianni Schicchi bookending a heart-wrenching Suor Angelica.