Telmondis

A vengeful beauty foils the plans of the bloodthirsty Hun warrior to conquer Rome.

This seminal work of avant-garde opera from composer Philip Glass and director Robert Wilson arrives full-circle, coming to France, the site of its 1976 Avignon Festival world premiere, at the tail end of this 2014 revival tour for a landmark Theâtre du Châtelet production and a first ever filming by award-winning arts filmmaker Don Kent. Eschewing conventional narrative, the opera revolves loosely around pacifist Einstein’s relationship to the creation of the atomic bomb.

While the young people of Europe forsake Love to follow Bellone at war, Cupid sets out to shoot his arrows into the rest of the world. A masterpiece of the Enlightenment, Les Indes galantes is sparkling entertainment. Yet Rameau’s first opera‑ballet also bears witness to the Europeans’ ambiguous view of ‘savage’ cultures. The Belgian choreographer-director Sidi Larbi Cherkaoui adapts Les Indes Galantes to a contemporary setting, where globalisation has transformed the notions of exoticism.

Jewels, ballet in three parts choreographed by George Balanchine for the New York City Ballet, recorded in October / November 2005 at the Opéra National de Paris.

In his 45th year as artistic director of Hamburg Ballet, John Numeier directs a modern adaptation of Tolstoy's masterpiece "Anna Karenina" in co-production with the Bolshoi Theatre and the National Ballet of Canada.

In commemoration of the 40th anniversary of Dmitri Shostakovich's death in 2015, filmmaker Reiner Moritz produced his documentary Dmitri Shostakovich, A Man of Many Faces. With British actor John Hurt as narrator, Moritz examines Shostakovich's life, focusing in on two events in particular: the 1936 banning of his highly successful opera Lady Mabeth of the Mtsensk District, and the composer's labelling as a "formalist and cosmopolitan" in 1948. Despite such setbacks, Shostakovich went on to pursue a resilient and fulfilling career that testifies to the power of art in the face of a dictatorial terror regime. In telling his story, Mortiz weaves together rare footage of the composer himself talking and performing his Concerto for Piano, Trumpet, and Strings with captivating performances of his 15 symphonies and 6 concertos by Valery Gergiev and the Mariinsky Orchestra and filmed excerpts of Lady Macbeth and his quartets.

The Sleeping Beauty remains, as Rudolf Nureyev often called it, the 'ballet of ballets'. It is the most accomplished and the most brilliant, as well as one of the most spectacular of the 19th century, and the most representative of the 'noble' style of classical dancing. Performed by Opera National de Paris in 2000.

Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…

Ballet en deux actes et treize tableaux du chorég. This is a live recording of a performance at Paris Garnier in 2007. Petit's earlier production for the Ballet de Marseille used more realistic stage sets, but the current Paris version has minimal stage sets. Also, the costumes were redesigned. Roland Petit created a ballet based on "In Search of Lost Time" for the Ballet de Marseille in the 1970s. Petit's intention was not to make a faithful adaptation of the novel, but to capture its flavour and convey, through a number of selected scenes, the narrator's incessant fluctuations between happiness and torment. The highlights are the series of poetical pas de deux.