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- A tragic and secretive romance ensues over many years after two men meet while herding sheep on Brokeback Mountain in this opera based on Annie Proulx's short story and its subsequent Oscar-winning film adaptation.
- Who was Moliere? He is known everywhere as one of the world's greatest playwrights. But who was he? Born Jean-Baptiste Poquelin in 1622, the son of a prosperous tapestry maker. His mother died when he was a boy. Growing up in the teeming streets of 17th century Paris, Jean Baptiste received a good Jesuit education and was fascinated by the street fairs and traveling carnivals that flourished in spite of the religious repression and hypocrisy of those cruel times. As a young man he joined the theatrical Bejart family to establish the Illustre-Theatre, which soon went bankrupt. The troupe reformed, found patronage, and went on the road for thirteen years, performing all over France. Poquelin developed his stagecraft adapting Commedia dell Arte plots to please brutalized peasants and cynical townspeople. He also married Madeline Bejart, the widowed daughter of the troupe's founder. Later he entered into a love affair with Mme Bejart's daughter, to the dismay of all. The troupe eventually returned to Paris and, on October 24, 1658, greatly impressed the 20-year old King Louis XIV, later to be called the Sun King. Moliere's life became bound up with the magnificent court at Versailles, and with its intrigues. He wrote, staged and acted in the plays now famous all over the world. He fought with his enemies and his friends, enjoyed success followed by failure, organized court festivities and defended himself against increasingly fanatic religious authorities. Above all, his theater was taken from life as his life was theatrical.
- A choreographer must face an unresolved romantic encounter from her past as she creates a new dance work.
- A spoof on the Ancient Greek myth, Orpheus and Eurydice are two bickering spouses who are happily separated when she is kidnapped by the gods and forms a love triangle with Pluton and Jupiter. But Public Opinion forces a reluctant Orpheus to go into the Underworld to save her.
- A small part of a large cemetery. End of fall. It has just rained. Black trees, a few leaves are still attached, other leaves litter the ground. A gravel driveway. A bench whose painting flakes. A man advances in the aisle, leaves the aisle, goes to a grave, reads what is written on the tombstone, stays there and looks at the stone, goes to another tomb, also reads this Who is written on the tombstone, remains for a moment to look at it, then joins the aisle and will sit on the bench.
- This film follows Polish countertenor Jakub Josef Orlinski and three facets of his singing, evoked through three countries. In New York, it will be opera for his debut at the MET, in Warsaw it will be Lied accompanied by piano and finally in Barcelona, it will be Baroque arias with the ensemble Il Pomo d'Oro. Each of these three cities will also be the occasion to evoke an aspect of his personality. The whole, will be embellished by breakdance that he has been practicing for a long time as well as by extracts filmed by Orlinski himself with his phone and integrated into the material of the film itself, as a dialogue between the media and formats supposed to draw at the end an intimate and digital portrait with multiple points of view.
- Author-designer Mikhail Shemiakin's sinister re-imagining of Tchaikovsky's beloved Christmas ballet.
- In Geneva, Martha Argerich invites her lifelong music partner, the cellist Mischa Maisky, to play in private chamber music. Between each piece, Martha opens up to her daughter Annie Dutoit, in an intimate interview.
- Mixing history, romanticism and passion for the arts, this film tells the saga of the Morozov brothers, Russian textile industrialists. Mikhail and Ivan Morozov assembled one of the most remarkable collections of French art in the world.
- A magical version of Tchaikovsky's masterpiece by the Zurich Ballet and choreographer Heinz Spoerli.
- As the first collaboration ever between conductor William Christie and director Luc Bondy, this production of Hercules was the major event of the 2004 opera season. Originally Created in Aix-en-Provence in July 2004, the show then moved on to the Palais Garnier in Paris where it was recorded in December of the same year. The Hercules received the student prize at the Golden Prague 2005.
- Entirely composed of visual and audio archives; German fictions and musical operettas of the period, news clippings and documentary footage, musical shorts, home movies, restored in HD, as well as photographs and photo montages, paintings and drawings. "CABARET-BERLIN, THE WILD SCENE" offers an inside view of the Berlin artistic kabarett scene, as an eye witness to the Weimar Republic's history, and doing so, reveals "the true story of Cabaret". With unheard-of artistic expressions, and serving as a lightening rod for criticism and protest, the Berlin cabarets became critically reflective mirrors of topical events, politics and culture of the unstable Weimar Republic, as well as the symbol of Berlin Tempo, too. Alongside the dramatic events accompanying the Era of Inflation, the Golden Years, the Depression and the surge of Nazism, the film shines a spotlight on this watchtower of unbroken conscience. The film itself is structured as a cabaret show led by its Master of Ceremony, the famous actor Ulrich Tukur who, off-screen, narrates necessary background information, connecting songs and sketches to their historical, political and social context. The treatment sticks to the aesthetic style of the period and uses the archive sources not as documentary samples, but as a stock of edited rushes which weave the dramatization of the story. At the end of the day, CABARET-BERLIN, THE WILD SCENE is a film about the birth of modernity.
- Carmen, a wild Spanish gypsy, is unscrupulous in matters of the law and of the heart. A knife fight breaks out between Carmen and another woman, and José, an incorruptible constable in Seville, is ordered to arrest Carmen.
- The work of Fernand Pouillon, the "most wanted architect in France" after being imprisoned and mysteriously escaping in the 1960s, seems to have faded into the background today. However, in 50 years he built more than 5 million square meters, mainly between France and Algeria. At a frantic pace, Fernand Pouillon travels tens of thousands of kilometers per week, by propeller plane, to reach construction sites at night between Marseille, Paris, Algiers or in the middle of the desert, until he burned his wings. Among others, Fernand Pouillon decided to build houses for the most modest. The beauty and quality of Fernand Pouillon's housing estates prove that this much maligned architect may have found a remedy for what is known as the "pathology" of large housing projects.
- This "dynamite new production" (Opera Today) of Handel's Giulio Cesare in Egitto inaugurated Cecilia Bartoli's first season as Artistic Director of the Salzburg Whitsun Festival in 2012. "Bartoli's Dream Start with Dream Voices" wrote the Vienna Kurier of this uproarious Moshe Leiser/Patrice Caurier in which Bartoli heads a hand-picked cast including Andreas Scholl, Philippe Jaroussky and Anne Sofie Von Otter with Il Giardino Armonico conducted by Giovanni Antonini. "[Andreas Scholl's] coloratura is note perfect, he phrases recitatives with as much musicianship as arias, and the steadiness and purity of his voice are remarkable." The Financial Times "Bartoli remains at her peak. Not only is her coloratura flawless, and her voice as colorful and ravishingly beautiful as ever, but her ability to use her incomparable technique at the service of expression has also deepened with age. As a seductress, Bartoli was irresistible. Teasing out her incomparably agile coloratura runs, she softened high notes to tickle the senses with a mixture of sweetness and delight. When, in the second act, she mounted a missile and diagonally ascended into the heavens, it felt as though she were riding the ultimate pink Cadillac off to her honeymoon rendezvous. And in her final aria, "Da tempeste il legno infranto" when she danced around the stage and adorned herself with strings of lights while flashing the trademark Bartoli smile, it was all one could do to resist running onstage and give her a huge hug."
- 1941 nahm sich Sergej Prokofjew während des 2. Weltkriegs Tolstois "Krieg und Frieden" zur Vorlage für ein monumentales Opernprojekt. Die komplexe Geschichte handelt von Liebe und Leid zur Zeit von Napoleons Feldzug in Russland. Erstmals führt die Bayerische Staatsoper mit einem internationalen Team um Dmitri Tcherniakov und Vladimir Jurowski die Vertonung des Klassikers der Weltliteratur in München auf. Erstmals in München wird Sergej Prokofjews Monumentaloper "Krieg und Frieden", zum 70. Todestag des Komponisten aufgeführt. Das gewaltige Werk basiert auf Leo Tolstois Klassiker der Weltliteratur gleichen Namens. Allein die rund 40 Solistinnen und Solisten verdeutlichen die beachtlichen Ausmaße dieser Oper. Verantwortlich für die Inszenierung zeichnet Dmitri Tcherniakov mit Vladimir Jurowski am Dirigentenpult. Leo Tolstoi schuf mit seinem Roman "Krieg und Frieden" einen Weltklassiker des russischen Realismus. Tolstoi verwebt für seine Erzählung die Einzelschicksale verschiedener Familien der russischen Gesellschaft zur Zeit der napoleonischen Kriege in Russland und schafft damit ein detailreiches und dokumentarisches Sittenbild einer ganzen Epoche. Prokofjews Adaption fokussiert sich im ersten Teil auf die amourösen Verstrickungen rund um die Hauptfigur Natascha. Fürst Andrei Bolkonski verliebt sich während einer Ballnacht in sie, doch ihre Verlobung steht unter keinem glücklichen Stern. Die verheiratete Helene Besuchow macht Natascha mit ihrem Bruder Anatol Kuragin bekannt, der Natascha seine Liebe gesteht. Während er ihre Flucht plant, stürzt Natascha in eine Krise. Doch der Plan scheitert. Durch Helenes Mann Pierre Besuchow erfährt Natascha, dass Anatol bereits verheiratet ist und gesteht ihr seinerseits, dass er in sie verliebt ist. Als Pierre Anatol zur Rede stellt und ihn auffordert, Moskau zu verlassen, werden sie jäh von den aufmarschierenden französischen Truppen unterbrochen. Der zweite Teil verfolgt die Geschehnisse um die Schlacht bei Borodino, aus der Napoleon als Sieger hervorgeht. Um Napoleon zum Rückzug zu zwingen, beschließen die Bürger Moskaus im dritten Teil, ihre Stadt anzuzünden. Pierre wird als Brandstifter gefasst und entgeht knapp seiner Hinrichtung. Seine Frau Helene und Nataschas Verlobter Andrei kommen in den Wirren ums Leben, doch erfährt Pierre, dass Natascha am Leben sei. Ein General verkündet schließlich den Sieg Russlands. 1941 machte sich Sergej Prokofjew den Roman nach dem deutschen Überfall auf die damalige Sowjetunion zur Vorlage eines gewaltigen nationalen Opernprojektes. Das Werk galt wegen seiner Vielschichtigkeit lange Zeit als ungeeignet für eine Opernadaption. Prokofjew widmete sich dem ehrgeizigen Versuch, die verflochtenen Handlungsstränge in eine musikalische Essenz zu überführen. Die Parallelen zwischen der Handlung zur Zeit der napoleonischen Kriege und dem 2. Weltkrieg führten zur Entstehungszeit der Oper zu einem öffentlichen Diskurs. Nachdem Prokofjew seine erste Version der Komposition 1943 beendet hatte, musste das Werk durch politische Beschlüsse immer wieder umgearbeitet, Szenen gestrichen oder ergänzt und Texte umgeschrieben werden. Noch bis zu seinem Tod 1953 arbeitete Prokofjew an der Oper, eine vollständige Uraufführung zu Lebzeiten blieb aus. Ein Jahr nach dem russischen Angriff auf die Ukraine hat das Werk, das als russisches Nationalwerk gilt, an Brisanz nicht verloren; eine Herausforderung, mit der sich das Team um Regisseur Dmitri Tcherniakov und den Musikalischen Leiter Vladimir Jurowski intensiv beschäftigt hat.
- A dramatic, energetic adaptation of Heinz Spoerli's ballet based on Grieg's Peer Gynt by the Zurich ballet. Marijn Rademaker is excellent as the title character, clearly telegraphing the emotional range required. Each of the characters and the dramatic scenes are supported by the orchestral passages and songs provided by Grieg; some spoken word passages extracted from the Ibsen play.
- The Chinese government provides the villages in the mountains of Sichuan (China) with films. The main character of this film is a projectionist who, 37 years ago, used to carry his old projector on foot and bicycle. He would display a small screen across the road or between trees in front of a farm... It's the same today except that he rides a motorcycle, carries a large screen and that the films travel two thousand kilometers from Beijing to Chengdu by satellite, before he picks them up on his motorcycle. Up in the mountains, people bring a stool out on the road and watch. That story takes place in Beijing and the beautiful mountains covered with bamboos above Chengdu
- Two youths have secretly married ladies but not the ones their fathers who are away on trips had selected.A mischievous valet plays tricks to see that the lovers can stay together.
- Starring Dimitris Tiliakos, Violeta Urmana, Ferruccio Furlanetto, and Stefano Secco.
- While Europe and the United States competed to dominate the art scene after the Second World War, Mark Rothko and Hans Hartung were forging a discreet, friendly and fertile bond. This documentary invites us to discover this little known and fascinating complicity between two legends of contemporary painting. On one side, Rothko, "the most violent of American painters", according to his own words, on the other, Hartung, a brilliant experimenter and "boxer" in front of the canvas. From the moment they met in 1950 in Hans Hartung's modest studio, there was a healthy emulation between them, from which immense, metaphysical, and cataclysmic paintings were born. While Rothko offered advice and counsel to his European comrade, which would prove crucial in the development of the latter's work, Hartung did not spare his admiration for the New York painter of Latvian origin. It was in Antibes, in October 1970, that Hans Hartung learned of Mark Rothko's suicide. He built a villa-studio where he kept the secrets of their artistic exchanges and a spiritual communion that this film reveals today. This Rothko-Hartung encounter is an unprecedented and yet essential subject for understanding an important part of 20th century art.
- The Ballet de l'Opera National de Paris mounted this production of the late Pina Bausch's dance-opera Orpheus und Eurydike, which Bausch had adapted from composer Christoph Willibald-Gluck and Ranieri de' Calzabigi's 1762 opera Orfeo ed Euridice. As the title suggests, it takes its basic narrative from the myth of Orpheus, and his courageous but ill-fated attempt to rescue his lover Eurydice (also known as Eurydike) from the jaws of the underworld. This particular production finds Yann Bridard dancing as Orpheus and Marie-Agnès Gillot dancing as Eurydike , with mezzo-soprano Maria-Riccarda Wesseling accompanying Bridard and soprano Julia Kleiter accompanying Wesseling. Pina Bausch did the choreography and stage direction, while Rolf Borzik designed the sets, costumes and lighting. The Balthasar-Neumann Ensemble and Choir, under the direction of Thomas Hengelbrock, lend musical accompaniment.
- In Russia at the start of the 20th century, the Vaudois tutor Pierre Gilliard took care of the children of Tsar Nicolas II, until the execution of the Romanovs in 1918.
- Museum Tour is a collection of portraits that invites us to discover the personality and work of major artists in an immersive way. Each episode highlights the artist in his or her living environment or in a place he or she has imagined.