Raising the curtain on a work of superlatives: the Staatsoper Unter den Linden represents the ultimate challenge for any opera house, Wagner's "Der Ring des Nibelungen". Christian Thielemann conducts the Ring tetralogy, and Dmitri Tcherniakov, highly praised for his psychologically sophisticated productions, led the playful all-star ensemble coherently through the panorama of characters, situations and events that unfolded like a universe and consistently interpreted the sheer vastness and the manifold twists and turns of the Ring cosmos. With the "Walkure" score, composed in the mid-1850s, Wagner reached new heights with his music, giving the orchestra remarkable communicative powers, layers of meaning were thus developed and incorporated into the work. "Enchanting magic of sound" (Die Zeit) / "Spectacular und breath-takingly precise, that's how Thielemann illuminates the Wagner score." (Neue Zurcher Zeitung) / "Velvety sound of unmatched beauty" (The Guardian)

Rusalka, a water spirit, lives with her family in the pure waters of the forest lake. When she falls in love with a Prince, she sacrifices her voice and leaves her home in the hope of finding true love in a new world - a world that does not love her back.�Natalie Abrahami and Ann Yee create a poetic, contemporary new staging of Dvorak's lyric fairy tale, revealing our uneasy relationship with the natural world and humanity's attempts to own and tame it. Semyon Bychkov conducts an all-star cast featuring Asmik Grigorian in the title role.

PAX is a concept in which music, lyrics and the sacred space of the cathedral energize each other in these performances of new works by Norwegian composers who all approach the theme of peace with their own individual reflections and interpretations. The music is composed specifically to be performed and recorded as an immersive experience.

Francesco Cilea’s Gloria, performed here in its 1932 revised edition, takes as its theme the ultimately tragic story of two lovers caught up in a conflict in 14th-century Siena. The libretto is based on Victorien Sardou's play La Haine (Hatred) and the opera features Cilea’s refined orchestral writing inspired by the Russian and French schools, with vocal lines that are varied and rewarding. Opera Today called this production ‘musically magical’, while Operawire.com extolled the inventive and convincing staging along with Francesco Cilluffo’s compelling musical direction.

Kit Harington (Game of Thrones) plays the title role in Shakespeare’s thrilling study of nationalism, war and the psychology of power. Captured live from the Donmar Warehouse in London. Fresh to the throne, King Henry V launches England into a bloody war with France. When his campaign encounters resistance, this inexperienced new ruler must prove he is fit to guide a country into war. Directed by Max Webster (Life of Pi), this exciting modern production explores what it means to be English and our relationship to Europe, asking: do we ever get the leaders we deserve?

Götterdämmerung ('Twilight of the Gods') is the final opera of Wagner’s epic tetralogy "Der Ring des Nibelungen" ('The Ring of the Nibelung') in which his visionary masterpiece reaches its cataclysmic conclusion. Betrayal and death, murder and remorse, lie at the opera’s heart, in a work that draws together every plot element in writing of blazing intensity. As the ring is restored to the Rhinemaidens, the age of the gods ends, with the opera offering the certainty of destruction but the consolation of renewal. Staged by the award-winning director Stefan Herheim, this innovative new production from Deutsche Oper Berlin features a leading international cast conducted by Sir Donald Runnicles. The release includes "Making Of" documentary featuring interviews with Stefan Herheim and Sir Donald Runnicles, and behind the scenes footage.

Gotterdammerung ('Twilight of the Gods') is the final opera of Wagner's epic tetralogy "Der Ring des Nibelungen" ('The Ring of the Nibelung') in which his visionary masterpiece reaches it's cataclysmic conclusion. Betrayal and death, murder and remorse, lie at the opera's heart, in a work that draws together every plot element in writing of blazing intensity. As the ring is restored to the Rhinemaidens, the age of the gods ends, with the opera offering the certainty of destruction but the consolation of renewal. Staged by the award-winning director Stefan Herheim, this innovative new production from Deutsche Oper Berlin features a leading international cast conducted by Sir Donald Runnicles. The release includes "Making Of" documentary featuring interviews with Stefan Herheim and Sir Donald Runnicles, and behind the scenes footage.

He makes you feel what it feels like to be alone at the top. Whoever sees and hears him suddenly knows more about the search for the right path that drives every serious person. His stage characters touch the heart. The bass Günther Groissböck embodies kings, scholars, philosophers in the great opera houses of the world; he plays priests, mythical creatures, gods. You could say he specializes in solitary figures.

At first glance, however, Günther Groissböck does not seem like someone who has personal experience with the subject of loneliness. The singer stands, works, acts on and off stage in intensive contact with people. He is married, father of a daughter, in the middle of life or, as conductor Philippe Jordan puts it: “He burns for many things in life, not only for art”. Can you play what you don’t know? How does he shape his stage characters? What are the building blocks for the play? When does the instrument, his voice, touch the audience? How much public spirit, how much individuality does an opera singer need today? And where does Günther Groissböck get the incredible energy he radiates on stage?

For two years we accompanied the artist from Waidhofen an der Ybbs (Lower Austria) with our camera, on night journeys and day trips. At rehearsals, sports, and performances. We filmed him as the black-robed Kaspar, as the powerful King Philip, or as a searcher in the villa of Richard Strauss. The result is a film portrait that tells of a special attitude to life; of loneliness as a source of artistic strength; of a man who can fill his voice with content from within. The film about Günther Groissböck tells of two lines from a Rückert poem, set to music by Gustav Mahler: “I live alone in my heaven, in my loving, in my song.”

Originally set in the 15th century, Tchaikovsky's "The Enchantress" is updated to the present day in this innovative production. The charismatic, emancipated Nastasya, who rejects the advances of the devious Mam�rov, duly faces the implacable forces of traditional values in a society riven by divisions between liberal freedoms and religious orthodoxies. The tragic outcome engulfs everyone. This production was a triumphant success - 'At the end, storms of enthusiasm, the likes of which are rare even at Oper Frankfurt' (Neue Musikzeitung) - both for the staging and performers, with soprano Asmik Grigorian hailed as a 'miracle' and baritone Iain MacNeil as 'world class'.

Michael Volle's Wotan [... ] is an event, [... ] Rolando Villaz�n plays a fabulous Loge. (Frankfurter Allgemeine Zeitung) A myth, a heroic epic, a family saga - perhaps all of these together - make up Richard Wagner's Ring tetralogy. This epic production of the Staatsoper Unter den Linden sees a remarkable collaboration between Christian Thielemann, one of the most distinguished Wagner conductors of our time, and Dmitri Tcherniakov, one of the great, internationally celebrated opera directors of our time. The result is "A glittering feast of voices, sounds, ideas and precise direction of characters. Wagner at his best. " (BR Klassik) The Rheingold gives the background to the events that drive the main dramas of the whole Ring cycle. "In this Rheingold, Thielemann mastered the art of nuance and varied interpretation like no other, and without having to bank on exaggeration. " (Bachtrack. Com). "Funny and aching, ironic and horrifying" (The New York Times)

Gaetano Donizetti's comic opera L'aio nell'imbarazzo or A Tutor in a Jam! Was greeted with wild enthusiasm at it's Rome premiere in 1824 and became one of the composer's first great successes both in Italy and abroad. Modeled on operas by Rossini but already displaying the psychological depths of Donizetti's mature work, this is a narrative in which, shielded from female company, the overprotected sons of a strict Marquis are entrusted to their tutor, Don Gregorio. Of course, everything unravels into emotional chaos in the best opera buffa tradition, with it's universal themes of romance and social politics colorfully set in 2042.

Inspired by the novel of the same name by Abbé Prévost, Puccini achieved his first great triumph with Manon Lescaut. The story of the rise and fall of the courtesan Manon was written with a haunting music, faithful to the principles of the verisme. In this production Liudmyla Monastyrska "one of the most important voices of today" (Beckmesser.com) has a "magnificent voice" (Operawire), Gregory Kunde’s Des Grieux "is genuinely Puccinian" (opera online) and "Carlos Chausson … offered a masterful performance" (bachtrack). Conductor Emmanuel Villaume "provides a vehement and passionate musical reading." (El Mundo)

When Rossini’s opera Le Siège de Corinthe was premiered in 1826 in Paris it became a huge success all over Europe. The Rossini Opera Festival presents the opera in a new production from Carlus Padrissa of the Barcelona collective La Fura dels Baus, “which here has one of its most interesting shows” (connessiallopera.it). Artisticly “Roberto Abbado holds the ranks excellently and supports a well-cohesive and balanced cast” (L’ape musicale) “where bass-baritone Luca Pisaroni growled fearsomely as Sultan Mahomet, tenor Sergey Romanovsky as Néoclès matched a warm tone with pinging top notes, and tenor John Irvin was self-assured as Cléomène, but soprano Nino Machaidze as Pamyra thrilled most of all, as she purred effortlessly through pyrotechnic coloratura” (Financial Times).

Wagner’s "Der Ring des Nibelungen" (‘The Ring of the Nibelung’) comprises four operas of which "Die Walküre" (‘The Valkyrie’) is the second, famous for its spectacular set-pieces such as the "Ride of the Valkyries" and Wotan’s "Farewell." The plot focuses on the lovers Siegmund and Sieglinde and on the disobedience of the Valkyrie Brünnhilde, who defies the edict of Fricka, the goddess of marriage, to punish them. With "Die Walküre" Wagner achieved a perfect synthesis of poetry and music. Sir Donald Runnicles conducts an internationally acclaimed cast in this innovative new production by Norwegian director Stefan Herheim.

Doktor Faust was left incomplete at the time of Busoni’s death. Intended as his masterpiece, the opera’s genesis was complex and long. Based on Goethe’s tragic play, the story of Faust’s pact with the devil is well known but the opera’s structure represents Busoni’s unique conception, cast in two Prologues, a beautiful orchestral Intermezzo and three scenes. Exploring ideas of rationality and metaphysical doubt as well as the concepts of artifice and pretence inherent in operatic performance, the result is one of the most creative and unsettling of Busoni’s works.

Nielsen's "Maskarade" is regarded as Denmark's national opera. It combines folk-song character, Mozartean elegance and virtuoso surprises to create what conductor Titus Engel describes as 'musical comedy that's both witty and of the highest calibre'. Based on an 18th-century play by Ludvig Holberg, the story revolves around Leander and Leonora who meet at a masquerade ball, swear undying love, and then have to deal with the complicated consequences of their situation, all accompanied by Nielsen's irresistibly sparkling score. This acclaimed contemporary staging from Oper Frankfurt is sung in a new German translation and directed by Tobias Kratzer.

The Teatro La Fenice opened in 1792 and is one of the most renowned and most beautiful theaters in the world. Since nearly 20 years it has celebrated the traditional New Year‘s concert every year, which became immediately vast popularity in Italy and abroad making it one of the best-known and desired New Year's events. The orchestra of Teatro La Fenice, conducted by Daniel Harding, presents a colourful array of arias and orchestral pieces. As soloists soprano Federica Lombardi and tenor Freddie De Tommaso sing famous arias as Casta Diva and Nessun dorma among others from the operas Carmen, La traviata, La bohème, Turandot, William Tell and La clemenza di Tito. On top Jacopo Tissi, now principal of the Dutch National Ballet, is dancing a scene from Tchaikovsky´s ballet The Sleeping Beauty in this thrilling and exhilarating concert.

The Christopher Wheeldon Collection showcases three of Wheeldon's most acclaimed recent productions for The Royal Ballet, including Alice's Adventures in Wonderland (2018), The Winter's Tale (2014) and Like Water for Chocolate (2022).

Lewis Carroll’s ever-popular story provides the basis for Wheeldon’s spectacular production of Alice's Adventures in Wonderland. Bob Crowley’s vivid sets and costumes take us down the rabbit hole into a colourful world full of curious creatures and captivating characters. Joby Talbot’s original score is full of sweeping melodies and contemporary sounds. Lauren Cuthbertson stars as the inquisitive Alice, with Federico Bonelli as the charming Knave of Hearts, Steven McRae as the tap-dancing Mad Hatter and Laura Morera as the formidable Queen of Hearts. This exuberant and engaging ballet is spectacular entertainment for the whole family.

Wheeldon drew on the same music and design team to create an evocative reimagining of The Winter's Tale, Shakespeare's enduring story of jealousy, compassion and forgiveness. The staging effortlessly captures the work's profound emotional trajectory, with powerful designs by Crowley, Talbot's skilful score and Wheeldon’s constantly inventive choreography. Strong company performances—among them Edward Watson's Leontes, Zenaida Yanowsky's Paulina and Sarah Lamb's Perdita—put the finishing touches to a gleaming production.

In Like Water for Chocolate, a modern Mexican classic provides the basis for a theatrical tale of love, jealousy, repression, and revolution. The 2022 production reunited Wheeldon with Talbot and Crowley, now an established and stellar creative team. Inspired by Laura Esquivel’s novel, the central character’s emotions spill out through cooking to influence everyone around her in startling and dramatic ways. The full Company, led by Francesca Hayward as Tita and Marcelino Sambe as Pedro, reshape this captivating family saga into a richly layered and engrossing new ballet where passion, mystery and magic combine.

This box set includes a special collection of classic performances from The Royal Ballet. In the feature-length documentary Essential Royal Ballet, Katie Derham introduces carefully curated excerpts from productions that span the history of ballet and goes behind the scenes to see what it takes to be a dancer in The Royal Ballet as they prepare to take to the stage.

With stunning solos, passionate pas de deux and jaw-dropping numbers for the corps de ballet, Essential Royal Ballet is a chance to see the Company’s much-loved dancers past and present up close. Including many favourites from the likes of Carlos Acosta, Marianela Nuñez, Natalia Osipova, Steven McRae, Francesca Hayward and Matthew Ball, the artists share stories of their life on the stage and thoughts on what these celebrated ballets mean to them. In Pas de Deux: the ‘steps for two’ so central to the form of ballet are celebrated further in 16 exceptional examples from The Royal Ballet’s repertory. A collection from across the Company’s heritage and contemporary classics, Pas de Deux demonstrates the choreographic diversity, technical brilliance, show-stopping spectacle and artistry for which The Royal Ballet is acclaimed around the world.

Nur wer die Sehnsucht kennt ('None but the lonely heart'), probably the best known of Tchaikovsky's songs, lends it's name to an intimate theatrical evening in which Christof Loy has combined songs or 'romances' and instrumental music to create a chamber opera of striking beauty and intensity. Tchaikovsky's songs cover a stylistic diversity unsurpassed by other Russian composers, often setting enigmatic texts in which the unsaid and unsayable create expressive tensions and encapsulate true human emotions. Given a sumptuous period setting, these qualities create a unique drama in which suppressed love is confronted with longed for moments of passion, and sadness over broken relationships leads to withdrawal and loneliness

As early as 1851, Wagner wrote, 'I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude.' The Prelude was "Das Rheingold" ('The Rhine Gold') the preliminary evening of Wagner's epic tetralogy "Der Ring des Nibelungen" ('The Ring of the Nibelung'), which received it's first complete performance in 1876. The unfolding events of Das Rheingold depict the theft of the Ring forged from the Rhinemaidens' gold by the Nibelung dwarf Alberich, and his subsequent surrender of it to Wotan, ruler of the Gods, to pay his debt to the giants who constructed Valhalla. Alberich's curse foreshadows the catastrophe to come. Sir Donald Runnicles conducts an internationally acclaimed cast in this innovative new production of "Der Ring" by Norwegian director Stefan Herheim.

Despite the triumphant reception of his first opera, Gaetano Donizetti was young and inexperienced when he was commissioned to write Chiara e Serafina in 1822 for La Scala. Composed in haste, it was met with disapproval at its premiere and subsequently disappeared without a trace. Thanks to this revival at the Bergamo Donizetti Festival, after exactly 200 years Chiara e Serafina has returned to the stage with a fine production that brings to life an entertaining tale of pirates, lovers, disguises, deceit and peril in 17th-century Majorca.

Pious restraint comes face to face with sensuous hedonism in Camille Saint-Saens’s grand-opera retelling of the Bible story of Samson and Delilah. Multi-Olivier Award winning director Richard Jones returns to The Royal Opera to stage this spectacular fin-de-siecle masterpiece, not performed at Covent Garden since 2004. Elina Garanca stars as the Philistine Dalila, SeokJong Baek as the inspiring Jewish hero Samson and Antonio Pappano conducts the full forces of the Orchestra of the Royal Opera House. With superb singing in solos and duets of great intimacy and fervour, gorgeous music with thrilling orchestral interludes, and splendid choral numbers for the Royal Opera Chorus – this is a performance to remember.

Der fliegende Holländer was one of the operas that allowed Wagner to assert his place as the foremost German operatic composer of the time and to develop the foundations of his visionary mature works. Premiered in Dresden in 1843 its story is of the Flying Dutchman – the ghostly sea captain doomed to wander the seas eternally unless redeemed by love. This new staging was praised by seenandheard-international.com and for being ‘a triumph in faithfully presenting Wagner’s opera with an innovative production which was both exciting and created special effects’.

L’Italiana in Londra' was Domenico Cimarosa’s first international triumph, thrilling audiences all over Europe after its premiere in 1778. It later became eclipsed by the even bigger success of 'Il matrimonio segreto' however, and has become a rarity on stage today. Set in a London hotel, this cheerful ‘Intermezzo in musica’ has cleverly crafted arias, duets and ensembles that drive the plot along, the story being one of thwarted love, quarrels and misunderstandings. 'L’Italiana in Londra' has been summed up by director R.B. Schlather as ‘incredibly charming and sophisticated … demanding, dark, dirty and very funny … an impeccable rom-com.’

Jean-Philippe Rameau’s Platée is a masterpiece of the French operatic repertoire and was highly regarded by critics during the composer’s lifetime. Composed for the marriage of the Dauphin Louis, son of Louis XV, to the Infanta Maria Teresa of Spain, it was first performed at Versailles in 1745 and became an instant hit. The plot concerns the ugly and conceited frog Platée, the victim of a machination of the gods who make her believe that she is loved by Jupiter. Is this Rameau mocking Princess Maria Teresa of Spain – reputedly a woman of little beauty? Or the French court, which saw itself as a new Olympus? This classic production from the Opéra de Paris by Marc Minkowski and Laurent Pelly returns to the stage with an entirely new cast, featuring Julie Fuchs, Mathias Vidal, Jean Teitgen and Lawrence Brownlee.

Rossini's masterpiece Il barbiere di Siviglia is a fast-paced, thrilling opera featuring a lot of popular arias. Staged by Herbert Fritsch as a colourful, turbulent, diversely choreographed piece it is extraordinary musical theater:"A feast for the ears against a colourful backdrop." (DLF Kultur)"With largely sensational musical performances" (Kurier). Juan Diego Floréz"fulfils all expectations of a Rossini singer in a class of his own" (BR Klassik),"witty and vocally profound is Ildar Abdrazakov as Basilio" (Der Standard) while Vasilisa Berzhanskaya"is convincing in her house debut as Rosina." (DLF Kultur)

Premiered in 1951, ‘Amahl and the Night Visitors’ was the first opera specifically composed for television, though Gian Carlo Menotti admitted that he had conceived it for the stage. The magical story tells of Amahl, a disabled boy who befriends the Three Kings when they stop at his house on their journey to see the newborn Jesus. Amahl decides to give his crutch to Jesus, at which point his leg is miraculously healed. Long a Christmas favourite, this new Viennese production, sung in German, boldly re-examines the story finding its key elements to be fantasy, empathy and the enduring power of love.

REVIEW:

...the cast under Magnus Loddgard’s baton is good. Boy soprano Tempu Ishijima is outstanding in the title role, incredibly touching but not mawkish, and as his mother, Dshamilja Kaiser has a strong mezzo.

-- Opera Now

When Tchaikovsky premiered his famous ballet The Nutcracker in Saint Petersburg 130 years ago, it was presented as a double bill, as standard at the time, together with the opera Iolanta. The Volksoper Wien, being part home to the famous Wiener Staatsballett, under the helm of the new artistic director Lotte de Beer and music director Omer Meir Wellber presents both works again in one evening, but not as two separate pieces, but by fusing the two works into one. It’s a “successful debut that is also musically convincing” and the “two pieces intertwine like gears”. Jorine van Beek’s costumes makes it a “feast for the eyes” (Die Presse). “This imaginative ‘music theatre for the whole family’ enchants above all the numerous children and young people. (...) The Volksoper Orchestra once again demonstrated its power of performance” (Frankfurter Allgemeine Zeitung). In short: it’s a family-show to the core!

Composed for the Paris Opéra, the romantic but ultimately tragic narrative of Donizetti’s grand opera La favorite is set amidst the Moorish invasions of Spain and the power struggles between religion and the state in the 14th century. The novice Fernand abandons his monastery having fallen in love with the noble Léonor, not knowing that she is the King’s mistress and favourite. Drawing on traditions established by Rossini and Meyerbeer, La favorite is noted for Donizetti’s innovative use of the orchestra and for some of his most renowned and enthralling arias. This acclaimed production opened the 2022 Donizetti Opera Festival in Bergamo, and is performed with its original French libretto.