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Ten years after his death, the Paris Opera Ballet payed homage to the American choreographer who considered the Paris Opera as his second home after New York City Ballet. The three pieces performed here illustrate not only the diversity of the choreographer's repertoire and sources of inspiration, but also his love of music and his all-embracing attitude to the performing arts. Jerome Robbins brought new energy to classical dance, introducing 20th century urban rhythms, confirming its status as a modern entertainment form and instilling it with the interrogations of contemporary theatre. En Sol, set to Maurice Ravel's Concerto en sol, follows no particular narrative line or dramatic effect. Echoing the music's jazzy invitations and light-heartedly copying Broadway style, this is a light and joyous piece for two soloists and an ensemble. It provided Jerome Robbins with an opportunity to reveal the relaxed, fluid feel so emblematic of his style.

In the Night and The Concert are two tributes to Frederic Chopin, each in a different register. Seeking to free the composer from the commonplaces that have often belittled his music, Robbins transforms Les Nocturnes into In the Night, a long and poetic pas de deux built like a metaphor of love in all its states. The Concert joins the ranks of the few comic ballets in the history of dance. Taking as its point of departure images inspired by some of Chopin’s more fancifully entitled scores, Jerome Robbins' piano recital is a comic plea for the cause of human vulnerability.

The fact that, at the very same period, he was contributing to the renewal of the musical by bringing a tragic side to his West Side Story, only underlines his insatiable thirst for originality and his immense talent for freely combining genres and styles. Lastly, Benjamin Millepied, who made his dance debut with Robbins in New York, dedicates his second creation for the Paris Opera Ballet, Triade, to the choreographer. "Dance is composed of human relations", Robbins used to say. A worthy heir to his master, Benjamin Millepied matches this credo through a fruitful dialogue with composer Nico Muhly.

Lulu, Alban Berg’s hauntingly mysterious opera in a new production by Dmitri Tcherniakov, has been one of the major events of the 2014/2015 Bayerische Staatsoper season : an ideal setting for conductor Kirill Petrenko first-ever video recording! A sensuous and impenetrable opera, Berg’s masterpiece depicts the burning and sometimes bestial intensity of human relationships through the figure of Lulu, the true femme fatale, bearer of an enigma that haunts us way beyond the end of the opera. Venenous, sibylline, deathly for who approaches her, the dangerous Lulu destroys the established and bourgeois order she evolves in, carrying away with her all certainty, just like the audacious and demanding musical language Berg invented to give form to this unreachable character. Frank Wedekind’s work proved indeed to be an extremely fertile ground for the dodecaphonic composer’s imagination, and gave birth to one of the most singular and ambitious work of art of the twentieth century. With the privilege of a dream cast, gathering Berg’s best interprets, this new production of Lulu is conducted by Kirill Petrenko, and staged by Dmitri Tcherniakov. A visionary genius considered as the contemporary stage "enfant terrible", it is with a shattering realism that he directs those characters, hostages to their own passions and darkest fantasies, and reveals the complexity of this great human and social tragedy. Marlis Petersen is Lulu, a role she was then singing for the ninth time, and which awarded her, for this production, the title of "singer of the year" by German magazine Opernwelt.

Choreography and stage direction by Pina Bausch.

Dancers: Yann Bridard (Orpheus), Marie-Agnes Gillot (Eurydike), Miteki Kudo (Amor), Ballet de l'Opera national de Paris.

Duration: 104 minutes
Image: 16:9 NTSC
Sound: PCM Stereo, Dolby digital 5.1
Subtitles: French, German, English, Spanish, Italian
Region: All

This is in a class by itself: it is the late choreographer Pina Bausch's vision of Gluck's Orfeo, originally produced in Germany in 1975. This performance took place at Paris' Palais Garnier in February, 2008. Bausch presents two sets of protagonists--for each solo singing part there is a solo dancer--with the dancing, of course, taking physical precedence, but with the singers thoroughly engaged as well. You might think this awkward on stage but it is not; like any great choreographer, Bausch knows her space, and furthermore has choreographed minimal movements for the singers to emotionally mirror the dancers'. Just so you know, Bausch eschews Gluck's happy ending: both main characters remain dead at this performance's close.

I could describe the entire performance--so rich, so fluid, so moving--but the opening scene will suffice. As the dancing Orfeo, the magnificent, muscled Yann Bridard enters on the right, dressed only in flesh-colored briefs, and stands perfectly still while mezzo Maria Riccarda Wesseling, the singing Orfeo, cries out Eurydice's name (forgive me for not using the German spelling despite the fact that the opera is sung in German); a dead tree is the only prop.

Stage left is Eurydice herself, silent (the dancer Marie-Agnes Gillot), sitting high above the stage floor in her white, shroud-like wedding dress which reaches to the floor, a bouquet of blood-red roses cradled in her arms. She looks down at the grief around her; black-clad women and men writhe with anguish, their hands imploring and twisting. Orfeo lies face down near the tree and as the mourners leave slowly, he begins a tortured solo, clearly begging the gods' assistance. Bausch's choreography throughout is filled with swaying and upper-body movement; the feet never fidget. After a brief while the singing and dancing seem inevitably intertwined, as if the opera were always performed this way. Much of it gives the impression of a dream.

Hell is watched over by three men in leather aprons; they return after Eurydice dies a second time to take Orfeo. A remarkable moment occurs at the opera's peak moment: Eurydice, now in bright red, has been dancing madly, trying to get Orfeo to look back at her. He does and she dies in his arms as the singing Eurydice falls to the ground. Dancing Orfeo picks her up and places her atop the dancing Eurydice, and singing Orfeo kneels and sings the opera's most famous aria, "Che faro senza Eurydice". The effect is ravishing.

The costumes, sets, and lighting by Rolf Borzik, as suggested above, are evocative yet unfussy. The Balthasar-Neumann Ensemble & Choir play and sing handsomely throughout, with the chorus placed in the pit behind the musicians. Thomas Hengelbrock leads sensitively, whipping up a storm for the Furies and serving the needs of both singers and dancers. Mezzo Wesseling's Orfeo is strongly and movingly sung; hers may not be the greatest voice or interpretation, but she fits this production. However, Bridard's dancing of the part is unmatchable--he's on stage throughout and he seems thoroughly transfixed, expressing every emotion wordlessly and with grace and power. Julia Kleiter's Eurydice is lovely, a perfect match for the glorious Marie-Agnes Gillot. And Sunhae Im's shining Amore matches Miteko Kudo's dancing of the part.

As mentioned, the opera is sung in German, which I guess we will simply have to forgive. Subtitles are in all major European languages; the High Definition picture is superb and the sound (PCM Stereo or Dolby Digital 5.1) matches it. There is some strong DVD competition, but this really is one of a kind.

--Robert Levine, ClassicsToday.com

Featuring Viengsay Valdès (Kitri), Romel Frometa (Basilio), Dayron Vera (Don Quixote) & Javier Sanchez (Sancho Panza).

Choreography by Alicia Alonso.

Sound: Dolby, DTS Surround Sound
Language: English
Subtitles: English, French
Region: All

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Kurt Weill wrote Street Scene shortly after fleeing Nazi Germany to the United States. When he discovered the vitality of the American musical scene, his focus became to reconcile the Broadway “musical” with European traditional opera, jazzy and North-American tunes with an almost Puccinian-like lyricism. In his mind, opera had to embrace and reclaim its own theatricality : thus he wrote his Street Scene, meant to be a truly American opera, half-way between his Brechtian Threepenny’s Opera and Bernstein’s later West Side Story and drawing from the famous play by Elmer Rice (recipient of the Pulitzer Prize when it was published in 1928). The main plot of this rampant collection of scenes from the streets of the lower East Side of New York revolves around Frank and Anna Maurant and their daughter Rose. A violent and tough character, Frank fails to see his wife’s growing despair due to his lack of affection. When he discovers her with her lover, he shoots them both and goes to jail, leaving behind a heartbroken Rose who, after having experienced relentless harassment by two aggressive suitors, misses her one true chance at love. The opera ends by showing the streets of New York City moving on from these mundane events in total indifference. Under Tim Murray’s vivid and precise baton, this superb production by John Fulljames perfectly renders the vitality and energy released by the streets of New York, that proved to be a great inspiration to the theatrical mind of the composer.

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The second volume in Bel Air Classique’s collection “Great Ballets from the Bolshoi” is a four-ballet limited edition release, featuring the Bolshoi Ballet’s most recent successes: La Bayadere, Marco Spada, Swan Lake, and The Golden Age. Marius Petipa’s exotic ballet La Bayadere is set in legendary and mysterious India. It is a story of love, death and vengeful judgement. Yuri Grigorovich presents a sumptuous recreation of Petipa’s choreography. Recreated specifically for the Bolshoi by French choreographer Pierre Lacotte, Marco Spada, or the Bandit’s Daughter, is a grandiose and unique ballet both on a technical and dramatic level: it includes complex choreography, five lead roles created for five principals, and several changes in scenery. With Tchaikovsky’s famous, lyrical score, Swan Lake depicts the tragic love between Princess Odette and Prince Siegfried, and is performed to perfection by the unparalleled virtuosity of Russia’s great Bolshoi Ballet. A modern and visionary work, The Golden Age, set to music by Shostakovich, was created in 1930. Its central theme was the highly moralized battle and triumph of the proletariat against the decadent bourgeoisie, set in Europe during the roaring twenties. All performances were recorded in high definition at the State Academic Bolshoi Ballet of Moscow.

On Christmas Eve, a young girl has a dream... Emotional awakening, physical transformation, childhood that slowly merges into adulthood... behind what seems to be a tale for children slowly emerges a danced initiatory journey. And while children revel in Drosselmeyer’s magic tricks and enjoy a good scare with the apparition of the Mouse King, the adults notice all the finesse that pervades this narrative and admire the virtuosity of the choreography. A first class company, the Ballet Company of the National Opera of Ukraine has toured all around the world: from the United States to Europe and Asia. Thanks to its rich classical heritage, the Company has managed to win the hearts of its audience thanks to its amazing technique and artistic maestria, and as in every good dance company, the whole is equal to the sum of its parts. The Company has also, over the years, establised itself as a unique talent pool, that has nurtured first class dancers such as Iana Salenko (Staatsballet Berlin), Alina Cojocaru (Royal Ballet), Maxim Beloserkovsky and Irina Dvorovenko (American Ballet Theater).

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A sparkling personality on the contemporary dance scene, Swedish choreographer Alexander Ekman has been invited for the first time to work with the dancers of the Paris Opera Ballet. His language, both visceral and tinged with humor, combining theatricality, and classical and contemporary vocabulary alike, perfectly resonates with the incredible versatility and stage presence of the Ballet: the result is Play, a piece that evokes the world of childhood and its careless pleasures. But beyond pure entertainment, this performance contemplates the meaning and the importance of play when we become adults. Best known for the spectacular quality of his pieces and their dreamlike imagery, like for instance his Midsummer Night’s Dream, the Swedish choreographer fills the stage of the Palais Garnier with an entrancing energy. The metallic structures, dancers suspended in space, and the elevations are but a few of the powerful images that will strike the audience’s imagination! For this new creation, Alexander Ekman worked with his acolyte composer Mikael Karlsson, but also with a talented team of instrumentalists not often seen on the stage of the Palais Garnier, among which gospel singer Callie Day, or the incredible percussionist Adelaïde Ferriere. An unexpected performance, carried along by enticing rhythms and communicative energy!

When Debussy completes the score, based on the eponymous symbolist play by Maurice Maeterlinck, of Pelleas et Melisande in 1902, the world of opera still abides by Richard Wagner and the upheaval he caused with Tristan und Isolde. But Debussy decides to stand on the exact opposite side, and uses his new opus to preach a new aesthetic creed. In depicting the forbidden love story between the timid Pelleas and the beautiful Melisande, kept apart by an unfortunate marriage, the French composer brings us back to the immortal legend of Tristan and Isolde, but this time showing the world that the future of music could very well lie far away from Wagner’s overwhelming lyricism and outsized rhetoric. This new production, created by one of the rising stars of French stage direction Benjamin Lazar for the Malmö Opera (headed by Ingmar Bergman from 1952 to 1958), encapsulates all the different aspects of this mysterious work, from the oniric poetry invented by Maeterlinck and Debussy to the realism, poignant because openly simple and even mundane, of these profoundly human beings lost in a forest full of sound and symbols that will never let them escape. The young French conductor Maxime Pascal, the Orchestra of the Malmö Opera, and an almost all-French cast (among which the excellent Marc Mauillon and Jenny Daviet), bring forth with intelligence all the refinement and all the vitality this unique and fascinating score has to offer.

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The Paris Opera Ballet, though historically and famously a classical ensemble, proved over the years to be perfectly at ease with the demands and the subtilities of the contemporary repertoire. A tribute to its dazzling technique and unique style, this collector box-set features three milestones in the recent history of the French company : Pina Bausch’s Orpheus und Eurydike, a "Tribute to Jerome Robbins," ten years after his passing, and Anne Teresa de Keersmaker’s Rain. All these programs were filmed at the Palais Garnier, a world-reknowned temple of classical ballet : a way to insure the continuity between the masterpieces of yesterday, and those of today.

Recorded at the Théâtre des Champs-Elysées in June 2004, this Le nozze di Figaro was unanimously acclaimed by public and critics alike as a Mozart opera landmark. Director Jean-Louis Martinoty brings an elegantly intelligent narrative sense to an interpretation in which the protagonists, against a backdrop of magnificent canvases of 18th-century inspiration, are dressed by Sylvie de Segonzac in a palette in which every shade is perfect. Hans Schavernoch’s set suggests an elitist society that is coming apart at the seams. René Jacobs’s conducting of Concerto Köln is meticulous and perfectly balanced, offering a ravishing use of tonal colour and orchestral dynamics. A veteran Almaviva, the excellent Pitero Spagnoli plays opposite Annette Dasch’s beauteous Countess. As Figaro and Susanna, Luca Pisaroni and Rosemary Joshua are a truly sparkling couple, while mezzo Angelika Kirchschlager embodies the most divinely troubling of Cherubino. The exceptional quality of this production, and the great success encountered by its first edition, inevitably led to the remastering in high-definition of this program, now and for the first time also available on Blu-ray.

Maria Guleghina, Savatore Licitra, Carlo Bosi, Luiz-Ottavio Faria, Leonardo Lopez Linares, Gianluca Bocchino, Saverio Fiore, Giuliano Pelizon, Angel Harkatz Kaufman, and Tamar Iveri star in this Area di Verona production of the Puccini opera.

Verdi’s third opera was created at the Teatro alla Scala in Milan in 1842, in the epicentre of the “Risorgimento” and the capital of Italian nationalism, at a time where the supporters of Italian independence from Austrian occupation were starting to make their voices heard. The “Chorus of the Hebrew slaves,” a pivotal point in the third act where the Jews, exiled from Babylon by Nabuchodonosor, mourn their country, “so beautiful and lost,” immediately resonated with the Italian nationalists and has ever since been a symbol of Italian national identity. French director Arnaud Bernard goes as far as to center the entire opera during the popular uprisings of 1848 and in the insides of the Milanese opera house. A clever way to emphasize on the legends that have been building around Verdi’s operas and the role they played in the political process of uniting the Italian peninsula. Soprano Susanna Branchini steals the stage as Nabuchodonosor’s daughter Abigaille, while Israeli-born conductor Daniel Oren conducts with great panache this “lyrical epic” that holds such a special place in the heart of all Italians. As a film director, Ingmar Bergman was also a choreographer. His “invisible hand” is constantly directing the actor in a slow dance around the room. The renowned and innovative Swedish choreographers Alexander Ekman, Pär Isberg, Pontus Lidberg and Joakim Stephenson, with principal dancers Jenny Nilson, Nathalie Nordquist, Oscar Salomonsson and Nadja Sellrup from the Royal Swedish Ballet, interpret Ingmar Bergman through four unique dance performances reflecting on human relations and intense feelings. On the occasion of the 100th anniversary of Bergman’s birth, this movie is not only a tribute to the Swedish cineaste’s unique aesthetics, but also a way to deepen his search of the ineffable, his reflection on the visual poetry of movement, and on the emotional powers of silent contemplation. The movie won the Special Mention award at Golden Prague International Film Festival 2017 for exceptional artistic achievement.

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A jewel of bel canto, and Bellini’s last masterpiece, I puritani encapsulates every major theme held dear by the Italian romantic generation: a love triangle, quid pro quos, a shattered love affair leading to madness, set in Cromwell’s England with its lot of political rivalries. It is also an ode to resistance and to freedom, echoing the political struggles that the Italian peninsula was facing in the 1830’s. But it is mainly a testament to Bellini’s unique musical brand, a genius combination of melodic brightness, post-Rossinian ornaments, and a profound and melancholic lament that owes much to traditional Neapolitan songs. It is therefore one of the most vocally demanding operas of the repertoire, and to face this challenge, the Teatro Real of Madrid called on four exceptional singers : the great diva Diana Damrau is Elvira, Javier Camarena is Arturo (both triumphed at the Metropolitan Opera of New York in the same opera in early 2017), as well as baritone Ludovic Tezier and bass-baritone Nicolas Teste. Catalan director Emilio Sagi offers a staging both elegant and simple, and bel canto expert Evelinò Pido, along with the Teatro Real Orchestra and Chorus, brings forth every nuance of this immense and unforgettable score.

On the historical stage of the Bolshoi Theatre, Mikhail Glinka’s opera “Ruslan and Lyudmila” is revived in its reopening show, conducted by Vladimir Jurowski and directed by Dmitri Tcherniakov. This particular opera has a long history with the Bolshoi Theatre. The legendary venue has been home to nine different productions of the work, totaling more than 700 individual performances. This recording beautifully shows the remarkable staging of the Bolshoi Theatre, including its two massive screens which are both fully exploited. Tcherniakov brings the opera into the twentieth century by bringing attention to the “modernity of the subject” and “the deep feelings of the characters.” This particular production has received critical acclaim for its musical quality and its staging. Jurowski, the Orchestra, and soloists Albina Shagimuratova, Mikhail Petrenko, and all the rest deliver a performance which is a firework display of passion and skill.

Picture Format: NTSC 16:9
Sound Formats: PCM 2.0, DD 5.1
Subtitles: English, French, German (Opera), English French (Bonus)
Region Code: 0 (All)
Running Time: 197 mins (Opera), 35 mins (Bonus)

Directed by Don Kent.

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A modern Opera adaptation by Charles Wuorinen based on Annie Proulx's short sorty previously adaptated by Ang Lee for the Oscar-winning film Brokeback Mountain.

Brokeback Mountain marks Wuorinen's return to the opera stage with one of the major works of his career, equally ambitious in its beauty and momentous tragedy. Brokeback is the story of ranch hand Ennis del Mar and rodeo cowboy Jack Twist, two young men who meet and fall in love on the fictional Brokeback Mountain in Wyoming in 1963. Wuorinen says "It's a story of doomed love, in this case a complex homosexual relationship taking place in a very homophobic society."

In a decidedly different approach than the film adaptation, Wuorinen creates a grittier atmosphere. The story and characters have been tightly condensed by Proulx. In reference to the genesis of the story Proulx has written "'Brokeback' was constructed on the small but tight idea of a couple of home-grown country kids, opinions and self-knowledge shaped by the world around them, finding themselves in emotional waters of increasing depth. I wanted to develop the story through a kind of literary sostenente."

In approaching the work for the stage Wuorinen writes "The music of Brokeback Mountain conveys the harsh magnificence of the Mountain where the protagonists first meet. Visiting Annie in Wyoming, seeing the land where the story is set and the characters shaped was invaluable, and it made a deep impression on me. Sometimes the score evokes the icy clarity of the high-altitude freedom the characters enjoy there. But the Mountain also breathes and storms, and the music projects this turbulence as well - especially when it transfers into the interior lives of the characters and their interactions in the human world. And the tragedy of the two principals, their doomed love, calls forth the most lyrical flights in the score."

With bass-baritone Daniel Okulitch and tenor Tom Randle. Staged by Ivo van Hove and conducted by Titus Engel.

800 liters of water, two sails, thirty pulleys, sixty hammocks : for the Bicentenary of the Teatro Real of Madrid, Deborah Warner coined a colossal production of Benjamin Britten's Billy Budd. "Oh, what have I done?" Captain Edward Fairfax Vere, former commander of the H.M.S. Indomitable asks himself with horror at the beginning of the opera, before recounting the tragic events that took place aboard his ship in 1797. The story revolves around a young model sailor, Billy Budd, and John Claggart, the unscrupulous master-at-arms obsessed and crazed by Billy's angelic beauty; and follows the characters in their fall down to the most infernal depths of perversion and psychosis, exploring the themes of innocence, culpability, individual responsibility and justice. In this ambiguous and symbolic tale, drawn from Herman Melville's last masterpiece, the composer Benjamin Britten, who returns for the occasion to symphonic opera and it's infinite possibilities, unsettles and disturbs us by revealing the complexity and universality of human experience. Far from writing the characters as allegories of Good and Evil, the opera shows us instead the remorseless logic followed by the surge of one's darkest desires. But in this opera dominated by masculinity, Deborah Warner goes beyond the story of violence, jealousy and hatred and chooses to focus instead on the collateral beauty produced by comradeship, friendship and forgiveness. Tenor Jacques Imbrailo, who knows the title role perfectly, delivers a stunning rendition of the young sailor's part, while British singers Toby Spence and Brindley Sherratt provide solid interpretations of Captain "Starry" Vere and of John Claggart. In the pit, Ivor Bolton masterfully deploys, along with the Orchestra of the Teatro Real, all the energy and power of Britten's fifth opera.

Aleko, The Miserly Knight and Francesca da Rimini are the only three operas composed by Sergei Rachmaninov. Reunited here in an amazing production by Kirsten Dehlholm and Hotel Pro Forma under the name le titre "Rachmaninov Troika". Rachmaninov represents the waning of Romanticism in Russia yet, even by Russian standards, he was extremely fatalistic. His three one-act operas with libretti based on writings by Pushkin and Dante are linked by their theme: fat follows in the footsteps on sin, whether it be a matter of jealous murder, gree or illicit passion

A modern and visionary work, this ballet, set to music by Dmitri Shostakovich, was created in 1930. It's central theme was the highly moralized battle and triumph of the proletariat against the decadent bourgeoisie, set in europe during the roaring twenties. Surprisingly, the score by Shsotakovich raised political controversies, probably because it borrowed much to European dance forms and consequently, the ballet vanished from the theaters until 1982, when Yuri Grigorovich restaged it with sets by Sion Virsaladze and a completely new libretto mainly revolving around the love story between Rita, a cabaret dancer, and Boris, a young idealist. The conflict in teh original production was also recast as a clash between fishermen - the morally superior workers - and society's criminal elements. To bring back on stage The Golden Age in autumn 2016, a few months prior to Yuri Grigorovich's 90th birthday, was a highly symbolic choice for the Bolshoi Ballet: this work, teh last Grigorovich would ever choreograph for his company, hadn't been staged for almost 10 years. A rare and refined ballet, which ran the risk of falling into oblivion twice, is danced by the new generation of the Bolshoi Ballet, among which Nina Kaptsova et Mikhail Lobukhin.

This live recording was taken in the Theatre antique d’Orange in June of 2015, and features the Orchestre PHilharmonique de Radio France, conducted by Myung-Whun Chung. Classic favorites bookend this concert, beginning with Berlioz’s Roman Carnival Overture, and ending with Saint-Saens’s 3rd Symphony in C minor. Featured instrumentalists include pianists Martha Argerich, Nicholas Angelich, and organist Christophe Henry.

Note: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.

Choreography and stage direction by Pina Bausch.

Dancers: Yann Bridard (Orpheus), Marie-Agnes Gillot (Eurydike), Miteki Kudo (Amor), Ballet de l'Opera national de Paris.

Duration: 104 minutes
Image: 16:9 HD
Sound: PCM Stereo, DTS HD Master Audio 5.1
Subtitles: French, German, English, Spanish, Italian
Region: All

Susan Gritton, Sylvie Brunet, Soile Isokoski, Susanne Resmark, Helene Guilmette, Bernard Richter, and Alain Vernhes star in this Bayreuth production of the Poulenc opera conducted by Kent Nagano and directed by Dmitri Tcherniakov.

A profound, powerful and yet unfinished opera, Moses und Aron ends with an admission of defeat: "O word, thou Word that I lack!", Moses' last cry, is also the last phrase the composer has been able to set to music. Recounting the story of Moses, who has experienced the immensity of God, and of Aron, who tries to speak of it; casting doubt, with dodecaphonism, upon the adequacy of tonal and traditional musical language; Moses und Aron questions the possibility of a True Speech. Following in their wanderings the chidlren of Israel, a stateless people lost in the desert and looking for signs and images, Moses un Aron symbolizes the challenges encountered by a community looking for her own identity, torn between spiritual ideal and material needs. The opera thus reveals, in Romeo Castellucci's spectacular and poetic staging, a tragic divide between what can and cannot be represented, between God and idols, between endlessness and constriction, between the realm of intuition and the realm of language. The Paris Opera Chorus and Orchestra, who, thanks to his musical director Philippe Jordan's work, has pierced all the secrets of Schönberg's audacious score, reveal with grace and accuracy all the emotion contained in this anxious, overwhelming and unforgettable masterpiece.

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A DVD of a stunning 2014 performance choreographed by Belgian modern great Anne Teresa de Keersmaeker, performed by members of the Paris Opera Ballet and set to Music for Eighteen Musicians, Steve Reich's major score composed in 1976. In tandem with the score rendered here by Ensemble Ictus and the Synergy Vocals ensemble, ‘Rain’ draws its spatial polyphony which manifests on the stage in a glorious pastiche of dancers and rhythm. Created by De Keersmaeker’s company, Rosas in 2001, “Rain” entered the Paris Opera Ballet's repertoire ten years later and reinforces her key role not just in the world of modern dance but in the worlds of contemporary art.