A dazzling double-bill of classic G&S comedy and new writing from Scottish Opera. Trial by Jury, first performed in 1875, is the first major hit from the partnership of W.S. Gilbert and Arthur Sullivan. Set around a classic case of broken vows - the defendant having literally left the claimant at the altar - the trial bubbles over with emotion, humour, and downright chaos, leaving the jury divided. How will they decide between the charming yet swindling defendant and the utterly captivating claimant? In A Matter of Misconduct!, Emma Jenkins and Toby Hession present a daring new operetta set in the press room at Number 9 Downing Street. When a scandal threatens to break about the front runner in a bloody leadership campaign, a lawyer is needed to prevent information from reaching the press. Sylvia Lawless from the firm Lawless, Lawless, Lawless and Crook must find the loopholes in this modern take on unsavoury behaviour.

Gaetano Donizetti's tragic opera Maria Stuarda depicts the merciless rivalry between Elizabeth I and Mary, Queen of Scots, who is seen as a martyr facing up to the illegitimate Queen of England. The opera was a victim of censorship at it's premiere and was beset by problems during rehearsals but is now seen as one of Donizetti's great operatic masterpieces. From the flamboyantly lyrical royal confrontations to the poignant final execution scene, this widely acclaimed production by David McVicar features monumental sets and sumptuous Elizabethan costumes, bringing the majesty and stark brutality of Elizabeth I's reign vividly to life.

Recorded Live in Albert Cummings Home Town Williamstown MA

The legend is back with a dvd/cd, recorded in berlin on march 6 2025

Bo Diddley's iconic beat shaped the foundation of rock and roll. In this jam-packed concert, Bo shares the stage with giants from every corner of rock history: Ronnie Wood of the Rolling Stones, Kenny Jones of The Who, Carl Wilson of The Beach Boys, Mick Fleetwood of Fleetwood Mac, and many more legends. Together, for one explosive performance, they put the rock in rock and roll.

An extravagant showcase of early sound cinema, this 1929 Warner Bros. Extravaganza brings together over 70 stars in a vaudeville-style revue packed with music, comedy, and spectacle. Hosted by Frank Fay, the film marks a turning point in Hollywood history-introducing audiences to the voices of silent-era legends while celebrating the novelty of the Talkies. Highlights include John Barrymore delivering a Shakespearean soliloquy as Richard III, Myrna Loy in two-strip Technicolor as an exotic dancer, French boxing champ Georges Carpentier singing and tapping through "If I Could Learn to Love," and Winnie Lightner's unforgettable rendition of "Singing in the Bathtub." Add appearances from Douglas Fairbanks Jr., Ben Turpin, and even Rin-Tin-Tin, and you have a vibrant time capsule that captures the excitement, excess, and experimental spirit of cinema's leap into sound.

In her first talkie, Bebe Daniels stars as Rio Rita, a Mexican beauty caught between love and suspicion when Texas Ranger Jim Stewart (John Boles) arrives in pursuit of a border bandit known as "The Kinkajou." Adapted from the Ziegfeld stage hit, this pre-Code RKO musical comedy features the film debut of vaudeville duo Wheeler & Woolsey and showcases early Technicolor sequences.

A dance teacher from Boston (Charles Collins) is tricked into joining a band of pirates, which leads to him being fitted for a noose in California. He catches a break when the mayor's daughter demands the hanging be postponed until he teaches her to waltz, but his problems are only beginning! The Dancing Pirate (1936) received an Academy Award nomination for Best Dance Direction, and was billed as The first dancing musical in 100% new Technicolor.

The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. Mahler's unusually expansive five-movement Symphony No. 7 is among the composer's most ambiguous and enigmatic works, often regarded as his most challenging to perform. Andris Nelsons leads the orchestra in a new chapter of their Mahler cycle, reaffirming his stature as "one of the most celebrated conductors of our time" (Salzburger Nachrichten). Under his baton, the Seventh becomes "magic in the Golden Hall. [...] Rarely has one heard this work so finely chiselled, so dynamically balanced. An event." (Kurier). "Andris Nelsons and the Vienna Philharmonic bring total coherence to Mahler's Seventh Symphony." (Seen and Heard International)

The first collaboration between John Cage and Scottish traditional music group The Whistlebinkies occured in Edinburgh in 1984. Cage was fascinated by their instrumentation of Lowland pipes, clarsach, fiddle, wooden flute, concertina, drum and voice. This led on to the commissioning of Scottish Circus for the ensemble in 1990, a way of performing traditional Scottish music as individuals of an ensemble together. The September 1990 premiere in Glasgow, in Cage's presence, also included his newly devised version of 4'33" (which lasted 10 minutes!). These recordings showcase Edinburgh's historic Inverleith House as not only the recording venue, but the acoustic of the house as a performer in it's own right. This DVD presents two first recordings of Scottish Circus, demonstrating how no two performances of the piece are the same. Also included are both outdoor and indoor performances of 4'33". Additional features: - Scottish Circus films presented with 5.1 Surround and Dolby Stereo options - Scottish Circus studio version (PCM 24-bit stereo, no video) - John Cage, Scottish Circus and The Whistlebinkies: McGuire and Eydmann in conversation - John Cage in Conversation, Edinburgh 1984 (mono, no video) Includes a 24-page booklet of photos with essays by Eddie McGuire, James Pritchett, Prof. Bjorn Heile and Brian Brandt. Plus interviews with John Cage by Steve Sweeny-Turner and Stuart Eydmann by Neill Martin.

The Royal Ballet's perfect pairing of Marianela Nunez and Vadim Muntagirov takes centre stage in this collection of four fairytale favourites. Royal Ballet founding choreographer Frederick Ashton's Cinderella was brought back to Covent Garden in 2023 to celebrate it's 75th Anniversary with a creative team steeped in the magic of theatre, film and dance bringing new atmosphere to Cinderella's ethereal world of fairy godmothers and pumpkin carriages, handsome princes and finding true love. Ninette de Valois' charming and funny Coppelia is a classic of The Royal Ballet repertory - a story of love, mischief and mechanical dolls. The intricate choreography is set to Delibes' delightful score and shows off the technical precision and comedic timing of the whole company. Osbert Lancaster's designs bring a colourful storybook world to life in this entertaining and joyful ballet. Marius Petipa's The Sleeping Beauty holds a special place in The Royal Ballet's repertory, with it's vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision Pas de Deux, the exuberant wedding celebration and the charming fairy-tale guests, all danced to Tchaikovsky's richly layered music - one of the most beloved ballet scores of all time. Swan Lake is perhaps the best-loved of all the classical ballets. This production by Liam Scarlett features additional choreography while remaining faithful to Petipa and Ivanov's classic. John Macfarlane's opulent designs provide an atmospheric, period setting for this enthralling love story, illuminated by Tchaikovsky's sublime score.

The annual New Year's Concert in Vienna has been a major event for more than eight decades, since 1939, broadcast on television and radio. The concert has so far been conducted by world-famous maestros such as Herbert von Karajan, Lorin Maazel, Claudio Abbado, Carlos Kleiber, Zubin Mehta, Riccardo Muti, Nikolaus Harnoncourt, Seiji Ozawa, Mariss Jansons, Franz Welser-Most, Gustavo Dudamel, and others. As Austria's musical ambassadors, the Vienna Philharmonic sends people around the world a New Year's greeting in the spirit of hope, friendship, and peace - with lively and carefree yet nostalgic and profound music from the great repertoire of the Strauss family and their contemporaries.

The Teatro La Fenice opened in 1792 and is one of the most renowned and most beautiful theaters in the world. "Amid mirrors, flowers and confetti, New Year's Eve at La Fenice is a ritual" (MusicPaper). The Teatro Fenice's Concerto di Capodanno - one of the world's most celebrated New Year's concerts - welcomes Daniel Harding back to the podium. After the monumental opening with Beethoven's Fifth, soloists Mariangela Sicilia and Francesco Demuro perform beloved arias by Rossini, Leoncavallo, Puccini, Wolf-Ferrari, Bizet, Gounod and Verdi. Interwoven with the concert are scenes of Aterballetto dancers, choreographed by Marcos Morau, performing in Venice's most iconic locations. The soloists' "perfect vocal blend" in Libiamo ne' lieti calici truly stands out (MusicPaper).

In occasion of it's 200th season opening, Teatro Real presents a spectacular new production of Gounod's Faust, directed by Àlex Ollé (La Fura dels Baus). Set in a futuristic laboratory, Goethe's timeless themes of knowledge, desire, and redemption are reimagined through the lens of artificial intelligence and human emotion. Star singers including Piotr Beczala, Marina Rebeka, and Luca Pisaroni lead the cast in this gripping drama. Under the baton of Dan Ettinger, the Orchestra and Chorus of the Teatro Real deliver a thrilling performance that, as Bachtrack wrote, "takes it's cue from Goethe but doesn't shy away from theatrical imagination." // "Beczala's voice was brilliant, dark and even powerful with ringing high notes as he proved with his ringing high C in Salut demeure chaste et pure." (Operawire)

Semperoper Dresden presents an historic performance of Tristan and Isolde, directed by Marco Arturo Marelli and conducted by world-leading conductor Christian Thielemann. The sound he obtains from the Wagnerian score "fills the room with elegiac longing, drawing listeners into the emotional depths of the famous lovers." (Opera Online) Klaus Florian Vogt, in his debut as Tristan, is "fully present and convincing with natural phrasing and clear diction" (Opernmagazin), while Camilla Nylund as Isolde "convinced with her still incredibly lyrical, light soprano" (Sachsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression. "It would be most wonderful if this Tristan never ended." (Opernmagazin). "Brilliant performances that bring you to your knees". (Sachsische Zeitung)

Barrie Kosky, one of the most exciting opera directors of our time, opened his newly staged Da Ponte cycle at the Wiener Staatsoper with a character-driven new production of Mozart's Don Giovanni. Kyle Ketelsen in the title role and Philippe Sly as Leporello "took centre stage (...) and dared to satirise the burden of tradition" (ORF). Hanna-Elisabeth Muller is a compelling Donna Anna, Patricia Nolz gives a remarkable role debut as Zerlina, and Peter Kellner shines as Masetto. Kate Lindsey presents a fascinating character study as Donna Elvira, and Stanislas de Barbeyrac excels as Don Ottavio. Philippe Jordan conducts the Orchestra of the Wiener Staatsoper, bringing "transparency, tangibility and poetry on the basis of historical accuracy" (Der Standard) - even in the subtly played recitatives on the fortepiano. "Kosky and Jordan met congenially in the direction of the singers." (ORF)

In this interpretation of Verdi's MacBeth, stage director Christof Loy skillfully navigates the interplay of light and dark, infusing the opera - based on Shakespeare's work - with remarkable depth and drama. The outstanding vocal ensemble vividly captures the psychological nuances of the characters, featuring Ludovic Tezier as the paranoid MacBeth and Martina Serafin as Lady MacBeth, the mastermind behind the crimes. Giampaolo Bisanti pours his passion into the score, while The Symphony Orchestra and the Liceu Choir deliver exceptional performances in response. Consequently, the audience experiences a flawless blend of lyrics and music, crafted by the Milanese composer, librettist Francesco Maria Piave, and poet Andrea Maffei. "It is a unique scenography." El Pais

MacBeth is one of Shakespeare's greatest tragedies, telling the story of a power couple galvanised by witchcraft and superstition, and obsessed by a craving to conquer the throne by force, even by murder. This French version of Verdi's opera takes us into a sphere of decorum and decency that hides monsters capable of the worst atrocities, portrayed in some of the composer's most blood-curdling and intense passages of music. A genuine rarity on stage, this 2024 production of the French version was acclaimed for it's powerful vocal performances and fine acting.

Sensuous contemporary ballet meets the energy of musical theatre in four distinctive short works showcasing the extraordinary versatility of The Royal Ballet's Artistic Associate, Christopher Wheeldon. His hugely successful career, spanning ballet to musical theatre from London to New York and beyond, has garnered international acclaim. These exceptional pieces - Fool's Paradise, The Two of Us, Us and An American in Paris - are a feast for the senses highlighting the Tony- and Olivier-award-winning choreographer's remarkable range. This collection is a testament to Wheeldon's diverse expression and creativity.

A celebration of the masterful artistry of Frederick Ashton, this collection presents three defining works from the Founder Choreographer of The Royal Ballet. A pioneer of 20th-century dance, Ashton brought elegance, innovation and emotional depth to the stage, shaping the identity of British ballet for generations. Scenes de ballet distils classical technique into a striking study of form and symmetry. Ashton gracefully reimagines Turgenev's play A Month in the Country as a one-act ballet where all the drama unfolds in the family's living room upon the arrival of a dashing young tutor. Rhapsody, created for Mikhail Baryshnikov and Lesley Collier, blends virtuosic movement with lyrical beauty, set to Rachmaninoff's sweeping score. Together, these works offer a vivid portrait of Ashton's genius.

What does it feel like to devote your life to one thing? How does a man live who brings the most demanding opera literature to the stage through song? The answer: incredibly lightly. The film strolls, or rather, floats along with the North German heldentenor Klaus Florian Vogt through European opera houses. Tannhauser, Tristan, Siegfried-Richard Wagner's complex, feared heroic roles; he masters them, he lives with them without fear. Or does he? Gradually, the viewer becomes aware of how much detailed work goes into that lightness, and how many small pieces come together to form a grand puzzle. Intimate moments-for a singer, that means studying a role, it's the moment right before the performance, backstage, before he sings his Tristan on stage for the first time. The nakedness, the doubt, when the smallest mistake occurs. The second portrait of the tenor by Astrid Bscher-13 years after the film "Der Meistersinger"-is a cinematic observation of a humble star. "Only he who has never known fear can create something new, something of his own," was Richard Wagner's description of a true artist. Klaus Florian Vogt is one such man.

Fromental Halévy's five-act grand opera La Juive ('The Jewess') is one of the most popular operas of the 19th century, captivating audiences ever since it's debut at the Opéra de Paris in 1835. Set in the 15th century and full of pageantry, the subject is the forbidden love between a Christian man and a Jewish woman, and the tragedy that ensues. Oper Frankfurt's contemporary staging won great acclaim, with Ambur Braid being lauded for her 'luminous soprano' as the heroine Rachel, and 'vocal phenomenon' John Osborn heralded in the role of her father Éléazar as 'immensely moving'.

The Opera Comique in Paris has a long tradition of giving stylish performances dating back to the 18th century. Five imaginative and critically acclaimed productions are featured in this collection of French operatic masterpieces. Bizet's 'Carmen', which received it's premiere at the Opera Comique in 1875, is performed on period instruments conducted by Sir John Eliot Gardiner. Ambroise Thomas's 'Hamlet' features the stellar French baritone Stephane Degout in the title role. Messager exemplifies the spirit of La Belle epoch in 'Fortunio'; Gounod fuses Romanticism with the supernatural in 'La Nonne sanglante'; and the outstanding French soprano Sabine Devieilhe takes the lead role in Delibes's tragic tale of passion and loyalty, 'Lakme' - one of the jewels of the Opera Comique.