Widely lauded by critics, choreographer Jonathan Watkins' 1984 is an awe-inspiring retelling of George Orwell's masterpiece. Winston Smith lives in a world of absolute conformity, his every action scrutinized by Big Brother. However, when Winston meets Julia, he dares to rebel by falling in love. Danced by Northern Ballet - the UK's foremost narrative ballet company - to a score by Tony-nominated composer Alex Baranowski, this thoroughly modern take on 1984 will change the way you think about ballet. 'Batley [Winston Smith] and Leebolt [Julia] are excellent, their bodies as vividly present as their faces are haunted. At the chilling end, we realise not only how intently we have been watching, but also that we too may be watched.' (Sanjoy Roy, The Guardian) "This is gripping storytelling" (The Stage) "..an ambitious, compelling and, ultimately, moving new ballet. Even more powerful are the intimate duets for Winston and Julia, verboten lovers who are dancing on a metaphorical razor's edge. Thinking themselves free of the gaze of Big Brother, they give themselves to each other with a genuinely moving passion, which is danced gorgeously by Tobias Batley and Martha Leebolt" (The Daily Telegraph

Ostensibly Richard Wagner's opera Die Meistersinger von Nürnberg tells a humorous tale about artistically inclined craftsmen. Goldsmith Veit Pogner promises his daughter Eva's hand in marriage to the winner of a song contest, to which three men are potentially eligible. But upon closer inspection, what is at first glance a harmless farce in a middle-class setting emerges as a profound social analysis. Wagner uses his protagonists to show how a community deals with tradition and those who break with it and just how much innovation and deviation from the norm it can tolerate - as well as to examine what value society places, and should place, on art.

These three facets in the prism of Mozart's operatic genius shine in Glyndebourne's typically thought-provoking productions, featuring skilled singer-actors buoyed by the Orchestra of the Age of Enlightenment's luminous period sound. Nicholas Hytner's beautiful, 'shockingly traditional' production of Cos� fan tutte frames artful performances teased by Ivan Fischer from an outstanding international cast of convincing young lovers. Michael Grandage's staging of Le nozze di Figaro is Glyndebourne's seventh in a line stretching back to the company's 1934 debut production. Marshalled by the 'ideal pacing' of Robin Ticciati, a youthful cast of principals has 'no weak link' and 'looks gorgeous' (The Sunday Times). David McVicar's Die Entfuhrung aus dem Serail offers a 'mesmerising, sensitive... outstanding' portrayal of Enlightenment-era fascination with the East that is both 'exquisitely acted and sung' (The Guardian), and Ticciati leads the OAE through a restored, authentic rendition of the critical score with 'lovely fizz' and 'poignant gravitas'. (The Independent). "Glorious orchestral playing and magnificent singing under Ivan Fischer" (Cosi fan tutte - BBC Music Magazine) "Finely conducted by Robin Ticciati, McVicar's production of Mozart's Turkish comedy is a vocal and visual treat." (Die Entfuhrung - The Stage) "... this is a Figaro of rare grace, naturalness and charm." (Le Nozze di Figaro - The Daily Telegraph)

These three facets in the prism of Mozart’s operatic genius shine in Glyndebourne’s typically thought-provoking productions, featuring skilled singer–actors buoyed by the Orchestra of the Age of Enlightenment’s luminous period sound. Nicholas Hytner’s beautiful, ‘shockingly traditional’ production of Così fan tutte frames artful performances teased by Ivan Fischer from an outstanding international cast of convincing young lovers. Michael Grandage’s staging of Le nozze di Figaro is Glyndebourne’s seventh in a line stretching back to the company’s 1934 début production. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times). David McVicar’s Die Entführung aus dem Serail offers a ‘mesmerising, sensitive ... outstanding’ portrayal of Enlightenment-era fascination with the East that is both ‘exquisitely acted and sung’ (The Guardian), and Ticciati leads the OAE through a restored, authentic rendition of the critical score with ‘lovely fizz’ and ‘poignant gravitas’. (The Independent). "Glorious orchestral playing and magnificent singing under Iván Fischer" ( Cosi fan tutte - BBC Music Magazine) "Finely conducted by Robin Ticciati, McVicar’s production of Mozart’s Turkish comedy is a vocal and visual treat." (Die Entführung - The Stage) "... this is a Figaro of rare grace, naturalness and charm." (Le Nozze di Figaro - The Daily Telegraph)

This new audio release features the music and speeches from the 2017 Royal Shakespeare Company production of Antony and Cleopatra, directed by Iqbal Khan. The music is presented by Laura Mvula. Also included is the music from the 1953 Shakespeare Memorial Theatre production by Antony Hopkins. Following Caesar’s assassination, Mark Antony has reached the heights of power. Now he has neglected his empire for a life of decadent seduction with his mistress, Cleopatra, Queen of Egypt. Torn between love and duty, Antony’s military brilliance deserts him, and his passion leads the lovers to their tragic end. This production by the Royal Shakespeare Company, featuring Josette Simon as Cleopatra and Antony Byrne as mark Antony and directed by Iqbal Khan, was greatly praised by critics. “Richly textured, with big saucy acting.” (Daily Mail) “This Antony & Cleopatra is the best I’ve ever seen.” (Evening Standard)

Following Caesar’s assassination, Mark Antony has reached the heights of power. Now he has neglected his empire for a life of decadent seduction with his mistress, Cleopatra, Queen of Egypt. Torn between love and duty, Antony’s military brilliance deserts him, and his passion leads the lovers to their tragic end. This production by the Royal Shakespeare Company, featuring Josette Simon as Cleopatra and Antony Byrne as mark Antony and directed by Iqbal Khan, was greatly praised by critics. “Richly textured, with big saucy acting.” (Daily Mail) “This Antony & Cleopatra is the best I’ve ever seen.” (Evening Standard) Extra features include interviews with Josette Simon, Antony Byrne & Ben Allen, and Laura Mvula's commentary, "Making music for the stage." Director Iqbal Khan also gives commentary.

This new audio release features the music and speeches from the 2014 Royal Shakespeare Company productions Love’s Labour’s Lost and Love’s Labours Won, directed by Christopher Luscombe. Music by Nigel Hess is featured, as well as music by Raymond Leppard from the 1956 Shakespeare Memorial Theatre production of Love’s Labour’s Lost and music by Louis Applebaum from the 1961 Royal Shakespeare Company production of Love’s Labour’s Won. In 2014 the Royal Shakespeare Company paired Love's Labour's Lost with Love's Labour's Won (Much Ado About Nothing) at the Royal Shakespeare Theatre. The action took place either side of World War One and both productions featured the same company of actors and shared a set based on Charlecote Park, the National Trust stately home near Stratford-upon-Avon. The director Christopher Luscombe had an earlier connection with the play, having been a memorable 'Moth' in Ian Judge's 1993 production of Love's Labour's Lost. The production was broadcast live into cinemas worldwide in Spring 2015 and also streamed into schools.

Also available on Blu-ray

Two unforgettable evenings showcase the artistry of Renée Fleming alongside Christian Thielemann’s mastery of the Austro-German Romantic idiom, as the Salzburg Festival honours one of its founding fathers, Richard Strauss, and the Staatskapelle Dresden draws on the deep well of its living Bruckner tradition. The mixed vocal and symphonic programmes feature five lieder by the prolific Austrian songsmith Hugo Wolf in addition to four of Strauss’s finest and an opera scene featuring Fleming in one of her career-defining roles, Arabella. At Dresden’s Semperoper, the Staatskapelle’s then newly appointed music director leads them in Bruckner’s lyric Seventh in which the composer mourns the death of Wagner, whereas in Salzburg, Thielemann helms the Vienna Philharmonic Orchestra for the spectacular mountain journey of Strauss’s titanic Alpine Symphony. Filmed in High Definition and recorded in true Surround Sound. "Thielemann, whose reading is satisfyingly spacious, reveals the work's structural mastery in intermingling and transforming its many themes. The excellent video director Michael Beyer expertly lays out the orchestra in front of us, following the music sensibly so that we can relish Strauss's detailed scoring...[Fleming] sings gloriously and the result is ravishing " (Gramophone)

Star soprano Sonya Yoncheva sings the towering role of Bellini's Norma – a priestess torn between love and duty – in a timeless tale of love and betrayal, set in a fanatically religious and war-torn modern society. The spectacular production by Àlex Olle for The Royal Opera also stars Joseph Calleja as Norma's former lover Pollione, leader of the forces occupying her country, Brindley Sherratt as her domineering father Oroveso, and Sonia Ganassi as Adalgisa, her greatest friend and unwitting rival in love. Royal Opera Music Director Antonio Pappano leads this superb cast, the Royal Opera Chorus and Orchestra of the Royal Opera House in one of the greatest works of the bel canto repertory.

Star soprano Sonya Yoncheva sings the towering role of Bellini's Norma – a priestess torn between love and duty – in a timeless tale of love and betrayal, set in a fanatically religious and war-torn modern society. The spectacular production by Àlex Olle for The Royal Opera also stars Joseph Calleja as Norma's former lover Pollione, leader of the forces occupying her country, Brindley Sherratt as her domineering father Oroveso, and Sonia Ganassi as Adalgisa, her greatest friend and unwitting rival in love. Royal Opera Music Director Antonio Pappano leads this superb cast, the Royal Opera Chorus and Orchestra of the Royal Opera House in one of the greatest works of the bel canto repertory.

Established in 2001, the Jette Parker Young Artists Programme discovers exceptionally gifted young artists, and nurtures them to become world-class professionals. This recording provides a unique opportunity to hear current members and alumni of the Programme in recital, in wide-ranging repertory that encompasses composers from Beethoven to the present day, and includes many rarely-performed masterpieces. The Programme and this recording are generously supported by Oak Foundation. David Gowland says: “We are extremely grateful to Oak Foundation for agreeing to support the Programme for another decade, and we’re also grateful to our colleagues in The Royal Opera and around the Royal Opera House who help to make the programme possible…. As we look to the future, the continued support from Oak Foundation will not only guarantee the continuation and strengthening of the current Programme, but also increasingly take the legacy of our work into a wider community.”

Royal Ballet Principal Natalia Osipova dances the title role in Kenneth MacMillan's haunting ballet, to atmospheric music by Tchaikovsky and Martinu. Anastasia tells the story of Anna Anderson who, following the Russian Revolution and the murder of the royal family, claimed she was the surviving Grand Duchess Anastasia. Many believed her to be an imposter; others hoped she was Anastasia, a remnant of a lost world. A powerful, psychological challenge for the lead dancer, Anastasia explores one of the great historical mysteries of the 20th century, only recently solved, and the distorting mirror of memory, time and place. 'Natalia Osipova... technical perfectionism' (The Stage) 'I salute Osipova, the entire company performance, Crowley's magnificent designs, and Simon Hewett's notable account of the Tchaikovsky/Martinu scores.' (The Financial Times 5 Stars) '- convulsive jitters, turned-in feet, violence, grief, and fear - is no surprise, either... Osipova's magnetic performance.' (The Arts Desk 4 Stars)

The Royal Opera Collection brings together eighteen outstanding productions from The Royal Opera, spanning all-time classics and contemporary masterpieces. Featuring some of the world’s finest performers and leading directors, The Collection demonstrates the breadth of The Royal Opera’s work including Le nozze di Figaro, Carmen, Turandot, La traviata, Cavalleria rusticana, Pagliacci, and the Multiple award-winning Written on Skin. A special edition book is also included, containing new articles about The Royal Opera, richly illustrated with stunning photographs.

Britain is in crisis. Alienated, insular and on the brink of disaster. Can it be saved? An ineffectual Queen Cymbeline rules over a divided dystopian Britain. Consumed with grief at the death of two of her children, Cymbeline's judgement is clouded. When Innogen, the only living heir, marries her sweetheart Posthumus in secret, an enraged Cymbeline banishes him. Behind the throne, a power-hungry figure plots to seize power by murdering them both. In exile, Innogen's husband is tricked into believing she has been unfaithful to him and, in an act of impulsive jealousy, begins a scheme to have her murdered. Warned of the danger, Innogen runs away from court in disguise and begins a journey fraught with danger that will eventually reunite Cymbeline with a longlost heir and reconcile the young lovers. "Still handles the comedy very well, though, and draws some lovely performances from her cast. Bethan Cullinane makes a brave, determined, sweetly funny Innogen: moving in her silent shock at her husband's accusation of infidelity. Marcus Griffiths is a wonderfully bombastic and ridiculous Cloten and his attempts to woo Innogen through song are hilarious." (The Financial Times) "It's the strength of the performances that really make this production, and the cast's ability to draw out the underlying humour in every situation goes a long way to negating the flaws in the original text. Oliver Johnstone is brilliant as the suave, silver-tongued Iachimo, strutting about the stage and wearing all of his sexual potency on his sleeve. Some of the best scenes come when he focuses his scheming charm on the faithful Innogen, skilfully played by Bethan Cullinane. Marcus Griffith also manages to find much comic absurdity in the overblown ego of the otherwise contemptible Cloten. But these are compelling performances among many. It may not be one of the best-loved of the Bard's canon, but this production is full of passion and humour, and is riotous fun." (The Radio Times) "Comes straight from the heart... It's unafraid of emotion and boasts fine performances... This is an evening that belongs to the Director... Shakespeare's derided experimental romance has the capacity to touch the heart... Bethan Cullinane's Innogen moved me deeply..." (The Guardian)

Here in all their whimsy and vivid charm is a pair of fairy-tale masterpieces from choreographer Christopher Wheeldon. His brilliant adaptation of Lewis Carroll’s surreal Alice’s Adventures in Wonderland, choreographed for The Royal Ballet where he is Artistic Associate, is described by The Times as ‘spectacular family entertainment brought to life with enormous theatrical verve’. His innovative reimagining of Cinderella for Dutch National Ballet, to Prokofiev’s celebrated and colourful score, gives the characters renewed depth and complexity, creating a truly magical experience. ‘‘...This Alice looks set to become a classic.’’ Alice’s Adventures in Wonderland (The Guardian 4 Stars) ‘‘Wheeldon's narrative offers magic in every sphere - design, choreography, and orchestra.’’ Cinderella (BBC Music Magazine 4 Stars)