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.

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)

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)

In her twenty years with The Royal Ballet, Argentine dancer Marianela Nu�ez has excelled in iconic ballet classics, Company heritage works and modern creations. A Company Principal for 16 years, she has performed all the leading roles in the classical, dramatic and contemporary repertory. This collection showcases her exceptional mastery in four quintessential roles. In Swan Lake, she brings to life the beautifully tragic Odette and her rival Odile. She perfectly portrays the young lover Lise in La Fille mal gard�e, and brings bravura and vivacity to the role of Kitri in Carlos Acosta's production of the classical Don Quixote. She is transcendent as Giselle, one of the most challenging and demanding roles in the repertory. With peerless technical skill and compelling performances by the whole Company, this collection celebrates an exceptional dancer in her prime. ".. a jovial and entertaining showcase for classical dancing at it's most demanding and exuberant. One of the pleasures of this ballet is to be tickled by Minkus's infectiously melodious score... Marianela Nu�ez and Acosta delivered sparky, engaging performances" (The Times (Don Quixote)) "If the acting is superb, it's given real authority by the dancing. Muntagirov and Nu�ez are technically thrilling; she, at her finest moments, can combine an absolute mastery of the choreography, with the illusion that she's dancing it for the first time." (The Guardian (Giselle))

This release combines two much loved British classics: Elgar's seminal 'Enigma Variations' and Holst's orchestral masterpiece 'The Planets'. In an acclaimed BBC drama-documentary filmed in the rolling Malvern Hills, Sir Andrew Davis unravels the mystery of the famous musical puzzle contained in Elgar's work followed by a landmark performance of the complete score by the BBC Symphony Orchestra conducted by Sir Andrew Davis given in the cathedral in Elgar's home town of Worcester. The lavish visualization of Gustav Holst's orchestral masterpiece 'The Planets' and Colin Matthews' additional movement 'Pluto', the Renewer features spectacular images which enhance the symbolic meaning attributed to each planet by the composer. Directed by Rhodri Huw, this memorable audiovisual experience blends images filmed in many locations around the world, computer graphics, animatronics and a splendidly atmospheric performance by the BBC National Orchestra of Wales. "Sir Andrew Davis's fine performance of the Enigma Variations, with Nimrod hushed, slow and steady, was recorded in the atmospheric surroundings of Worcester Cathedral, where Elgar said everyone should hear his music. Davis introduces a highly enjoyable documentary about the work and 'the friends pictured within'. In the documentary he suggests that each variation, as well as reflecting the character of a particular friend, reveals much about Elgar himself, 'like an actor playing many roles'." (The Penguin Guide - Elgar) "As for the performance, this is not a run-of-the-mill Planets. Atherton recreates the score with both subtlety and aplomb, and with the necessary bravura when called for. It is difficult sometimes to pay too careful attention to the music given the sheer overwhelming beauty of the visual images, but the underpinning is very present, and one comes to a whole new appreciation of Holst’s masterpiece by having a visual element." (Musicweb International - Holst)

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.

Katharina Wagner, the great-granddaughter of Richard Wagner, is currently director of the Bayreuth Festival, making this recording even more special.. Tristan und Isolde was first performed in 1865 and provided inspiration to many composers including Mahler, Strauss, Szymanowski and Berg. It is widely acknowledged as one of the peaks of the operatic repertoire, and has been performed regularly since it's premiere. This production, by renowned director Christoph Marthaler, stars leading Wagner exponents Robert Dean Smith and Ir�ne Theorin in the title roles, supported by the Bayreuth Festival Chorus and Orchestra conducted by Peter Schneider. The press had only good things to say about this performance: "It's hard to know where to point the awards finger first in such a complete ensemble performance... Musically everything is fine under the super-experienced Peter Schneider... Despite the ferocious competition, absolutely unmissable.' (Gramophone) 'Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth's amazing acoustics.' (The Stage)

Mozart's final opera returns to Glyndebourne after an absence of nearly 20 years in a 'stark, compelling and very well acted' production directed by Claus Guth. Richard Croft sings the title role 'with exemplary stylistic poise and tonal sweetness', and Anna St�phany is a Sesto 'touchingly full of angst and remorse... with terrific �lan and immaculate technical control' in the arias (The Telegraph) - her "Parto, Parto" 'simply breathtaking' (The Guardian). Guth's vision sets the first-century Roman story in a two-storey office suite bureaucracy 'exquisitely lit by Olaf Winter', aptly framing the scheming of Vitelia, sung by Alice Coote 'in terrific form'. The OAE under Robin Ticciati 'brings out the sheer beauty' of Mozart's score (Express). Extra features on this release include 'When Worlds Divide' and a cast gallery. The press gave rave reviews: '... The director gives an exceptionally convincing cast the time to develop their characters, conflicting relationships and moral dilemmas' (The Times) 'Conductor Robin Ticciati combined elegance with urgency' (The Guardian) 'Stark, compelling and very well acted' (The Daily Telegraph)

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Verdi’s opera of passion, blood, fire and vengeance comes to the stage in an atmospheric production by David Bosch. A quartet of world-class singers bring the principal characters of this searing opera to life. Gregory Kunde stars as the troubadour Manrico, with Lianna Haroutounian as his courageous lover Leonora. Vitaliy Bilyy is the tyrannical Count di Luna, the man who wants Leonora for himself, and Anita Rachvelishvili is Azucena, the mysterious gypsy woman unable to reveal the secret that torments her. Richard Farnes conducts the Orchestra of the Royal Opera House and Royal Opera Chorus in this exploration of love, cruelty, intense passion and revenge. "The evening’s musical credentials are unequivocally outstanding. The soloists are very strong with two performances standing out in particular. The first comes from Vitaliy Bilyy who is making his Royal Opera debut as the Count di Lunaand who combines a deep, rich and secure baritone with a suitably commanding presence.... The second comes from Anita Rachvelishvili as Azucena who displays a rich and nuanced mezzo-soprano, and whose voice and acting mark out the weight of sorrow and resolve that she constantly carries...." (Opera Online)

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This release is the world premiere recording of Brett Dean’s new opera based on Shakespeare’s best-known tragedy: To be, or not to be. This is Hamlet’s dilemma, and the essence of Shakespeare’s most famous and arguably greatest work, given new life in operatic form in this original Glyndebourne commission. Thoughts of murder and revenge drive Hamlet when he learns that it was his uncle Claudius who killed his father, the King of Denmark, then seized his father’s crown and wife. But Hamlet’s vengeance vies with the question: is suicide a morally valid deed in an unbearably painful world? Dean’s colorful, energetic, witty and richly lyrical music expertly captures the modernity of Shakespeare’s timeless tale, while also exploiting the traditional operatic elements of arias, ensembles and choruses. Matthew Jocelyn’s inspired libretto is pure Shakespeare, adhering to the Bard’s narrative thread but abridging, reconfiguring and interweaving it into motifs that highlight the main dramatic themes: death, madness, the impossibility of certainty and the complexities of action. ‘World Premiere of the Year’, 2018 International Opera Awards, London ‘…one of the unmissable operatic events of the year.’ (The Sunday Times 4 Stars) ‘…a richly imaginative composer at the top of his game.’ (The Times 4 Stars) ‘Dean’s music is many-layered, full of long, clear vocal lines … new opera doesn’t often get to sound this good … Hannigan’s spectacular high-soprano unhinging is the more shocking following her poise and inwardness’ (The Guardian 4 Stars) Clayton triumphs with ‘unimpeachable vocal and acting credentials’ (The Independent 4 Stars)

This live recording of Richard Wagner’s Tannhauser was made at the 2014 Bayreuth Festival. “Kober’s conducting… is outstanding and the chorus are superb… The color that Nylund is able to apply… pays dividends with Elisabeth… Keri achieves a good balance between the more lyrical side of his character and the Romantic heldentenor… Musically it’s a glorious affair… that finds the true delicacy and poignancy within what is surely the most Romantic of Wagner’s works on the misunderstood suffering, exiled artist.” (OperaJournal) “Camilla Nylund’s Elisabeth and Kwangchul Youn’s Landgraf deservedly received the most applause at the curtain calls.” (Bachtrack) “Especially in the Singer’s Contest in the second act the performers act with heart and soul. Baumgarten developed a truly animated stage direction.” (Opernnetz)

In William Shakespeare’s Twelfth Night, twins are separated in a shipwreck and forced to fend for themselves in a strange land. The first twin, Viola, falls in love with Orsino, who dotes on Olivia, who falls for Viola but is idolized by Malvolio. Enter Sebastian, who is the spitting image of his twin sister... 'Twelfth Night' is a tale of unrequited love - hilarious and heartbreaking. Extra features on this release include an interview with Dinita Gohil, a cast gallery and a director's commentary. ‘‘Sumptuous romp is a festive season treat. Heavens, this does look lovely.’’ (Evening Standard) ‘‘Christopher Luscombe’s deliciously louche production…it’s a visual feast…sumptuous nostalgia’’ (Daily Mail) ‘‘The most heartwarming production of Shakespeare at the RSC since director Christopher Luscombe’s last, three years ago.’’ (Sunday Mirror)

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Royal Ballet Artistic Associate Christopher Wheeldon magically captured the twists and turns of Lewis Carroll’s classic story, Alice’s Adventures in Wonderland, in his 2011 ballet. Bob Crowley’s vivid sets and costumes take us down the rabbit hole into a colorful 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. Extra features on this release include Bob Crowley speaking about the costumes, and an insider’s view of Wheeldon’s tap-dancing Hatter. ‘‘Cinematic but also unmistakably balletic, Joby Talbot’s complex, theme-driven score’’ (The Daily Telegraph) ‘‘It’s a joy to look at and packed with featured roles that show off the Royal Ballet’s strength in depth’’ (The Observer)

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This special collection includes three Royal Ballet performances of Tchaikovsky’s beloved masterpieces: Anthony Dowell’s majestic production of the beautiful and romantic tragedy Swan Lake, The Sleeping Beauty in its detailed re-creation by Monica Mason of the landmark 1946 production, and Peter Wright’s classic production of the quintessential Christmas ballet, The Nutcracker. These spectacular and iconic ballets present the virtuosity and skill of the whole Company. "Osipova was riveting throughout... [Golding] demonstrates real brilliance and prowess." ( Swan Lake - The New York Times) "fresh and reinvigorated - Nutcrackers come and Nutcrackers go but the Royal Ballet's version is a hardy perennial. Peter Wright's version of Lev Ivanov's original 1892 ballet has undergone changes since its debut in 1984 but it remains the one by which all others must be judged. Francesca Hayward dances like a dream child as Clara, expressive, musical and guileless and is ably partnered by Alexander Campbell as Hans-Peter." (The Nutcracker - The Stage) "If you want spectacle at the ballet then this Sleeping Beauty is for you. Based on the opulent production that reopened the Royal Opera House after the Second World War, Monica Mason and Christopher Newton’s staging is a sumptuous homage to the splendour of the French court of Louis XIV. With so much richness on stage, in costumes, sets and the sheer number of courtiers and fairytale characters, the view from the stalls is full to bursting." (The Sleeping Beauty - The Times)

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This special collection includes three Royal Ballet performances of Tchaikovsky’s beloved masterpieces: Anthony Dowell’s majestic production of the beautiful and romantic tragedy Swan Lake, The Sleeping Beauty in its detailed re-creation by Monica Mason of the landmark 1946 production, and Peter Wright’s classic production of the quintessential Christmas ballet, The Nutcracker. These spectacular and iconic ballets present the virtuosity and skill of the whole Company. "Osipova was riveting throughout... [Golding] demonstrates real brilliance and prowess." ( Swan Lake - The New York Times) "fresh and reinvigorated - Nutcrackers come and Nutcrackers go but the Royal Ballet's version is a hardy perennial. Peter Wright's version of Lev Ivanov's original 1892 ballet has undergone changes since its debut in 1984 but it remains the one by which all others must be judged. Francesca Hayward dances like a dream child as Clara, expressive, musical and guileless and is ably partnered by Alexander Campbell as Hans-Peter." (The Nutcracker - The Stage) "If you want spectacle at the ballet then this Sleeping Beauty is for you. Based on the opulent production that reopened the Royal Opera House after the Second World War, Monica Mason and Christopher Newton’s staging is a sumptuous homage to the splendour of the French court of Louis XIV. With so much richness on stage, in costumes, sets and the sheer number of courtiers and fairytale characters, the view from the stalls is full to bursting." (The Sleeping Beauty - The Times)

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Puccini’s Japanese tragedy Madama Butterfly is given a ravishing production by The Royal Opera. Its alluring imagery of Japan from the 19th-century European Imagination heightens the intense clash of East and West. When the American naval officer Pinkerton seduces the young ‘Butterfly’ Cio-Cio-San, he seems to promise every happiness – but his cruel abandonment leads to her tragic self-sacrifice. Antonio Pappano, Music Director of The Royal Opera and renowned for his interpretations of Puccini, conducts an exceptionally fine cast with the Royal Opera Chorus and the Orchestra of the Royal Opera House. Powerful performances show why Madama Butterfly remains one of the all-time operatic favourites. ‘‘Always at his best in Puccini, Antonio Pappano conducts with passionate sincerity.’’ (The Guardian 5 Stars) ‘‘An opera that ranks among the very greatest of the 20th century.’’ (The Daily Telegraph 4 Stars) ‘‘Ermonela Jaho is the best Cio-Cio-San London has seen in years’’ (Independent 4 Stars)
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REVIEWS:

The Albanian soprano Ermonela Jaho is one of the great singing actresses of our time. Hers is not a sumptuous soprano, but the colors she brings to her portrayal are astonishing. Her Flower Duet with Elizabeth DeShong's feisty, sympathetic Suzuki is quite beautifully sung. Pappano - arguably today's greatest Puccianian conductor - draws ardent playing from the orchestra, superbly detailed in its commentaries.

– Gramophone

Pappano is particularly alert to Puccini borrowing traditional Japanese melodies; at times he makes you hear this score, as well as the drama on stage, as a tug of war between East and West. It’s Sharpless and Suzuki who steal the show – a consul with a tender conscience from Scott Hendricks and Elizabeth DeShong as a maid who could melt the stoniest of hearts.

– BBC Music Magazine

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Caius Martius Coriolanus is a fearless soldier but a reluctant leader. His ambitious mother attempts to carve him a path to political power, but he struggles to change his nature and do what is required to achieve greatness. In this new city state struggling to find its feet, where the gap between rich and poor is widening every day, Coriolanus must decide who he really is and where his allegiances lie. This is one of Shakespeare's most overtly political plays, the modern dress setting for Angus Jackson's production emphasizes the contemporary relevance of the themes explored in ‘Coriolanus’. This release completes the RSC’s tetralogy of Shakespeare’s Roman plays ‘Julius Caesar’, ‘Titus Andronicus’ and ‘Antony and Cleopatra’, all released by Opus Arte earlier this year. ‘‘As the culmination of an ambitious, thoughtfully realized season of some of Shakespeare's less popular works, it solidly earns its place in the RSC's Roman canon.’’ (Whatsonstage) ‘‘It's a production that's built around artful clashes of violence and elegance.’’ (Time Out) ‘‘Coriolanus is an illuminating study of extremes and intransigence on both sides of the political divide. It’s a hefty, occasionally unwieldy, beast of a play, but Angus Jackson’s modern-dress production steers a clear line through, pinpointing key moments. ’’ (The Evening Standard)

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The Royal Ballet celebrates the centenary of Leonard Bernstein’s birth with this all-Bernstein collection. The Company’s three associate choreographers respond to the varied styles of Bernstein’s music in ballets that are lyrical, beautiful, exuberant and moving. Wayne McGregor’s ‘Yugen’ is set to Chichester Psalms. In ‘The Age of Anxiety’ Liam Scarlett responds to Bernstein’s eclectic Second Symphony, itself a response to W.H. Auden's poem. ‘Corybantic Games’ by Christopher Wheeldon responds to the Serenade after Plato’s ‘Symposium’. Filmed in High Definition and recorded in true SS. ‘‘…one of the most beautifully achieved dances of his career.’’ (The Guardian- ‘Yugen’) ‘‘…a cascade of showstopping, kaleidoscopic configuration.’’ (The Guardian – ‘Corybantic Games’) ‘‘…moments that catch at the heart.’’ (The Arts Desk – ‘The Age of Anxiety’)

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Paired here are two of Rossini’s best-loved operas in stunning Glyndebourne stagings showcasing the composer’s threefold genius for comic storytelling, musical energy and vocal fireworks. Vladimir Jurowski and Sir Peter Hall unite for a fresh and vibrant yet timelessly elegant production of Rossini’s setting of the Cinderella story, with a fine cast led by Ruxandra Donose in the title role. While the magical, boldly theatrical world that Annabel Arden creates for the amorous plots and intrigues of young Figaro’s Seville bustles with a gifted ensemble of singer–actors and merry mischief from the London Philharmonic Orchestra under Enrique Mazzola. Recorded in true SS. ‘This is a truly marvellous performance on all counts - staging, conducting and singing...The sense of an ensemble on top form is underlined by Vladimir Jurowski's exacting, pellucid and vivid interpretation, so that the music, like the libretto, is presented afresh. The superb cast has no weaknesses and many strengths...’ (Gramophone) ‘…conductor Enrique Mazzola gets Rossini’s music to sizzle. No slouching, no lingering here and there – just razor-sharp playing from the London Philharmonic Orchestra at helter-skelter speeds.’ (The Financial Times)

This special collection from The Royal Ballet includes nine of Frederick Ashton's most loved short ballets, which showcase the range of his style. The pure classical perfection of Symphonic Variations is contrasted with the light-hearted exuberance of Voices of Spring. Both are complemented by the passion and drama of Marguerite and Armand and the romance and comedy of The Two Pigeons and The Dream. The collection is completed by Rhapsody, La Valse, Monotones and M�ditation from Tha�s, four of the most iconic abstract works created by The Royal Ballet's founding choreographer. "... a bill which revealed the variety of the Royal's founder choreographer from the perfumed sway of La Valse, to the lyrical loveliness of the Thais pas de deux, and the audacious joy of Voices of Spring. Monotones I and II, on the other hand, show his geometric modernism and his ability to conjure a kind of mysterious beauty by the simplest of means... The performances throughout the evening made the choreography look as fresh and important as ever." (The Daily Telegraph) "Frederick Ashton's 1962 ballet is swooningly romantic and unashamedly old fashioned. The Parisian artist's garret setting might be a cliche but the action is alive with invention. What begins as a comic ballet glides imperceptibly into a more serious realm as the two immature lovers come to terms with erotic distraction and locate the adult within themselves. Ashton's birdlike steps, with flapping elbows and nodding heads are sharp and funny at first as the dancers shake a tail feather across the stage before softening and stretching into gestures of greater poignancy." (The Stage - The two Pigeons 5 Stars)

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Virginia Woolf defied the false order of narrative conventions to depict a heightened, startling and poignant reality. Woolf Works recreates the synaesthetic collision ofform and substance in her writings. Each of the three acts springs from one of Woolf’s landmark novels: Mrs Dalloway, Orlando and The Waves – but these inspirations are also enmeshed with elements from her letters, essays and diaries. Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism, and brings to life Woolf’s world of ‘granite and rainbow’, where human beings are at once both physical body and uncontained essence. Woolf Works (2015) was Wayne McGregor’s first full-length work for The Royal Ballet. "At its creation in 2015, Woolf Works felt like a breakthrough for choreographer Wayne McGregor, adding a new emotional weight to his athletic force and fascination with technology. In this first revival, it’s even stronger, with Alessandra Ferri luminous as the Virginia Woolf figure… It’s a thoughtful, heartfelt performance in a ballet that is both intelligent and tender." (The Independent 4 Stars)‘‘Since its premiere in 2015, Wayne McGregor’s first full-length ballet has won the 2015 Critics’ Circle award for best classical choreography and the 2016 Olivier Award for best new dance production, while its star, the fiftysomething ballerina Alessandra Ferri, has won an Olivier for outstanding achievement in dance. No wonder the Royal Ballet decided to revive Woolf Works as part of the celebrations marking McGregor’s tenth anniversary as resident choreographer." (The Times 4 Stars)

“Something wicked this way comes…” Returning home from battle, the victorious Macbeth meets three witches on the heath. Driven by their disturbing prophecies, he sets out on the path to murder. This contemporary production of Shakespeare’s darkest psychological thriller marks both Christopher Eccleston’s RSC debut and the return of Niamh Cusack to the Company. This recording was produced live from Stratford-Upon-Avon. "Christopher Eccleston and Niamh Cusack make a gripping central couple." (The Stage 5 Stars) "Urgent and wonderfully sinister." (Evening Standard 4 Stars)

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Acclaimed dancer-choreographer Akram Khan ‘speaks tremendously of tremendous things’ (Financial Times) and this new Giselle reimagines the classic narrative ballet for the 21st Century. Giselle had become a former garment factory migrant worker, Albrecht, a member of the wealthy factory-owning class. An abandoned ‘ghost factory’ haunted by the memory of female migrant workers, many of them victims of industrial accidents, replaces the traditional glade of Act II. There, Giselle’s desire to break the cycle of violence will lead her to reconciliation with Albrecht and his release from the retributive justice of the Wilis. “Giselle has been transformed for the ENB by Akram Khan into the ballet event of the year. Staggeringly beautiful and utterly devastating, it is an electrifying triumph which any dance or theatre fan must not miss.” (The Daily Express)

Fantastic storylines abound in opera, but these grand musical settings of much-loved fairytales embrace the imaginary, giving free rein to dreams. The Royal Opera's acclaimed Hansel and Gretel combines the directors' characteristic wit and knack for dark comedy with the story's enduring charm. Glyndebourne's recounting of the quick-witted fox's escape into nature balances the opera's whimsy and mysticism. Opera North's enchanting staging of Jonathan Dove's 21st opera is a wittily inventive feast for the eyes and ears, shining new light on Collodi's original tale, by turns magical and dark. "What an inspired and exciting opera this is. Gorgeous characters, a busy story rich in incident and an exhilarating mix of music. Delight follows delight." (The Stage - The Adventures of Pinocchio) "Not only was the production a great one to attend as a first opera, but the [video] is perhaps as good an introduction to opera as one could hope for, a success on almost every front." (Musicweb International - Hansel und Gretel) "Lucy Crowe's glowingly sung Vixen... Tom Pye's Hockneyish designs are evocative of a world of childish wonder, with animal costumes which cleverly suggest human characteristic." (The Daily Telegraph - The Cunning Little Vixen)

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Sarah Lamb and Vadim Muntagirov star as tragic lovers Manon and Des Grieux in this performance of Kenneth MacMillan’s Manon, a classic of the Royal Ballet repertory. Nicholas Gerogiadis’s period designs set the ballet in the contrasting worlds of Paris Luxury and Louisiana swampland, while the intense emotion of MacMillan’s choreography is complemented by a score drawn from Massenet’s music. The impassioned pas de deux from Manon and Des Grieux drive this tragic story, and make Manon one of MacMillan’s most powerful dramas. “Kenneth MacMillan’s retelling of Abbe Prevost’s cautionary tale of a young man brought low by an amoral young beauty has been a mainstay of the Royal Ballet repertoire since 1974. The current revival is vividly played and danced by some first-rate casts.” (The Financial Times)