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.

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.

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)

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

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).

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).

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'.

In 2024, near Wagner's former Zurich residence, where much of the "Ring des Nibelungen" was composed, Opernhaus Zurich staged it's first complete Ring cycle in more than 20 years, performed under the musical direction of Gianandrea Noseda. "In a way, the 'Ring' returned to it's origins," said Andreas Homoki, stage director of Wagner's grandiose myth, which depicts the rise and fall of an entire world, delving into themes of love, fate, courage, and betrayal. At it's core, the "Ring des Nibelungen" is also a family drama about Wotan, the father of the gods, and his struggle to keep and break treaties, about freedom, it's presence and absence, and his desperate attempts to halt the very downfall he set in motion. Homoki's production brings the gods, humans, and mythical beings strikingly close, making their relationships and motivations vivid and compelling through meticulous character portrayal. The same outstanding cast performs across all four operas, heightening the dramaturgic intensity: Tomasz Konieczny as Wotan, Camilla Nylund as Brunnhilde, Christopher Purves as Alberich, Wolfgang Ablinger-Sperrhacke as Mime, and Klaus Florian Vogt as Siegfried, who also gave his acclaimed role debut in Homoki's Zurich productions. Recorded live at Opernhaus Zurich May 2024

Marked by a profound dramatic and spiritual intensity, the St John Passion was composed by Johann Sebastian Bach in 1724. Based on the Gospel according to St John, it recounts the last moments of Christ's life, from his arrest to his burial in the tomb. The Cantor's Passion is one of the most sublime works in his repertoire, drawing the listener into a mystical and contemplative reflection. Gaétan Jarry conducts the Orchestre de l'Opéra Royal and the child singers of the Tölzer Knabenchor, to restore this treasure of sacred music to it's rightful place.

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

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)

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)

Richard Strauss described his two-act opera 'Intermezzo' as a 'bourgeois comedy with symphonic interludes'. The soprano role of Christine with her shimmering cantilenas represents Strauss's wife Pauline, while the successful Court Conductor Robert Storch is Richard Strauss's alter ego in a reality drama that was avant-garde for it's time. This acclaimed production from director Tobias Kratzer brings 'Intermezzo' into the present day, highlighting Strauss's own clever switches between reality and fiction with stunning visual effects and a superbly characterful cast.

Set during the Roman Civil W War (49-45 BCE), Handel's "Giulio Cesare" is an intense drama filled with romance, tragedy and political intrigue. The plot centers on Cleopatra's campaign to seduce Julius Caesar in order to enlist his support in her becoming Queen of Egypt. Handel's music breathes the atmosphere of the Baroque with virtuosic vocal fireworks and subtle arias. This acclaimed production is given a modern setting populated by power-hungry oligarchs who are placed by director Calixto Bieito into 'a digital dream world in a desert paradise'.

Set during the Roman Civil W War (49-45 BCE), Handel's "Giulio Cesare" is an intense drama filled with romance, tragedy and political intrigue. The plot centers on Cleopatra's campaign to seduce Julius Caesar in order to enlist his support in her becoming Queen of Egypt. Handel's music breathes the atmosphere of the Baroque with virtuosic vocal fireworks and subtle arias. This acclaimed production is given a modern setting populated by power-hungry oligarchs who are placed by director Calixto Bieito into 'a digital dream world in a desert paradise'.

From a mysterious Cheshire Cat and a tap-dancing tea party, to frogs acting as footmen and unknown potions that turn you tiny, many treats and eccentricities await in this weird and wonderful world. You never know what you might find when you fall down the rabbit hole. Christopher Wheeldon's?Alice's Adventures in Wonderland?burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot's score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley's wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. The result shows The Royal Ballet at it's best, bringing together world-class dance with enchanting family entertainment and ingenious music and design.

From a mysterious Cheshire Cat and a tap-dancing tea party, to frogs acting as footmen and unknown potions that turn you tiny, many treats and eccentricities await in this weird and wonderful world. You never know what you might find when you fall down the rabbit hole. Christopher Wheeldon's?Alice's Adventures in Wonderland?burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot's score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley's wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. The result shows The Royal Ballet at it's best, bringing together world-class dance with enchanting family entertainment and ingenious music and design.

Through the haze of the years, a poet remembers the women he loved. But when it comes to matters of the heart, nothing is as it seems. Particularly when the devil himself is involved. Journeying back to his school days, Hoffmann (Juan Diego Florez) relives his childhood romance with Olympia, a model student in every sense. Doomed love follows him into adulthood, where the dancer, Antonia, is taken from him too soon. Meanwhile, the sensual courtesan Giulietta has her own secret agenda. As memory and fantasy become increasingly blurred, will Hoffmann find the enigmatic Stella before it is too late? Olivier award-winning director Damiano Michieletto returns to The Royal Opera for a new production of Offenbach's The Tales of Hoffmann alongside conductor Antonello Manacorda.

Through the haze of the years, a poet remembers the women he loved. But when it comes to matters of the heart, nothing is as it seems. Particularly when the devil himself is involved. Journeying back to his school days, Hoffmann (Juan Diego Florez) relives his childhood romance with Olympia, a model student in every sense. Doomed love follows him into adulthood, where the dancer, Antonia, is taken from him too soon. Meanwhile, the sensual courtesan Giulietta has her own secret agenda. As memory and fantasy become increasingly blurred, will Hoffmann find the enigmatic Stella before it is too late? Olivier award-winning director Damiano Michieletto returns to The Royal Opera for a new production of Offenbach's The Tales of Hoffmann alongside conductor Antonello Manacorda.

The Wiener Staatsoper presents a Wagner classic staged by duo Jossi Wieler and Sergio Morabito, who showcase Lohengrin as a crime thriller with a twist. At the podium is Christian Thielemann, who more than proves his reputation as the Wagner-expert par excellence. On stage, David Butt Philip as the titular Lohengrin is a "heldentenor with radiance and stamina" (Kleine Zeitung), while Malin Bystrom portrays an Elsa who might not be as innocent as the libretto suggests and convinces with "dramatic furore" (Der Standard). Anja Kampe sings her Ortrud "beautifully, yet so expressively, with such diction" (Kurier) and Martin Gantner's Telramund is "flawless in it's precision" (News). / "When it comes to Wagner, Christian Thielemann really is in a class of his own" (Der Standard) / "The choirs were a force to be reckoned with, and the orchestra proved it's outstanding quality in harmony with the great Wagnerian Thielemann" (Salzburger Nachrichten)

Andris Nelsons and the Wiener Philharmoniker explore the brilliance of Bela Bartok's Piano Concerto No. 2 and the emotional depths of Gustav Mahler's Fifth Symphony. Passionate but restrained, Andris Nelsons conducts both masterpieces with superb clarity and precision: Mahler's famous Adagietto unfolds with "unreal shimmer and dark glow" (BR Klassik). Yefim Bronfman is the soloist in one of the most difficult piano concertos ever written and impresses with "impeccable technique, expressive power, and a touch of swing" (Der Standard). The concert is part of the Wiener Philharmoniker's Mahler cycle with Andris Nelsons.

Andris Nelsons and the Wiener Philharmoniker explore the brilliance of Bela Bartok's Piano Concerto No. 2 and the emotional depths of Gustav Mahler's Fifth Symphony. Passionate but restrained, Andris Nelsons conducts both masterpieces with superb clarity and precision: Mahler's famous Adagietto unfolds with "unreal shimmer and dark glow" (BR Klassik). Yefim Bronfman is the soloist in one of the most difficult piano concertos ever written and impresses with "impeccable technique, expressive power, and a touch of swing" (Der Standard). The concert is part of the Wiener Philharmoniker's Mahler cycle with Andris Nelsons.

Weinberg's final opera, based on Dostoevsky's novel, condenses the plot without losing it's psychological depth. Prince Myshkin, mentally ill yet believing in goodness, meets merchant Rogozhin on a train, sparking a tale of dependence, madness, and murder. The opera, rediscovered in the last decade, presents the composer Weinberg as Shostakovich's equal. The Idiot, composed in 1986-1989, now staged in Salzburg, directed by Krzysztof Warlikowski and conducted by Mirga Grazinyte-Tyla, brings the world of literature to the opera stage. The excellent cast of singers contributes to make the production a great success. Bogdan Volkov "expressive lyrical tenor touches intimately in the piano and yet remains able to cope with all orchestral storms" (BR Klassik).

In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"

Offenbach goes Hollywood: Mariame Clement's production of Les Contes d'Hoffmann transforms ist titular character into a storyteller of a different kind. The different acts, which are based on short stories by E.T.A. Hoffmann, take the audience on a journey through the world of cinema, from a 70s sci-fi flick over a costume drama to a feverish experimental sequence. The three love interests Olympia, Antonia and Giulietta are portrayed by American soprano Kathryn Lewek, who "impresses with brilliantly assertive coloratura, melting cantilenas and pulsating drama" (Drehpunktkultur). At the centre of this tragic tale of unrequited love is Hoffmann himself, stepping into the role of a script writer and film director in this production. The incredibly charismatic Benjamin Bernheim "splendidly cele brates the invasive tragedy of his character. Sound, expression and presence could not be better combined" (Der Standard). Kate Lindsey, who portrays the muse disguised as Hoffmann's friend Niklausse is a joy to watch and listen to as she "absorbs Clement's energy of ideas and gilds her vocal tour de force with scenic exuberance" (Der Standard). An opera evening that spans the emotional spectrum from hilarious comedy to deeply felt heartbreak.

Based on a short novel by Dostoyevsky, Prokofiev's The Gambler unfolds in the fictional casino town of Roulettenburg, where a variety of characters converge and clash. These characters include a General indebted to a covetous Marquis, the General's resentful stepdaughter Polina, and Alexey, who harbors feelings for her. Director Peter Sellars, known for his insightful interpretations of overlooked masterpieces, challenges us to mirror the bravery of Dostoyevsky and Prokofiev - the courage to confront our inner darkness. The musical direction of Russian conductor Timur Zangiev shines together with the vocal performances of the exceptional cast: "Asmik Grigorian portraying a passionate Polina, and Sean Panikkar delivering a powerful performance as Alexei" (Financial Times) "Peter Sellars... has done what this exceptional director always tries to do: present an old, distant story as an analysis of the here and now" (Suddeutsche Zeitung) "A triumph of vision and passion" (European News Agency) "Grand sound cinema" (Bachtrack)

In this concert, the Wiener Philharmoniker, conducted by Andris Nelsons, present a "heavenly" pairing: Alban Berg's "Violin Concerto, To the Memory of an Angel", alongside Mahler's Fourth Symphony, whose final movement sets "Das himmlische Leben" (Heavenly Life) to music. With this performance, young German-American violinist August Hadelich gave his debut at the Salzburg Festival and thrilled the press: "The fabulous Augustin Hadelich filled the difficult solo part with emotion and fragility, his performance was sensitive and yet glowing." (Die Presse). With Mahler's Fourth, Andris Nelsons creates "a Mahler miracle of quiet tones" (Volksblatt), joined by German soprano Christiane Karg as the soloist of the finale. The concert is part of the Wiener Philharmoniker's Mahler cycle with Nelsons. Program: Gustav Mahler: Symphony No. 4 Alban Berg: Violin Concerto "To the Memory of an Angel"

Based on a short novel by Dostoyevsky, Prokofiev's The Gambler unfolds in the fictional casino town of Roulettenburg, where a variety of characters converge and clash. These characters include a General indebted to a covetous Marquis, the General's resentful stepdaughter Polina, and Alexey, who harbors feelings for her. Director Peter Sellars, known for his insightful interpretations of overlooked masterpieces, challenges us to mirror the bravery of Dostoyevsky and Prokofiev - the courage to confront our inner darkness. The musical direction of Russian conductor Timur Zangiev shines together with the vocal performances of the exceptional cast: "Asmik Grigorian portraying a passionate Polina, and Sean Panikkar delivering a powerful performance as Alexei" (Financial Times) "Peter Sellars... has done what this exceptional director always tries to do: present an old, distant story as an analysis of the here and now" (Suddeutsche Zeitung) "A triumph of vision and passion" (European News Agency) "Grand sound cinema" (Bachtrack)

Weinberg's final opera, based on Dostoevsky's novel, condenses the plot without losing it's psychological depth. Prince Myshkin, mentally ill yet believing in goodness, meets merchant Rogozhin on a train, sparking a tale of dependence, madness, and murder. The opera, rediscovered in the last decade, presents the composer Weinberg as Shostakovich's equal. The Idiot, composed in 1986-1989, now staged in Salzburg, directed by Krzysztof Warlikowski and conducted by Mirga Grazinyte-Tyla, brings the world of literature to the opera stage. The excellent cast of singers contributes to make the production a great success. Bogdan Volkov "expressive lyrical tenor touches intimately in the piano and yet remains able to cope with all orchestral storms" (BR Klassik).