Kes reimagined is a new film by award-winning choreographer Jonathan Watkins and International Emmy award-winning director Ross MacGibbon, based on the novel A Kestrel for a Knave by Barry Hines. Jonathan Watkins’s acclaimed production was conceived and created for Sheffield’s Crucible Theatre in 2014. Set in a Yorkshire mining community, this re-imagining of Hines’ tale told through dance and puppetry, takes us on a journey with the young working-class boy, Billy Casper. Billy is troubled at home and at school but his outlook on life is transformed when he finds and trains a kestrel. As the beloved Kes swoops and spins in the expansive freedom of the Yorkshire countryside, Billy’s self-confidence begins to soar, and boy and bird become one.

Paavo Berglund, born in Helsinki in 1929, was, until his death in 2012, among the greatest of all contemporary interpreters of Sibelius’s music. His idiomatic and convincing recordings have done much to fire the revival of interest in the composer, with vivid performances that capture its unique qualities of grandeur and instrumental color. Furthermore, Berglund, who deplored some of the textural changes which had evolved over the years, made every effort to ensure that the editions of the scores used were correct. The Chamber Orchestra of Europe (COE) had for many years a special rapport with the conductor and it was the orchestra who suggested that they perform and record all the Sibelius Symphonies with him. This took place at the Edinburgh International Festival followed by studio recordings for Finlandia and finally, at the Helsinki Festival in August 1998.

In the late 1980s, William Christie and Les Arts Florissants recorded galvanizing versions of two masterpieces of early English opera: Purcell's Dido and Aeneas and The Fairy Queen. These two seminal interpretations are now available again, coupled for the first time in a single boxed set.

Winner of a 2022 Gramophone Award!

The Snow Queen is Hans Abrahamsen’s first opera, composed to a self-penned libretto, based on Hans Christian Andersen’s eponymous fairy tale. Following an in-depth study of the topic of snow and a life-long obsession with Andersen’s fairy tales, Abrahamsen composed the opera between 2014 and 2018. Hans Abrahamsen’s music, with its smooth transitions and subtly modified repeats, lends the lyrics both depth and lightness. He is keen to point out the range of avenues for interpretation available. ” It’s possible to read the fairy tale in a variety of ways. It contains many mysteries which are open to numerous interpretations.” Accompanying Barbara Hannigan is a top-class ensemble of singers, including Peter Rose, Katarinya Dalayman and Rachael Wilson. Cornelius Meister is the musical director, currently general music director at the Staatsoper Stuttgart. Director Andreas Kriegenburg’s production of The Snow Queen is a touching story by adults, for an adult audience, offering a journey into the innermost regions of the human soul. Recorded during the premiere run in the presence of the composer and in close collaboration with him, this release captures an important work of new musical theatre.

One of Shakespeare’s best-loved comedies, Twelfth Night was ‘blissfully reborn’ (The Daily Telegraph) for the 2012/13 season at London’s Globe Theatre, under the direction of Tim Carroll. The hilarious tale of misdirection and deception is performed here by an all-male cast, as it would have been in Shakespeare’s day, with Mark Rylance playing Olivia and Roger Lloyd Pack as the hapless Sir Andrew Aguecheek. The production also marks Stephen Fry’s triumphant return to the stage as the pompous Malvolio, ridiculous in his yellow stockings. Filmed in High Definition and true surround sound. Spoken in Shakespeare’s English with English and German subtitles.

REVIEWS:

"…no single actor dominates this radical yet perfectly balanced production at the Globe" (The Guardian)

"The irony is that Fry's performance – intelligently pondered, generous to the other actors, and almost studiedly not a "star turn" by a celebrity guest artiste – is exactly the opposite in tendency" (The Idependent)

"Although this is ensemble theatre at its finest, it’s Rylance’s contribution that puts the production among all-time Shakespeare greats. Frankly unmissable." (The Daily Telegraph ★★★★★)

Ruling by divine right, but himself ruled by caprice, King Richard exiles Henry Bolingbroke and seizes his father’s vast estates. While Richard is distracted by a rebellion in Ireland, Bolingbroke returns to England, intent on recovering his rightful property and, with the support of his disgruntled peers, perhaps seizing the crown itself. Dazzlingly eloquent and ceremonious, Richard II invests a weak and self-dramatizing man with tragic status and represents Shakespeare’s most searching exploration of the meaning of kingship and the rising powers that can destroy it.

REVIEW:

Charles Edwards’s excellent Richard pierces the heart. Recommended. (The Independent)

King Lear has ruled for many years. As age begins to overtake him, he decides to divide his kingdom amongst his children, living out his days without the burden of power. A proud man, he allows vanity to cloud his judgement, believing that he can relinquish the crown, but enjoy the same authority and respect he has always known. Misjudging his children's loyalty he soon finds himself stripped of all the trappings of state, wealth and power he had taken fro granted. Alone in the wilderness he is elft to confront the mistakes of a life that has brought him to this point. Following his performance as Willy Loman in Arthur Miller's great 20th century American tragedy Dealth of a Salesman, Antony Sher returns to play King Lear, one of the greatest parts written by Shakespeare.

Henry VIII is one of Shakespeare’s final plays, a political thriller based on the power struggle between the Tudor court and the eponymous king’s ambitious first minister, Cardinal Wolsey. Though famous in its own time as the most extravagant of the playwright’s creations, the work is hardly performed today; Mark Rosenblatt’s spectacular 2010 production was the Globe Theatre’s first staging of the historical drama since 1613 and, featuring stellar performances from Dominic Rowan, Miranda Raison and Anthony Howell, it bursts with intrigue.

Reviews

"A joyous spectacle." (The Sunday Telegraph)

"Oustanding." (The Guardian)

This collection brings together Globe Theatre productions dating from 2009 to 2015 – during the artistic directorship of Dominic Dromgoole – of twelve of Shakespeare’s most celebrated Comedies. Featuring the finest actors and leading directors, it is part of a project committed to creating ever wider access to this rich cultural heritage. The films in this set capture the unique atmosphere and theatrical space of the Globe Theatre. The exhilarating sense of interaction between the actors on stage and the audience in live performances is exquisitely maintained on screen.

REVIEWS:

"Dominic Dromgoole's zesty production succeeds in captivating the audience to a degree that I would not have thought possible...It's a treat." (The Independent on Love's Labour's Lost)

"This is a crowd-pleasing production...and the laughs come thick and fast" (Evening Standard on The Taming of the Shrew)

"Eve Best and Charles Edwards are gorgeously well-matched and sublimely ridiculous." (Time Out on Much Ado About Nothing)

"Naomi Frederick's superb Rosalind is a woman of wit and intelligence...Laskey's Orlando is equally bewitched, bothered and bewildered, and the playfulness between the two is a pleasure." (The Guardian on As You Like It)

The only one of Shakespeare’s plays to be set within his own class and country, The Merry Wives of Windsor is a farcical tale centering on the wily attempts of Sir John Falstaff to relieve his drinking debts through swindling and seduction. Featuring Christopher Benjamin in the title role, deftly supported by Serena Evans and Sarah Woodward as the scheming Mistress Page and Mistress Ford, this critically-acclaimed production was described by the Daily Telegraph as brimming with ‘humanity, ingenuity and irresistible charm’. A performance guaranteed to entertain.

REVIEWS:

"This revival of Christopher Luscombe's lively 2008 production is the perfect addition to the Globe's 2010 Kings and Rogues season and is arguably the most accessible to a contemporary audience." (The Stage)

"Audiences tend to adore this play, in which Shakespeare genially celebrates his own middle-class English provincial background and seeks to do nothing more than entertain, which he does, splendidly. The Merry Wives, with its ridiculous foreigners, jealous husbands and scenes of low farce, keeps you chuckling almost throughout." (The Daily Telegraph)

One of Shakespeare’s most popular comedies, Much Ado About Nothing contrasts the happiness of lovers Claudio and Hero, and the cynicism of sparring partners Beatrice and Benedick, who are united in their scorn for love. Trickery plays a large part in the story, as Beatrice and Benedick are duped into declaring their love for one another, and the dastardly Don John deceives Claudio into believing that Hero has been unfaithful. Marking the debut of director Jeremy Herrin at the Globe Theatre, this production features Eve Best as the feisty and high-spirited Beatrice and Charles Edwards as her cynical counterpart, Benedick.

Reviews

"Eve Best and Charles Edwards are gorgeously well-matched and sublimely ridiculous." (Time Out London)

"Shakespeare's Globe has got in with the first of two Much Ado productions and raises the bar high with an exuberant production." (The Daily Telegraph)

Recorded live at the Shakespeare’s Globe, 2015.

Shakespeare set this darkest of comedies in Vienna to cloak a scathing critique of hypocrisy in the corrupt authority of his own London. Purity and mercy do win out in the end, but not before audiences are treated to the lighter side of depravity in a ‘riotously enjoyable’ (The Independent) ‘crowd-pleasing saucy romp’ (Evening Standard). In this, his Globe Theatre farewell, Director Dominic Dromgoole’s ‘buoyant production’ (Guardian) casts a Mariah Gale ‘so centred and self-possessed that Isabella’s conviction seems to reach every corner of the house without once turning cloying’ (New York Times).

REVIEW:

Mariah Gale is an outstanding Isabella.

-- The Sunday Times (UK)

Rebellion and maturity run through Shakespeare's histories like a single twisted thread, exemplified by the tearaway turned - hero Hal and his forever adolescent associate Falstaff, who deserves and gets a comedy to himself in The Merry Wives of Windsor. Lives real and imagined, nobles and beggars, Tudor history and culture all spring to vivid life on the stage of the Globe Theatre in award-winning productions featuring many fine British actors and original music played by a Shakespearean pit band playing period instruments.

Reviews

"Henry IV is the Shakespeare play that's perfectly suited to the Globe. In Dominic Dromgoole's intelligent, faithful andentertaining new production, Sir John Falstaff, that 'sweet creature of bombast', might have stopped for a pint of sack in Southwark en route for a rendezvous with Doll Tearsheet at the Boar's Head." (The Guardian on Henry IV 1-2)

"A joyous spectacle." (The Sunday Telegraph on Henry VIII)

"Oustanding." (The Guardian on Henry VIII)

"Audiences tend to adore this play, in which Shakespeare genially celebrates his own middle-class English provincial background and seeks to do nothing more than entertain - which he does, splendidly. The Merry Wives, with its ridiculous foreigners, jealous husbands and scenes of low farce, keeps you chuckling almost throughout." (The Daily Telegraph on The Merry Wives of Windsor)

Shakespeare’s All’s Well That Ends Well centers on the tale of Helena’s quest to marry the man she loves, the rather unimpressed Bertram, who initially refuses her due to her lack of social standing. Aided by fellow conspirator Diana, Helena devises a fail-safe scheme to ensnare her man. The production, directed by John Dove, stars Sam Crane and Ellie Piercey as Bertram and Helena, and includes performances by James Garnon as troublemaker Parolles and Janie Dee as Bertram’s interfering mother, the Countess of Roussillon. With lavish staging and costume, the production is a triumph that, according to The Independent, ‘leaves the audience reeling with happiness by the end.’

Reviews

"With so much to praise, it is hard to prioritise, but here goes..." (The Independent)

"This is a good, clear, well-spoken production by John Dove of one of Shakespeare's most beguiling but least-loved plays." (The Guardian)

‘This hand shall never more come near thee with such friendship.' How long is forever? When the imprisoned Palamon and Arcite vow eternal friendship, they don’t expect that anything will come between them. But then from their cell window they see the beautiful Emilia, and their priorities take a sudden and violent turn. In this late romance, Fletcher and Shakespeare examine love in all its fluid and complex forms. Barrie Rutter, recipient of the 2003 Sam Wanamaker Award, directs his first play since stepping down as Artistic Director of Northern Broadsides. Inspired by the play’s Morris language and references, The Two Noble Kinsmen is set in pastoral ‘Merrie England’ and brought to life with original music composed by acclaimed folk musician Eliza Carthy, and dance choreographed by Ewan Wardrop.

Review

Running at a tight two hours 15 minutes, this tragicomedy still squeezes in a lot of Shakespearean tropes: a tyrant king, a last-minute death, and a young woman driven to madness by love...Barrie Rutter’s direction keeps the play together. Coupled with Jessica Worrall’s design, which leaves the grass-covered stage looking like an enchanted forest and the characters leaping between jewel-toned block colours and fringed dance costumes, the production is both lighthearted and light on its feet, with choreographer Ewan Wardrop’s work particularly standing out. Francesca Mills has great comic timing as the jailer’s daughter, as do Paul Stocker and Bryan Dick when they bounce off each other as Palamon and Arcite. (The Guardian)

Portia, a wealthy heiress of Belmont, is forced to set her suitors a challenge. The winner will win her hand in marriage; the losers will lose her hand and much more. In Venice, the epicenter of consumption, speculation and debt, Bassanio borrows money from his friend Antonio to finance his attempt. Antonio, in turn, takes out a loan from the moneylender Shylock. The loan will be repaid when Antonio’s ships return to the city. But if the ships fail to return, and the money cannot be repaid, Antonio will give to Shylock a pound of his own flesh. And they do fail. And Shylock will have his ‘bond’. In some of his most highly-charged scenes, Shakespeare dramatizes the competing claims of tolerance and intolerance, religious law and civil society, justice and mercy; while in the character of Shylock he created one of the most memorable outsiders in all theatre. Double Olivier and Tony award winner Jonathan Pryce plays Shylock in his first appearance at Shakespeare’s Globe.

REVIEWS:

"Jonathan Munby's exceptionally well-told, well-played, well-paced, well-dressed revival...The Globe at its best." (The Mail on Sunday ★★★★★)

"A finely balanced, intelligent production." (The Times ★★★★)

"Jonathan Pryce is electrifyingly good… Jonathan Munby’s production really sings." (Time Out ★★★★)

"Jonathan Pryce, making his Globe debut, presents us with a Shylock of weight, gravity and considerable complexity." (The Guardian ★★★★)

"Director Jonathan Munby...extracts maximum comedy. He gives full weight to the romance, with Daniel Lapine and David Sturzaker excellent as the Venetian young bloods." (The Sunday Express ★★★★)

"Jonathan Munby’s oak-solid, finely weighted production…The lighter and darker elements combine in a seamless whole." (The Daily Telegraph)

"Jonathan Pryce as Shylock and his daughter, Phoebe…an inspiration. It’s a family affair – a double star turn." (The Observer ★★★★★)

"Pryce is excellent, with a notable gravitas and richness of performance. There’s particularly lovely work from Dorothea Myer-Bennett as Nerissa…she offers a delicious range of expressive looks and gestures." (The Evening Standard)

"A revival that boasts a fine Bassanio in Daniel Lapaine and re-focuses the role of Gratiano (David Sturzaker) as a really good one." (WhatsOnStage ★★★★)

The first installment of what is widely acknowledged to be Shakespeare’s greatest historical saga, Henry IV Part 1 is an epic tale of power, treachery and war, exploring the complexity of father-son relationships. Featuring an Olivier award-winning performance from Roger Allam as Falstaff, the comical mentor to Jamie Parker’s Prince Hal, this is a celebrated presentation of the English classic, expertly directed by Dominic Dromgoole.

REVIEWS:

"Henry IV is the Shakespeare play that's perfectly suited to the Globe. In Dominic Dromgoole's intelligent, faithful and entertaining new production, Sir John Falstaff, that 'sweet creature of bombast', might have stopped for a pint of sack in Southwark en route for a rendezvous with Doll Tearsheet at the Boar's Head." (The Guardian)

"It is the first time these wonderful plays have been staged at the reconstructed globe and it may be one of this theatres finest achievements." (The Daily Telegraph)

From its mesmerizing first moments to the final fulfillment of the witches’ prophecy, Macbeth is one of Shakespeare’s darkest and most powerful tragedies – a gripping account of one man’s determination to secure his ambition and pronounced destiny, the crown of Scotland, by whatever means necessary. Filmed in High Definition and true surround sound, this production marked actor Eve Best’s sensational debut as a director and was described as ‘cracking – at times, terrifying’ (Daily Telegraph). Joseph Millson and Samantha Spiro lead the cast, offering ‘superb fresh-minted performances’ as the power-obsessed Macbeth and his increasingly guilt-ridden wife.

Reviews

Samantha Spiro as Lady Macbeth and Joseph Millson as Macbeth give a rousing, frenetic portrait of a power-couple with a compulsion for bloodshed...Millson’s constant disbelief at what he is doing is a source of much of the production’s humour. But because he performs with such conviction, cumulatively it also packs a horrific punch – not least when he makes grasp for his wife’s throat...one of the warmest productions of ‘Macbeth’ you’ll ever see, but one which still strikes the requisite chill to the heart. Time Out

Millson [delivers] the famous “sound and fury” speech with a quiet desperation and indeed it is in the play’s quieter moments when he is given the chance to stand still that he really shines. The Upcoming

"Eve Best's directorial debut is a cracking – at times, terrifying – production of Macbeth." (The Daily Telegraph on Macbeth)

Linda di Chamounix is a pretty country girl who is in love with Carlo, who she believes is a penniless artist. Her honor is threatened by the local squire and she escapes to Paris in search of fortune. This is a tale of courage and madness, in which we discover and experience the strength and suffering of a woman torn apart by estrangement from family and love. Donizetti reaped full and long-lasting success with Linda di Chamounix, and it became one of his most modern, appreciated and long-lived works. Jessica Pratt leads an all-star cast in this acclaimed production from the Teatro del Maggio Musicale Fiorentino.

Ludwig van Beethoven’s piano works occupy a special place in Margarita Höhenrieder's artistic work. In a certain sense, this is almost "logical", since she herself is part of a very special Beethoven lineage: her teacher Leon Fleisher was a student of Arthur Schnabel, who in turn studied with Theodor Leschetizky, who had learned his piano playing from Carl Czerny. And Czerny was a student of Beethoven! For the recordings of all five of Beethoven's piano concertos, Margarita Höhenrieder has top-class orchestras and conductors at her side, including the Staatskapelle Dresden under Fabio Luisi and the Bamberg Symphony under Martin Haselböck. The recordings are complemented by extensive bonus material: a portrait of the pianist and conversations between Höhenrieder and the conductors provide an insight into the life and work of an artist for whom her own concert activities are just as important as the education of the next generation.

In August 2020, Herbert Blomstedt made his debut with the Lucerne Festival Orchestra. You could hardly tell that the maestro had celebrated his 93rd birthday only a month prior for he continuously exudes vitality, awareness, and curiosity. “I’m in love with music,” says Blomstedt, who views his profession as a kind of joie de vivre. Together with the Lucerne Festival Orchestra and Martha Argerich he revealed just what this joy sounds like with Beethoven’s Piano Concerto No. 1 – the work that marked Argerich’s stage debut in 1949 - and Symphonies Nos. 2 and 3, the famous Eroica. Recorded live at the Concert Hall of KKL Luzern, August 2020.

In August 2020, Herbert Blomstedt made his debut with the Lucerne Festival Orchestra. You could hardly tell that the maestro had celebrated his 93rd birthday only a month prior for he continuously exudes vitality, awareness, and curiosity. “I’m in love with music,” says Blomstedt, who views his profession as a kind of joie de vivre. Together with the Lucerne Festival Orchestra and Martha Argerich he revealed just what this joy sounds like with Beethoven’s Piano Concerto No. 1 – the work that marked Argerich’s stage debut in 1949 - and Symphonies Nos. 2 and 3, the famous Eroica. Recorded live at the Concert Hall of KKL Luzern, August 2020.

Donizetti's three-act tragic opera Belisario was a resounding success in its day, driven by its composer’s superlative theatrical instinct and his skillful interweaving of intense tragic narrative and emotional pathos. Belisario is betrayed by his wife Antonina, who falsely accuses him of high treason. Belisario is blinded and exiled, with proof of his innocence coming too late, and is mortally wounded during a final military victory. This production was performed and recorded without an audience in Bergamo during the Covid-19 lockdown in November 2020 – a moving performance reflecting a spirit of defiance amidst ruin and darkness.

The Demonstrations of the Ballet School are a traditional checkpoint for the institution: they consist of a performance where the audience can appreciate the beautiful and rich education of classical dance taught at the Paris Opera. Considered as one of the School’s highlights, this moment unveils the teaching methods of a traditional artistic knowledge. Led by their teachers, the students display the different skills necessary to master the codes of classical dance and the French style. The Demonstrations also invite the public to discover other artistic disciplines or choreographic styles that complete the student’s training: contemporary, folk, baroque, and character dances, mime and music class. The Ballet School of the Opéra de Paris really is the school of dreams for each and every one of its students, that all wish to became professional dancers for the Ballet de l’Opéra de Paris. This intimate documentary film allows us to discover, through interviews and sneak peeks of the classes, their schedule, their day-to-day training, their passion, their hopes, their relationships with the teachers and ballet masters, and finally their ambition to become, one day maybe, an Étoile of the Ballet...

This spectacular film of Don Quixote, choregraphed after Petipa and directed for the screen by Russian ballet superstar Rudolf Nureyev, is recognized as one of the finest ballet performances ever caught on camera and a cinematic triumph in its own right. Filmed in Melbourne with the Australian Ballet in 1973, the cast includes Nureyev as Basilio, Sir Robert Helpmann as the deluded knight and Lucette Aldous as Kitri. This timeless story of love, gallantry and misadventure – all unfolding with Minkus’s exhilarating Spanish flavored music – has stood the test of time as one of the world’s most popular ballets. Lovingly restored from the original 35mm film, and to be heard for the first time in full SS digital stereo created for the DVD and Blu-ray release, this is finally, how Nureyev intended his Don Quixote to be seen and heard.