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- Jealousy and hatred is what separates the Pandavas and Kauravas. The Kauravas fear the Pandavas are after the throne of their father. Yudhishthira of the Pandavas gets told by the deity, Krishna, that he will become king. A war is inevitable.
- When Italian composer Giacomo Puccini is accused of sleeping with his maid, the scandal threatens to destroy his life and career. This biopic intercuts with director Tony Palmer's efforts to stage Puccini's last opera.
- Chantal Akerman followed famous Choreographer Pina Bausch and her company of dancers, The Tanzteater Wuppertal, for five weeks while they were on tour in Germany, Italy and France. Her objective was to capture Pina Bausch's unparalleled art not only on stage but also behind the scenes.
- Gustav Von Aschenbach, a passionate composer, arrives in Venice as a result of wanderlust and there meets a young man by whose beauty he becomes obsessed.
- Songs, poems and experiences of the Miners' Strike, 1984.
- At death's door, George Frederic Handel reflects, rages, and narrates his life. From his womanizing youthful days, to his rise in fame as a composer, God Rot Tunbridge Wells! pulls no punches in this wild romp of a biopic.
- The opera tells the story of the downfall of Don José, a naïve soldier who is seduced by the wiles of the fiery gypsy Carmen.
- This documentary reflects the peaks and troughs of the Swedish super group's popularity over the decades, as well as the quartet's turbulent years together.
- Mephistopheles, knowing Faust's dissatisfaction, makes a wager with the Lord that he, the Devil, can win Faust's soul. Thus it comes about that Faust in his experiments with the supernatural conjures up the Devil himself.
- The first eight cantos of Dante's Inferno (up to the entrance to the city of Dis). The text is read entirely in "talking head" fashion, and punctuated with a kaleidoscopic blend of both newly shot and archival footage.
- A biographical film of Czech composer Martinu is in two parts: the first part a recurring dream, the second a Freudian analysis of the dream.
- "Every generation needs Ibsen" says Bo Widerberg and presents his version of the classic drama "The Wild Duck" from 1884. As in a thriller we get to follow how the family happiness of the Ekdahls is driven towards a tragic disintegration.
- BBC production of 'Sergei Prokofiev (I)''s opera "War and Peace" performed by the Kirov Opera under the baton of Valery Gergiev in St. Petersburg, Russia. The love story of young Countess Natasha Rostova and Count Pierre Bezukhov, is intertwined with the "Great Patriotic War" of 1812 against the invading Napoleon's Armies. People of Russia from all classes of society stand up united against the enemy. Both sides suffer tremendous losses during the war, and Russian society is left irrevocably changed.
- Serge Prokofiev's enigmatic work, this is a tale of the supernatural, religious hysteria and demonic possession which is set in Germany at the time of The Inquisition.
- This is a documentary tribute with the widows of four British composers: William Walton, Bernard George Stevens, Benjamin Frankel, and Humphrey Searle; and with performances of each composer's work played by THE BOURNEMOUTH SYMPHONY ORCHESTRA.
- The captain Edgar and his wife, the actress Alice, live in a dead marriage, where the only thing that has grown deeper is the bitterness. Despite that they're going to celebrate their silver wedding. When their relative Kurt comes to visit from America, 25 years of bitterness suddenly flouts up to the surface.
- Opera about the life and work of Mohandas K. Gandhi, named after his technique of passive resistance that he began in South Africa and employed in his native India.
- This opera is set in Persia (present day Iran) in 480 BC and is very loosely based upon Xerxes I of Persia. Apart from the reported infatuation of King Xerxes with a plane tree and his reported construction of a bridge, this tale is pure supposition. Xerxes is engaged to Amatris, but wishes to marry Romilda, the daughter of his successful general. Romilda wants to marry Arsamenes, the brother of the King, but Atalanta - Romilda's sister - wants Arsamenes to be her husband.
- The ups and downs of ballet star Rudolf Nureyev's career.
- A commissioned project, made for TV in honor the the 200th anniversary of Mozart's death, this is a highly avant-garde piece of music, theater and dance, set to an original score by the controversial Dutch composer Louis Andriessen (who would later collaborate with Greenaway on the operas "Rosa" and "Writing to Vermeer"). Four nude, powder-white dancers (representing the Gods) appear on a stage designed in the style of an 18th century anatomy theater. A woman sings a list of objects beginning with various letters of the alphabet up to "M"; the Gods then decide to create Man, assembling him from body parts listed as onscreen text. Having created Man, the Gods then give him Movement; so as to give him a reason to move, they create Music; finally, so as to have Perfect Music, they create Mozart.
- When the Prince changes places with his valet, Dandini, so he can discover the true nature of the ladies' hearts, he meets Cenerentola and they fall in love at first sight.
- Mikhail Ivanovich Glinka's magical masterpiece in its entirety, inspired by Alexander Sergeyevich Pushkin's poem of a Russian tale. An evil sorcerer Chernomor casts a spell over wedding celebrations for Ruslan and Lyudmila at the court of Svetozar, the Prince of Kiev. Lyudmila vanishes and her father promises her hand and half his kingdom to the knight who rescues her. Ruslan on this quest of rescue encounters the knights Ratmir and Farlaf, the wise wizard Finn, the slave of Ratmir, Gorislava and sorceress Naina before confronting Chernomor in his magic garden. After all the challenges for Ruslan, true love prevails.
- While the rest of the Hebrews bewail their fate, Samson alone trusts in God's promise of liberty. Abimelech, the Philistine satrap of Gaza, enters to mock the Hebrews' God, proclaiming the superiority of Dagon, and the Hebrews are afraid of him. But calls them to show some defiance, so Abimelech attacks Samson with his sword. Samson seizes the sword and strikes him dead. The Hebrews scatter and the High Priest of Dagon appears, cursing the Hebrews. When a messenger reports that the Hebrews are ravaging the harvest, the High Priest forms a plan to use Delilah to overcome Samson's strength. Delilah's beauty is such that Samson can't resist her for long. She begs to know the secret of his supernatural strength, but he refuses, though he says he loves her. Delilah betrays Samson by having some Philistine soldiers seize him and throw him into a prison in Gaza, where his hair is cut off.
- An opera by Benjamin Britten, on a libretto by E.M. Forster and Eric Crozier, adapted from the story by Herman Melville. Billy Budd is a young sailor aboard a British man-o'-war, persecuted by his master-at-arms, Claggart. Accused of mutiny, Budd accidently strikes Claggart dead, leaving Captain Vere with no choice but to hang him.
- At a posh cocktail party, various plans are made, and a missing guest turns up late.
- Two enemies, passionate and vengeful; an old gypsy woman with a mysterious bond to them both, and a passionate young woman who must either betray an all-consuming love or face death itself - these are the fiery elements that govern Giuseppe Verdi's unforgettable masterpiece of obsession, madness and retribution.
- Reginald Bunthorne is a poet, adored by all the ladies, except one - Patience. She cannot understand why all the other ladies feel the way they do, and wonders what love is. Despite her indifference to him, Bunthorne is in love with Patience and wants to marry her. Things become complicated when another poet, Archibald Grosvenor (a childhood friend of Patience, who also loves her), arrives. Although she is strongly attracted to Archibald, Patience cannot bring herself to accept his hand in marriage. This is because she is under the mistaken belief that love must be entirely unselfish, and it would be selfish of her to love Archibald, because he is so handsome. Meanwhile, waiting patiently in the background for the ladies to get over their infatuation for the two poets, are their cavalry fiances. The loyal army officers despair when Bunthorne decides to auction himself off to the ladies.
- Susana, a beautiful young girl living in 1990, is happily looking forward to her forthcoming marriage - and has bought an antique mirror to grace her future home. Three weeks before the wedding, the mirror is delivered to her Grandmother's home and taken to Susana's room. Later that day, when looking into the glass, Susana is startled to see the image of a handsome soldier, Nicolas (from 1863), instead of her own reflection. It soon becomes obvious that he can see Susana as clearly as she can see him - and life, for them both, is never quite the same again.
- Classic 1986 ENO production. Framed as the bizarre dreams of a sleeping Victorian teenager (Eilene Hannan) who dreams herself as Rusalka, and bargains everything she has with a witch (Ann Howard) for a prince who's love may wane.
- On 8th January 1735 at the Covent Garden in London, Georg Friederich Handel presented his new opera Ariodante on a libretto by Antonio Salvi adapted by Paolo Rolli and inspired by Ariosto. The opera did not immediately win public favour and thus failed to furnish a definitive solution for the fate of Handel's company, but with time it was to be understood and appreciated and has remained on playbills among the more successful and interesting titles. Handel's particular attention to the expressive aspect was most probably the reason for the opera's limited commercial success: the characters fit only partially into the customary types of opera of the day. The tendency to formulate autonomous patterns in the expressive genre is also underlined by an illustrious contemporary, John Mainwaring, in his Memoirs of the life of George Frederick Handel. Extraordinary is also the strength of the instrumental composition, which again in Ariodante is intended now as support to the voices now as independent, coinciding with steps in the sinfonia and with delightful dance motives. In this production of the Spoleto Festival, at his 50th anniversary, Alan Curtis conducts the Complesso Barocco and an extraordinarily agile Ann Hallenberg in the title role. Scenes and costumes by John Pascoe. Together with Giulio Cesare and Rodelinda, Ariodante is considered one of Handel's operatic masterpieces. It was composed for London's Covent Garden theatre, where it was first performed on January 8th, 1735. Alan Curtis and his Complesso Barocco rank among the best specialists in baroque music, and regularly record for Virgin, Deutsche Grammophone and now also for Dynamic. Thanks to the interesting and personal touch of the director Alan Pascoe, this production comes across as a very credible show. Pascoe and Curtis, incidentally, already gained remarkable success with Vivaldi's Ercole sul Termodonte, published by Dynamic in 2007
- Bio-pic of Dame Margot Fonteyn.
- The widow, Anna Glawari, faces a dilemma. Pontevedro, her native country, will be left bankrupt if she weds a foreigner. An Embassy plot to marry her off to the debonair Count Danilo Danilovitch is complicated by the secret affair which has developed between the French attaché, Camille de Rosillon, and the Ambassador's wife, Valencienne. This light-hearted tale of political and amorous intrigue unfolds amidst the gaiety of high society in turn-of-the-century Paris.
- A documentary introduction about John Cage and his epoch-making music, precedes the performances with the Ensemble Modern with solists Hermann kretzschmar and David Tudor playing "Concerto for Prepared Piano and Chamber Orchestra' and "Concerto for Piano and Orchestra". David Tudor helped Cage pioneer "live' electronic music in the 1960's and took part in several first performances of the composer's work.
- Cleopatra and Ptolemy vie to become monarch of Egypt, while Caesar and Cleopatra fall in love and Ptolemy attempts to kill Caesar. Pompey's widow is wooed and imprisoned by Ptolemy and Achilla, and his son Sexto wants to kill them.
- Whoever wins the singing competition, will win the fair maiden's hand in marriage. The race is on!
- The timid Blanche de la Force decides to retreat from the world and enter a Carmelite convent. The Mother Superior informs her that the Carmelite order is not a refuge: it is the duty of the nuns to guard the Order, not the other way around. In the convent, the jolly Sister Constance tells Blanche (to her consternation) that she has had a dream that the two of them will die young together. The Mother Superior, who is dying, commits Blanche to the care of Mother Marie. The Mother Superior passes away in great agony, shouting in her delirium that despite her long years of service to God, He has abandoned her. Blanche and Mother Marie, who witness her death, are shaken. Sister Constance remarks to Blanche that the Mother Superior's death seemed unworthy of her, and speculates that she had been given the wrong death, as one might be given the wrong coat in a cloakroom. Perhaps someone else will find death surprisingly easy. Perhaps we die not for ourselves alone, but for each other. Blanche's brother, the Chevalier de la Force, arrives to announce that their father thinks Blanche should withdraw from the convent, since she is not safe there (being a member of both the nobility and the clergy). Blanche refuses, saying that she has found happiness in the Carmelite order, but later admits to Mother Marie that it is fear (or the fear of fear itself, as the Chevalier expresses it) that keeps her from leaving. The chaplain announces that he has been forbidden to preach (presumably for being a non-juror under the Civil Constitution of the Clergy). The nuns remark on how fear now governs the country, and no one has the courage to stand up for the priests. Sister Constance asks, "Are there no men left to come to the aid of the country?" "When priests are lacking, martyrs are superabundant," replies the new Mother Superior. Mother Marie says that the Carmelites can save France by giving their lives, but the Mother Superior corrects her: it is not permitted to become a martyr voluntarily; martyrdom is a gift from God. A police officer announces that the Legislative Assembly has nationalized the convent and its property, and the nuns must give up their habits. When Mother Marie acquiesces, the officer taunts her for being eager to dress like everyone else. She replies that the nuns will continue to serve, no matter how they are dressed. "The people has no need of servants," proclaims the officer haughtily. "No, but it has a great need for martyrs," responds Mother Marie. "In times like these, death is nothing," he says. "Life is nothing," she answers, "when it is so debased." In the absence of the new Mother Superior, Mother Marie proposes that the nuns take a vow of martyrdom. However, all must agree, or Mother Marie will not insist. A secret vote is held; there is one dissenting voice. Sister Constance declares that she was the dissenter, and that she has changed her mind, so the vow can proceed. Blanche runs away from the convent, and Mother Marie finds her in her father's library. Her father has been guillotined, and Blanche has been forced to serve her former servants. The nuns are all arrested and condemned to death, but Mother Marie is away (with Blanche, presumably) at the time. The chaplain tells Mother Marie that since God has chosen to spare her, she cannot now voluntarily become a martyr by joining the others in prison. The nuns march to the scaffold, singing Salve Regina. At the last minute, Blanche appears, to Constance's joy; but as she mounts the scaffold, Blanche changes the hymn to Deo patri sit gloria (All praise be yours, O risen Lord).