Michel Sénéchal

Renee Fleming stars in Dvorak's three-act opera based on two fairy-tales which tells the story of a water-nymph called Rusalka (Fleming), who wishes she was human, after falling in love with a mortal.

Mirella Freni, Placido Domingo, Christa Ludwig, and Robert Kerns star in this Jean-Pierre Ponnelle-directed version of the Puccini opera, with Herbert von Karajan conducting the Vienna Philharmonic. Madama Butterfly is a staple of the standard operatic repertoire for companies around the world, ranking 7th in the Operabase list of the most-performed operas worldwide.

Live 2001 recording at the Bastille opera in Paris in a production for l'Opéra de Paris by Gilbert Deflo. High praise was given to the historical costumes by William Orlando, the minimal décor, the sophisticated lighting as well as the musical excellence of the performers. It was also due to the charisma of Renée Fleming; she confessed in an interview, "I think Manon is my favorite role. I love French music, it is so elegant and delicate stylistically. It has both dramatic and lyrical elements." Marcelo Alvarez was thought brilliant in the role of the Chevalier des Grieux, and among the other artists were Jean-Luc Chaignaud as Lescaut, Alain Vernhes as the Comte des Grieux and Michel Sénéchal as Guillot de Morfontaine. The choir and orchestra of l'Opéra de Paris were conducted by Jesús López-Cobos.

Death live! In the middle of filming a detective drama, the main actor Gérard Gérard dies from a gunshot. This returning star was hated by her partners... So, suicide, accident or crime? The investigation takes place before our eyes until the 99th minute. Let the masks fall!

A filmed version of Tchaikovsky's opera. Onegin visits a friend, his fiancee and her sister Tatiana, who believes Onegin is her fated love. She writes a note telling him so, but he rejects her. Years later he returns, finding her married, but now he's smitten with her.

Live performance from the Opéra National de Paris, 2003.

The film tells the story of a love affair between a poor poet and an equally poor seamstress in 19th century Paris.

This is a joy from beginning to end. Although there are many tricks and ideas from Laurent Pelly, as always he seems to still retain the Offenbach magic. La Lott and Monsieur Beuron are a joy, but so is everyone else. The Patriotic Trio by the sea is both a hoot and wonderfully sung, the score seems truly complete yet never flags and the finale sequences for especially acts 1 & 2 are a joy of movement and sound fused as one glorious Offenbachian moment.