Dialogues des Carmelites

In this strikingly modern 2016 production from the Zurich Opera House, Tcherniakov transposes the opera’s intrigue from forest and castle to living room and psychiatric office. The love story of the original work remains riveting, but Tcherniakov brings an unexpected psychological element to his mise en scène, with Prince Golaud as a psychiatrist and Mélisande as a young woman suffering from PTSD. You’ve never seen Pelléas like this!

Live performance from the Metropolitan Opera, March 1, 2014. Absent from the Met stage since 1917, Borodin’s masterwork about an introspective prince’s military campaign against the invading Polovtsians returned in 2014 with a first-rate cast and an astonishing production by Dmitri Tcherniakov. Well worth the wait, the sets feature visually striking projections interlaced with lush flowering fields, and the first act delivers one of opera’s most exciting dance medleys, a portion of which went mainstream in the 1950s when Tony Bennett recorded “Stranger in Paradise.”

Rediscover one of the world’s most famous operas with Dmitri Tcherniakov’s modern staging at the Staatsoper Berlin. Performed repeatedly at the opera, the story of Tristan and Isolde is known far and wide—a love potion, a challenge to the king, a tragic destiny—its themes have become staples of the musical repertoire.

Coproduced with Siberia’s Novosibirsk Opera, this new Macbeth uses cutting-edge multimedia technology to give the viewer a fresh perspective on the work. Google Earth satellite images plunge us into the heart of the action: a gloomy square surrounded by soulless buildings, and the interior of an aristocratic residence. Witches are no more a part of Tcherniakov’s Macbeth that the duel was of Onegin, but once again the atmosphere is one of brooding claustrophobia. Tcherniakov has chosen a great cast, beginning with the marvellous Lithuanian soprano Violeta Urmana as Lady Macbeth. Greek baritone Dimitris Tiliakos is a powerful presence as Macbeth, while the Italians Ferruccio Furlanetto (bass) and Stefano Secco (tenor) are sumptuous as, respectively, Banquo and Macduff. In this, his second production at the Paris Opera, Teodor Currentzis, music director of the Novosibirsk Opera and Ballet Theatre conducts with verve and a splendid theatrical sense.

Inspired by the physicists who built the Soviet atomic bomb, the film DAU follows a brilliant Greek-born physicist from 1928 through four tumultuous decades in the USSR. Driven to uncover the laws of the universe, the idealistic Dau is drawn into state service to help create one of history’s deadliest weapons. Inside a secret research institute, life is governed by scientific ambition, power, surveillance and privilege. As his autonomy erodes, Dau seeks freedom beyond his marriage through a succession of affairs, gradually losing both himself and his capacity to love. At once an intimate portrait of a man in pursuit of happiness and freedom and a vast fresco of a society founded on violence and ideology, DAU traces the small compromises that shape a life and alter the course of history.

One of his most sublime compositions, Verdi’s ode to love and sacrifice is adored the world over. Cutting-edge director and designer Dmitri Tcherniakov’s captivating production is set in the present day. German soprano Diana Damrau is matchless in the role of the tragic Violetta Valéry. Alongside her, the tenor Piotr Beczala as Alfredo and Željko Lučić as Germont, his valiant father, beg for her pardon. Daniele Gatti conducts.

Siegfried's love story transposed to a high-tech hell... A fascinating re-reading of the third opera in Wagner's tetralogy, served up by Dmitri Tcherniakov's daring staging and Christian Thielemann's virtuoso musical direction.

Wagner’s mystic masterpiece Parsifal at the Staatsoper Berlin, staged by Dmitri Tcherniakov and conducted by Daniel Barenboim. Wagner’s last opera, Parsifal is a medieval epic story marked by Christian, Buddhist and esoteric references. It is about redemption and renewal, but this new production by Russian director Dmitri Tcherniakov adds a jarring note : revenge. This “Festival Play for the Consecration of the Stage” is similar to a Medieval epic, a blend of metaphysical dreams and esoteric battles with constant spiritual references. This new production is directed by Dmitri Tcherniakov, conducted by Daniel Barenboim and sung by an international cast of excellent singers: Andreas Schager, Anja Kampe, Wolfgang Koch, René Pape, Tomas Tómasson and Matthias Hölle.

Captured live from Naples’ splendid San Carlo Theatre – the world’s oldest continuously running public opera venue – where it opened the company’s theatrical season, acclaimed director Dmitri Tcherniakov stages a new production of Dvořák’s beautiful, supremely romantic opera about a water sprite Rusalka who longs to find love.

To bring together again, for the first time since their premiere on a December evening in Moscow, Tchaikovsky’s opera Iolanta and ballet The Nutcracker, was the audacious challenge that Russian stage director Dmitri Tcherniakov accepted for the Palais Garnier in Paris in March 2016 : a revolutionary production, which was to become one of the key events of the Paris Opera season.

A decade before the French Revolution, in a country riven with bitter polemics, Gluck throws the history of opera into confusion by raising it to an unheard-of peak of tragic intensity. Experiencing his two Iphigenias in a single evening goes beyond the norms of operatic life: it is to enter the very heart of the curse on the family of King Atreus of Mycenae, to follow a logical destiny through a cycle of endless violence. How does the victim of Aulis become the murderess of Tauris? That is the burning question that Dmitri Tcherniakov must adress, plunging the spectator into the midst of a household haunted by the dead and setting in train an implacable process of dehumanization, with parallels to our world today. Conducting Le Concert d’Astrée, Emmanuelle Haïm drives this dual tragedy to the summit of its expressive power, leaving humanity to be translated through arias of the utmost poignancy.

Opera lies at the heart of Rimsky-Korsakov's colourful idiom, but performances are few and far between; this realisation of his penultimate and grandest stage work is a very rare and special experience. Kitezh is known as "the Russian Parsifal", which encapsulates its mystical flavour and steady unfolding of a legend of redemption

The second part of Richard Wagner’s monumental tetralogy in Dimitri Tcherniakov’s new production. He has thoroughly modernised the material and set the action in a research institute in the 1970s. Christian Thielemann is conducting *Der Ring des Nibelungen* at the Berlin State Opera, standing in for the house conductor Daniel Barenboim, who is unwell.

Tsar Saltan marries the youngest of three sisters, having heard that it is her dearest wish to present him with a heroic son and heir. Her jealous sisters and the old Aunt Barbaricha cannot bear this situation to persist and by trickery see to it that the Tsaritsa and her newborn son Gvidon are thrown into the sea. In their barrel they are washed ashore on an enchanted island where the rapidly growing tsar’s son saves a swan from the clutches of a wizard. In gratitude, the swan helps Gvidon to visit his native country once again in the guise of a bumblebee. Three wishes, three miracles and three bee-stings later, father and son are finally able to get to know each other.

Three hundred years old and as timely as ever, Handel's monumental Giulio Cesare in Egitto (Julius Caesar in Egypt) arrives at the 2025 Salzburg Festival in a new staging by the audacious, award-winning Dmitri Tcherniakov! When Caesar (Christophe Dumaux) comes to Egypt on the hunt for his enemy Pompey, he discovers that the pharaoh Ptolemy (Yuriy Mynenko) has beaten him to the punch, setting Pompey's son Sextus (Federico Fiorio) on a mission for vengeance — all while Ptolemy's sister Cleopatra (Olga Kulchynska) schemes to take the throne for herself, leading her directly into the path of Caesar… This tale of uncompromising rivalries and the corrupting thrall of political power is animated by one of Handel's finest scores, majestic in the hands of expert Baroque ensemble Le Concert d'Astrée under their celebrated founder Emmanuelle Haïm.

In a court trial, Joan of Arc is charged with high treason ... Dmitri Cherniakov presents a modern reinterpretation of Tchaikovsky’s least frequently performed opera, set entirely in a courtroom, with soprano Elena Stikhina in the title role.