La Bohème - Opéra National de Paris

Francesco Cavalli, a natural successor to Monteverdi, was the most famous and influential Italian opera composer during the mid-17th century. Cardinal Mazarin, chief minister to the king, commissioned Cavalli to create a Parisian spectacle to celebrate the wedding of the ‘Sun King’ Louis XIV and the Infanta of Spain. Ercole amante (‘Hercules in Love’) was the flattering subject chosen for this regal extravaganza combining larger-than-life characters with mythology, and genuine human emotions with natural and cosmic phenomena. The result is a sumptuous Baroque spectacle, conceived on a vast scale in this lavish production by directors Valerie Lesort and Christian Hecq.

Captain Vere, an old man, is haunted by a moment in his life when he was tested and found wanting. Based on Herman Melville's novella of naval life in the late 18th Century, Benjamin Britten's 'Billy Budd' is a gripping reflection on good and evil, innocence and corruption.

Live performance at the Théâtre du Châtelet in December 2004. Marc Minkowski conducting Les Musiciens du Louvre-Grenoble. Stage direction by Laurent Pelly.

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.

La Sylphide refers to the Paris Opéra Ballet production choreographed by Pierre Lacotte. This acclaimed performance features Etoiles Aurélie Dupont and Mathieu Ganio and was recorded live at the Palais Garnier in July 2004.

A production of Lully's 1686 tragédie lyrique masterpiece directed by William Christie at the Théâtre des Champs-Elysées from 2008.

Inspired by a fable by La Fontaine, [composer Jean-Philippe] Rameau produced perhaps his most brilliant music for his penultimate great work, blending reality and the surreal on several levels.

Praised by critics as “magnificent”, “breathtakingly theatrical” and full of “zestful imagination”, Melly Still’s “spine-tingling” Rusalka is a Glyndebourne classic – a magical contemporary reimagining of a much-loved fairy tale. Light and darkness, beauty and danger come together in this passionate tale of love against the odds. At once evocative and unsettling, this production collides two contrasting worlds in Rae Smith’s elegant designs made of “brilliant stage-pictures”. Rusalka’s forest home is a dappled space of sunshine and shadows, full of strange woodland creatures, while the Prince’s court is a world of sleek modernity and sophistication – a world of man.

In the 18th century, in the palace of Pasha Selim, in a purely imaginary Turkey. Belmonte, a young Spanish nobleman, is searching for his fiancée, Constance, who has been captured by pirates and sold to Pasha Selim. Blonde, Constance’s English maid, and her lover Pedrillo, Belmonte’s servant, have suffered the same fate and are at the mercy of the cruel Osmin, the seraglio’s guardian. Belmonte and Pedrillo devise a plan to rescue Constance, who is determined to die rather than succumb to the advances of Pasha Selim, who is eager to win the heart of his beautiful captive. ‘The Abduction from the Seraglio’ (‘Die Entführung aus dem Serail’ K.384) is a three-act singspiel by Wolfgang Amadeus Mozart, with a German libretto by Gottlieb Stephanie, based on the play by Christoph Friedrich Bretzner. It premiered at the Burgtheater in Vienna on 16 July 1782, conducted by the composer. Recorded live at Glyndebourne Festival, July 19, 2015.

In the 18th century, in the palace of Pasha Selim, in a purely imaginary Turkey. Belmonte, a young Spanish nobleman, is searching for his fiancée, Constance, who has been captured by pirates and sold to Pasha Selim. Blonde, Constance’s English maid, and her lover Pedrillo, Belmonte’s servant, have suffered the same fate and are at the mercy of the cruel Osmin, the seraglio’s guardian. Belmonte and Pedrillo devise a plan to rescue Constance, who is determined to die rather than succumb to the advances of Pasha Selim, who is eager to win the heart of his beautiful captive. ‘The Abduction from the Seraglio’ (‘Die Entführung aus dem Serail’ K.384) is a three-act singspiel by Wolfgang Amadeus Mozart, with a German libretto by Gottlieb Stephanie, based on the play by Christoph Friedrich Bretzner. It premiered at the Burgtheater in Vienna on 16 July 1782, conducted by the composer. Recorded live at Glyndebourne Festival, July 19, 2015.

Rosina from *The Barber of Seville* is now Countess Almaviva, his wife. However, he is far from being a paragon of virtue. Among others, he is pursuing his wife’s maid, Susanna—who is to marry Figaro, now in the Count’s service—and his gardener’s daughter, Barbarina. He faces competition from the page Cherubino, who is in love with all women and in particular with the Countess, his godmother. Meanwhile, the elderly Marcellina, aided by Doctor Bartolo and the music master Basilio, seeks to prevent the marriage of Susanna and Figaro, as the latter has promised to marry her. ‘The Marriage of Figaro’ (‘Le nozze di Figaro’, K. 492) is a four-act opera buffa by Wolfgang Amadeus Mozart, with an Italian libretto by Lorenzo Da Ponte inspired by Beaumarchais’s comedy, ‘Le Mariage de Figaro’.

Beethoven's only opera came to the stage of the Opéra Comique in Paris in 2021 in a sensational production. The work of conductor Raphaël Pichon and director Cyril Teste reveals their appreciation for a work that is rarely performed in France. At the center of the plot is Leonore, who, disguised as a man, searches for her husband Florestan.

Glyndebourne's Saul stole the summer and had critics raving. The Guardian (****) applauded virtuoso stagecraft from director Barrie Kosky in his debut production there, calling the show a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was no praise too high for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag's exuberant costumes (The Times ****) set the Old Testament story in Handel's time, with a witty twinge of the contemporary.

Composed in the 1930s by Kurt Weill and Bertolt Brecht, this is a mordant satire on capitalism and the inexorable industrialization of a society in which the ultimate crime is not having money

Since its 1856 premiere at the Paris Opera, Le Corsaire has been regarded as one of the most impressive narrative ballets of the 19th century. The work became particularly popular in the versions by Jules Perrot and Marius Petipa and, of course, through the spectacular “Le Corsaire pas de deux,” made world-famous by Dame Margot Fonteyn and Rudolf Nureyev. For this first performance of the ballet in full at the storied Wiener Staatsoper in 2016, Wiener Staatsballett director Manuel Legris—after a 23-year tenure as an étoile dancer of the Paris Opera Ballet!—choreographed a new version based largely on the rich French and Russian performance traditions. Action, music, choreography, scenery and costumes are carefully combined into a new overall picture which focuses on the high points of the colorful events surrounding the leading couple of Conrad and Medora, sublimely danced by Robert Gabdullin and Maria Yakovleva!