Death in Venice

A film version of a performance by Fiona Shaw of T.S. Eliot's poem.

The incompetent Richard II is deposed by Henry Bolingbroke and undergoes a crisis of identity once he is no longer king.

Hedda Gabler is a beautiful woman married to the solid and respectable academic George Tesman. Then an old flame, the dreamer Eilert Lovborg, turns up on the scene with tragic results

The imperious Onegin rejects naive Tatiana's proposal of love and also incites a duel with his best friend turned rival Lenski (Piotr Beczala). This sets the scene for a dramatic story of love, loyalty and betrayal. Acclaimed theatre director Deborah Warner presents this lavish new interpretation of the timeless tale. Set in the 19th century and moving episodically from farmhouse to ballroom, the production culminates in an unforgettable finale set during a snowstorm.

The premiere of Benjamin Britten's Billy Budd in Madrid is undoubtedly one of the highlights of the Teatro Real's bicentennial celebrations. Its magnificent libretto, based on the novel of the same name by Herman Melville, tells the story of the sailor Billy Budd: a handsome, loyal, generous, strong, naive, and kind young man whose beauty and personality drive the ship's master-at-arms mad. Unable to control the situation, the master crucifies the naive young man without mercy. This new production by the Teatro Real is being presented for the first time in Madrid, in co-production with the Opéra national de Paris, under the direction of Deborah Warner, one of the great names in stage direction today.

Live from Glyndebourne Festival 1995. Yakov Kreizberg conducting the Orchestra of the Age of Enlightenment. Directed for the stage by Deborah Warner.

An anthology series of various plays and dramatic performances.

The best in the performing arts from across America and around the world including a diverse programming portfolio of classical music, opera, popular song, musical theater, dance, drama, and performance documentaries.

In 1920s Ireland, an elderly couple reside over a tired country estate. Living with them are their high-spirited niece, their Oxford student nephew, and married house guests, who are trying to cover up that they are presently homeless. The niece enjoys romantic frolics with a soldier and a hidden guerrilla fighter. All of the principals are thrown into turmoil when one more guest arrives with considerable wit and unwanted advice.

A spellbinding film of Benjamin Britten's hauntingly beautiful chamber opera, Curlew River, made to celebrates its 60th anniversary. The standout cast is led by internationally acclaimed tenor Ian Bostridge, as the Madwoman, in a performance lauded as 'heart-wrenchingly poignant', alongside the towering presence of Sir Willard White as the Abbott. Set in the ancient Fenlands of East Anglia, the parable's deeply evocative story tells of a broken woman driven to despair as she searches for her missing child along the banks of the Curlew River. This groundbreaking film interweaves live performance with filming in the Fenlands, framing the action along the hidden paths, on the waterways and under the huge skies of Suffolk's timeless landscape.

A tribute to marriage coming from a bachelor is a tad suspicious. But for Beethoven the idealization of the woman-bride was heartfelt and sincere. It has always been a unique opera starring a courageous wife who wows audiences. Fidelio is a moral title, associated with the ideals of liberty of the French Enlightenment. Nobility and commoners are united in their thirst for justice against the oppression of power. For once the faithful consort of a desaparecido wins her battle against a treacherous tyrant, and the collective joy truly is “nameless”, as is sung on the stage. Especially because the “our heroes to the rescue” finale is recounted by the triumphant symphonic flair of the quintessential musician. Beethoven really does bring the world to collapse at the conclusion of this opera, which begins like a delightful little comedy, but which scales and transcends all the summits of the dramatic-musical art.

But I, being poor, have only my dreams. I have spread my dreams under your feet. Tread softly, because you tread on my dreams... So begins Deborah Warner’s captivating 2008 production of Purcell’s timeless opera Dido and Æneas: a careful warning that suits the tragic story only too well. Swedish mezzo-soprano Malena Ernman as a disarming Dido is at the head of a stellar cast joined by Les Arts Florissants under William Christie’s direction.

Based on a poem published in 1810 with more ethnographic than dramatic focus, Britten constructed a sombre parable about the conflict between the masses and the individual. The maritime atmosphere, the crudity of people’s lives and passions, and the complex, impenetrable personality of the protagonist come together in a tragedy which ferments and explodes in the din of silence and hearsay. New production of the Teatro Real, in co-production with the Royal Opera House Covent Garden of London, the Opéra national of Paris and the Teatro dell’Opera of Rome