Don Giovanni is the second of Mozart’s landmark collaborations with librettist Lorenzo da Ponte (after The Marriage of Figaro and before Così fan tutte). In it, they created a work that has beguiled and entranced in equal measure since its premiere in 1787. Perfectly situated, as no other opera, between tragedy and comedy, this potent drama combines glorious music with a seductive central character who is endlessly fascinating in his complexity. Kasper Holten’s 2014 production for The Royal Opera casts Don Giovanni as an artist who thrives on an audience enticed by his creative gifts. The visually spectacular set by award-winning designer Es Devlin features ingenious video designs by Luke Halls which provide an insight into the characters’ thoughts and emotions. But at the production’s heart are the beauty and invention of Mozart’s dazzling score.

Kasper Holten’s 2014 production for The Royal Opera House casts Don Giovanni as an artist who thrives on an audience enticed by his creative gifts.

Don Giovanni

Official Selection Venice Film Festival, Benoît Jacquot’s acclaimed 2002 film of Puccini’s opera stars Angela Gheorghiu in the title role with Roberto Alagna, Ruggero Raimondi and the Chorus and Orchestra of the Royal Opera House, Covent Garden, under Sir Antonio Pappano.

Acte I - The painter Mario Cavaradossi, who is working in Sant'Andrea della Valle Church, helps a political prisoner who has taken refuge there. He conceals the fact to Tosca a famous prima donna and his jealous mistress, who has come to meet him. Then he takes the prisoner to his villa just before the arrival of the head-policeman Scarpia. The latter, suspicious about Mario, makes Tosca believe that her lover is unfaithful, and Tosca is followed when she rushes to Mario's villa.

Acte II - Scarpia has dinner at Palazzo Farnese, where there is a celebration in which Tosca sings. Spoletta, Scarpia's right-hand man, arrives with Mario who has been arrested. The latter is tortured. Tosca, summoned by Scarpia, can't stand the torturing and reveals where the fugitive is hidden. Mario has deserved the death sentence, but Scarpia promises Tosca his life will be spared (his execution will only be simulated) provided she gives herself to him. Tosca pretends to consent but, when Scarpia comes near her, she stabs him.

Acte III - At down, Mario is waiting for his execution on the terrace-roof of Castel Sant'Angelo. Tosca arrives and tells him she killed Scarpia. His execution will be shammed, but he'll have to simulate death as best he can. The firing squad arrives and shoots at him, Mario falls down, the squad withdraws. Tosca runs to her lover: she realizes in horror he has been actually shot death! Spoletta comes up to arrest her, and Tosca hurls herself into empty space.

Benoît Jacquot’s acclaimed film of Puccini’s opera stars Angela Gheorghiu in the title role with Roberto Alagna and Ruggero Raimondi.

Tosca

The two middle sections of the tetralogy set out two ways of experiencing life. On the one hand we are presented in THE VALKYRIE with Bru¨nnhilde, whose evolution takes her from her discovery of sorrow and empathy to a conscious reflection on what it is to be human. By contrast, Siegfried’s path is mapped out solely as a function of his sensory experience. Where initially the young man’s self-image stems only from his exploration of his own boundless strength, other senses and sensibilities soon come to bear, along with an awakening sexuality. SIEGFRIED presents an encounter not only between man and woman but between two principles – Siegfried’s innate, unquestioned vigour on one side and Bru¨nnhilde’s wisdom born of observation on the other. And as these two diametrical forces unite in a love embrace, the end of the opera seems to be presenting the basis for a renewal of human society.

Siegfried presents an encounter not only between man and woman but between two principles

Siegfried

Victory makes Radamès a hero, but tangles his Ethiopian lover Aida in a dangerous royal love triangle and a very personal war.

Aida

Richard Wagner’s one-of-a-kind opus The Ring Cycle is brought to pulsating life at the Deutsche Oper Berlin. 

Sir Donald Runnicles and Stefan Herheim have reimagined the legendary tale of gods, heroes and giants into a production for the 21st century. 

All of the feelings, urges and thoughts that determine our own existence also appear in the two and a half hours of THE RHINEGOLD, the first opera in the Cycle There are the not-so-innocent games played by the Rhinemaidens, who humiliate the Nibelung Alberich by mocking his clumsy advances, kindling in him the unbridled lust for power instead. There’s the scornful nihilism of the fire god Loge, as well as the father of the gods Wotan’s attempt to create something that will last, by erecting the palace of Valhalla. And last but not least, the gold itself is a mute lead character: an item of gleaming fascination, it is simultaneously a touchstone that divides gods and humans alike into good and evil.

Richard Wagner’s Das Rheingold - an epic of gods and monsters - brought to the 21st century at the Deutsche Oper Berlin.

Das Rheingold

Daniele Abbado explores themes of identity, exile and religion in this powerful staging of Verdi's epic opera with Plácido Domingo as Nabucco.`

Daniele Abbado explores themes of identity, exile and religion in this powerful staging of Verdi's epic opera with Plácido Domingo as Nabucco.

Nabucco

Daniel Barenboim conducts Fidelio, a moral title associated with the ideals of liberty of the French Enlightenment.

Fidelio

Glyndebourne has a proud association with the operas of Benjamin Britten, however until 2010 had never staged Billy Budd. The all-male opera with a libretto co-written by E.M. Forster, is based on the battle between pure good and blind evil, and is set on a British man-o'-war ship. Michael Grandage, Artistic Director of the Donmar Warehouse, chose this work to make his long-awaited operatic debut. Sir Mark Elder returned to conduct, marking the 100th opera production in his illustrious career.

The all-male opera is based on the battle between pure good and blind evil, and is set on a British man-o'-war ship.

Billy Budd

Forbidden love, wrongdoings and anguish: the Opernhaus Zürich ventures into late 19th-century French romanticism with “Werther“ by French composer Jules Massenet. A loose adaptation of Johann Wolfgang von Goethe’s epistolary novel “The Sorrows of Young Werther”, the opera is conducted by Germany’s Cornelius Meister. It tells the story of the impossible union of poet Werther to Charlotte, a woman of duty already promised to a wealthy businessman.Goethe’s drama is echoed in Massenet’s score by emotionally wide-ranging vocal parts written on a grand scale.

A loose adaptation of Johann Wolfgang von Goethe’s epistolary novel “The Sorrows of Young Werther”, composed by Jules Massenet. 

Werther

Winner of the 2017 International Classical Music Award and BBC's Music Magazine Award. Alban Berg’s “Wozzeck” depicts the everyday life of soldiers and the townspeople of a rural German-speaking town and is an indispensable work in the repertoire of any opera house. In Zurich, critics and audience celebrated director Andreas Homoki, General Music Director Fabio Luisi and baritone Christian Gerhaher for their intriguing interpretation of this masterpiece of operatic history.

Alban Berg’s “Wozzeck” depicts the everyday life of soldiers and the townspeople of a rural German-speaking town.

Wozzeck

The main setting for this realistically inspired production of the Barber of Seville, both indoors and out, is Rosina’s house. Ketevan Kemoklidze leads as Rosina while the orchestra plays under the magical baton of the young principal guest conductor Andrea Battistoni.

Ketevan Kemoklidze leads as Rosina while the orchestra plays under the magical baton of the young principal guest conductor Andrea Battistoni.

The Barber of Seville

Das Rhinegold is a theatrical journey that takes us back to our childhood, where fantasy becomes palpable reality. Embedded in this fairytale world, alongside norns, water-sprites, dwarfs, giants and gods, the human family has created a deceptive image for itself. But a terrible truth cannot be avoided: anyone who is forced to renounce love and is cheated of his inalienable human nature will exact a terrible revenge. 

Das Rheingold introduces the ring. The well-known prelude opens with 136 measures of an E-flat major chord: this prolonged harmony represents the ageless river Rhine, upon whose banks the Rhinemaidens play. Alberich, a Nibelung dwarf, tries vainly to seduce one of the Rhinemaidens. Mockingly, they reveal the secret of the gold they guard: out of it, one can forge a ring powerful enough to rule the world, provided the forger gives up Love forever. Alberich manages to steal the gold and makes the ring, using it to control his fellow dwarfs while he plans his world take-over. In the meantime, Wotan (king of the gods), like many new home owners, has to figure out how to finance the construction of Valhalla (hall of the gods). He has promised his sister-in-law as payment to the construction workers, but his wife Fricka isn't too keen on selling her sister to the giants (led by Fafner). Loge (god of fire) tricks Alberich into turning himself into a toad and brings Alberich back to Wotan, who takes the ring from the dwarf. Bitter at losing his ring, Alberich places a curse on it: lack of the ring will fuel desire for it and possession will only lead to misery. Wotan ends up giving the Ring to Fafner as ransom for Fricka's sister.

Das Rhinegold is a theatrical journey that takes us back to our childhood, where fantasy becomes palpable reality.

Rheingold

Rinat Shaham, with her sublime singing, is the provocative and free-spirited Carmen, while Dymtro Popov portrays Don José with a perfect mix of naivety and desire, his rich tenor rolling out across the harbour.

Rinat Shaham is the provocative and free-spirited Carmen, while Dymtro Popov portrays Don José with a perfect mix of naivety and desire.

Don Giovanni (Juan)

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