Anew production of Tannhäuser, which was premiered on 26 July 2019 and presented the Bayreuth debut of conductor Valery Gergiev, as well as the house debut of young soprano star Lise Davidsen. Tobias Kratzer’s staging presented Tannhäuser as a wildly contemporary parable of art and freedom which was praised as “novel” and “wrenching” (New York Times) and received exceptional press acclaim. hey were joined by mezzo soprano Elena Zhidkova’s Venus (“scene stealing”, according to Opera Today), baritone Markus Eiche’s Wolfram and Stephen Milling’s Landgraf.
Chuck Rodwell is a gambling cowboy who discovers that he's lucky at the roulette wheel if he holds hands with dancer Marie. However, Marie doesn't like to hold hands with him, at least not in the beginning...
This hilariously smart satire tells the story of Johnny Vince, a swingin' hepcat who meets hitman Sam and Harvey on a road trip to pull a "botched robbery" in Las Vegas. Along the way they take a deeply unfulfilled not-so-good-girl hostage, encounter the mysterious Mechanic, get harassed by a foul-mouthed answering machine... and did we mention the lesbians? The result - hilarity ensues!
A prisoner with a good singing voice escapes, only to grow jealous when an opera singer who looks like him is delivered back to the prison and receives attention, especially from Ann, the warden's daughter who leads the prison glee club.
Boldly rewriting the opera’s dialogue to accommodate his concept, Mr. Tcherniakov presents “Carmen” as a large-scale role-play, a novel bit of psychotherapy for a numb modern man.
An animated film in loose material set to music by Johann Sebastian Bach. The imagery in the film is inspired by the magnificent interiors of Gothic cathedrals (Reims, Chartres). The composition of the film follows the principle of viewing a Gothic cathedral: first, the author shows the facade, then "enters" the interior and shows the lower part of the building emerging from the shadows. Then the camera focuses on the columns and pillars, the niches with reliefs, to reach the magnificent rose window crowning the nave. The bright light falling into the interior makes the real shapes disappear and is replaced by light, a symbol of lasting spiritual values.
Bleachers unplug for an acoustic set of hits like “Don't Take the Money” featuring Lorde and “I Wanna Get Better” at The Stone Pony in Asbury Park, New Jersey.
The Angels came hurtling out of Adelaide in the 1970s with the searing guitar sound of the Brewster brothers and Doc Neeson, a frontman who was beyond intense. Their songs remain etched in the DNA of this city: Am I Ever Goin’ to See Your Face Again, Take a Long Line, No Secrets. They worked their way up, developing an unmistakably unique musical style. By 1978 they were a behemoth of the local rock scene and on the path to international success… until they just missed their chance. Yet they still revolutionised the Aussie music scene transforming it from pretty pop to gritty guitar rock featuring ferocious and theatrical live shows. Adelaide director Maddie Parry (Hannah Gadsby: Nanette) has made a surprisingly intimate documentary, with band members’ home videos and never-before-seen photos, exploring the internal tensions that strained relationships to breaking point, even while producing incandescent rock’n’roll. - AFF
Set around a classic case of broken vows – the defendant having literally left the claimant at the altar – the trial bubbles over with emotion, humour, and downright chaos, leaving the jury divided. This Opera Australia performance was recorded in 2005.
"Giovanna d'Arco; ossia, la pulzella d'Orléans" is an operatic dramma lirico with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The opera partly reflects the story of Joan of Arc and is based on a play by Friedrich von Schiller, although claimed by the librettist to be "an entirely original Italian drama." If the thought of Anna Netrebko strutting her stuff in a suit of armour and tin hat sets your factor tingling then this is a must. It's an inconsistent opera but has some quite wonderful music along the way. The rest of the cast is good and the production won't offend either. Get it for Ms Netrebko's incredible performance alone.
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