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.
La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave.
Robert Lepage’s dreamlike production, with its thousands of twinkling LED lights stretching across the stage to represent the sea, encapsulates the mystic feeling of L’Amour de Loin, Saariaho’s haunting opera of distant love.
Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all.
Based on Ruggero Leoncavallo's opera Pagliacci. The film recounts the tragedy of Canio, the lead clown (or pagliaccio in Italian) in a commedia dell'arte troupe, his wife Nedda, and her lover, Silvio.
Trapped in an abusive marriage, a wealthy German prince desperately seeks a way out. But what appears to be the road to salvation soon turns into a highway to hell.
On Easter Eve, 1991, the normalcy of 76-year-old Florence Holway's rural life came to a shocking, abrupt end when a 26-year-old intruder broke in to her home and brutally raped her.
Siblings Lucy, Edmund, Susan and Peter step through a magical wardrobe and find the land of Narnia. There, they discover a charming, once peaceful kingdom that has been plunged into eternal winter by the evil White Witch, Jadis.
Told through documentary, drama and first-hand accounts, this revealing film is a unique account of the most ruthless IRA bombing campaign ever to hit mainland Britain.
The Art of Henry Moore aims to rediscover the artist by returning to the works themselves – his sculptures, drawings and graphics – and to Moore’s own thoughts about them.