From the Staatsoper Stuttgart 1983 Produced and designed by Achim Freyer, Satyagraha is conducted by Dennis Russell Davies. Glass’s opera evokes impressions of Gandhi’s years in South Africa and his development of the philosophy of satyagraha (a Sanskrit word meaning ‘love/strength’) as a political and revolutionary tool. The text is drawn from the great Hindu spiritual treatise, the Bhagavad Gita, and sung in the original Sanskrit – a sacred language which is no longer spoken. This device enhances the ceremonial quality of the work and complements the ritual atmosphere built up by Glass’s hypnotic music.
The Beggar’s Opera
John Gay (1685-1732), a genial poet and playwright with a talent for satire, got the idea for The Beggar’s Opera from his friend, the satirist Jonathan Swift, who had mentioned to him that “A Newgate pastoral might make a pretty sort of thing”. In general, ballad opera, set among London’s criminal classes and full of satirical jibes about corruption in high places, suited English taste better than Handel’s heroic operas by the 1720s.
Created specially for television, this Beggar’s Opera captures the quality and satiric edge of the Hogarth engravings which influenced Gay’s original version.
The music for this production has been arranged from the eighteenth-century folksongs of the original (selected by Johann Christoph Pepusch) by baroque specialists Jeremy Barlow and John Eliot Gardiner, who conducts The English Baroque Soloists, performing on authentic period instruments.
Roger Daltrey, lead singer of The Who and star of the films including Tommy, McVicar and Lisztomania, heads a distinguished cast as the villainous hero Macheath.
Highlights from Arena di Verona
Some of the opera world’s greatest artists are featured in extracts from works by Verdi and Puccini, performed at Italy’s spectacular Arena di Verona. Extracts from Tosca, Otello, Il Trovatore, Turandot
Ernani
Ernani, Verdi’s fifth opera (1844) is melodic from beginning to end. Based on Victor Hugo’s play, whose tumultuous reception in 1830 marked a decisive turning point in the development of romantic drama, this violent and sombre story of frustrated passion, honour fatally impugned, and ambition thwarted and rewarded, is set by the young composer to a succession of irresistible tunes, unsurpassed even in his mature works. The opera’s dramatic impetus is unstoppable. For Luca Ronconi’s production, four of the world’s leading Verdi singers were engaged: Placido Domingo as the bandit, Ernani; Renato Bruson as the scheming, dangerously suave King Charles of Spain; Nicolai Ghiaurov as the proud Spanish Grandee whose implacable sense of honour propels the action to ist tragic conclusion; and Mirella Freni as the gentle heroine desired by these three rivals.
I Lombardi
Verdi’s opera is set at the time of the first Crusade and tells of the rivalry between two brothers, Arvino and Pagano, for the love of Viclinda. Pagano, in an attempt to abduct Viclinda and kill his brother, in error murders his father. He is exiled to the Holy Land to live as a hermit. Giselda, Arvino’s daughter, has gone with her father on the Crusade, but is captured by Acciano, tyrant of Antioch. She falls in love with his son Oronte. They escape, but Oronte is wounded and dies. The hermit leads the attack on Jerusalem and then reveals his identity to Arvino, dying forgiven in his brother’s arms.
The Makropulos Case
Based on a play by Karel Capek, The Makropulos Case focuses on the issue of longevity – the pros and cons of living for 337 years, as happens to the mysterious Emilia Marty, the sexually irresistible prima donna who’s seen it all and done it all. Part grotesque human comedy, part profound personal tragedy, Janácek’s opera examines the eternal mystery of human existence with uniquely life-enhancing vision. “Anja Silja’s Emilia Marty in Makropulos at Glyndebourne is a nonpareil triumph… This is a near-perfect production by Nikolaus Lehnhoff” Wall Street Journal
Aufstieg und Fall der Stadt Mahagonny
It took 68 years for [Aufstieg und Fall der Stadt] Mahagonny to come to the Salzburg Festival, but it arrived in style. In Peter Zadek’s bold 1998 production the denizens of Brecht and Weill’s sin city crowd the vast stage of the Grosses Festspielhaus, and conductor Dennis Russell Davies brings an uncompromising zest and grit to the playing of the Radio-Symphonieorchester Wien. But Weill was always adamant that Mahagonny is an “epic opera”, and Salzburg never stints on that score. Catherine Malfitano and Jerry Hadley head a cast that stars Dame Gywyneth Jones as Widow Begbick: performances exactly as outsized, and as gripping, as Weill demanded.
Iphigenie en Tauride
The goddess Diana has spared Iphigenia from a cruel fate – but now, in a remote and savage land, the young princess faces an even more terrible choice. Gluck is 18th-century opera’s forgotten revolutionary, and with its uncompromising emotions and dramatic power his 1779 tragedy Iphigénie en Tauride inspired composers from Mozart to Berlioz. In 2001, for the Zurich Opera, director Claus Guth and 18th-century music specialist William Christie stripped it back to its timeless, mythic essentials. Juliette Galstian and Rodney Gilfry head a hand-picked cast in a period-inspired staging charged with ritual, grandeur and unchained passion.
Romeo and Juliette (realised as a film)
Shakespeare’s lovers never looked and sounded as good as in this romantic film adaptation of Charles Gounod’s beloved opera Roméo et Juliette, starring one of classical music’s most popular and successful couples, Roberto Alagna and Angela Gheorghiu. A spectacular medieval castle and its surrounding countryside provide the breathtaking setting for this timeless tale of warring families and star-crossed lovers. Conductor Anton Guadagno leads the Czech Philharmonic Chamber Orchestra through the opera’s beautiful arias and duets in this fresh interpretation of Gounod’s masterwork.
Nina
Crazy in love: Mozart was a fan of the operas of Giovanni Paisiello and in the years after its premiere in 1789, Nina took Europe by storm. Its blend of melody, playfulness and pathos is just as potent today, and in 2002 this stylish new staging by Cesare Lievi for the Zurich Opera brought Paisiello a new generation of admirers. Conductor Adam Fischer brings out all its freshness and emotion, and with a cast that includes Cecilia Bartoli at the height of her powers as the lovelorn Nina, as well a young Jonas Kaufmann, Paisiello has never sounded more compelling.