Barbara Hannigan

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The Emerson String Quartet embarks on the final season of a fifty-year history that includes 9 GRAMMYs and thousands of concerts. Interweaving vivid memories with delicate observations of life on the road, the film explores the difficult decision to walk away from the things they cherish: the music they play and the friends they hold dear. At once a frank examination of the tyranny of aging and a cri de cœur to pass the torch to a new generation, the film culminates with one final performance, leaving all to ponder what happens to us after the final curtain.

A medieval cult travels to the 20th century and kills people in an attempt to bring about the end of the world. The policeman must stop them by summoning the spirit of Nostradamus.

An irreverent and hilarious spin on opera, domestic drama and the hallowed institutions of love and marriage, Burnt Toast is an hour-long television opera comprised of a series of eight comic operas each depicting a different stage of romantic love. The relationships depicted run the gamut: from the passionate to the fantasized, the bored and of course the dead relationship, each as recognizable as the last.

Alone in a secluded mansion, Giacomo Casanova cries out then collapses. When the mysterious and beautiful writer, Elisa von der Recke, comes to visit, it breathes new life into the old man. A movie that captures the myth of the greatest seducer of all times, Casanova, his story is told both through fiction and on-stage opera performances that unravel the tale of his adventures, his passions, and ultimately his fear of death.

When Written on Skin had its premiere at the 2012 Festival d'Aix-en-Provence, conducted by George Benjamin himself, it received a standing ovation. The opera's arrival at Covent Garden in 2013 was eagerly anticipated, and provided audiences with the opportunity to experience the work of two of Britain's greatest living artists. Benjamin previously collaborated with playwright Martin Crimp on Into the Little Hill, a magical retelling of the Pied Piper fairytale, and for this new work they joined forces with acclaimed stage director Katie Mitchell. For all three, the production marked their main-stage debut at the Royal Opera House. The tale, inspired by a medieval legend, tells of an ill-fated troubadour, drawn into a liaison with an innocent maiden. But they are observed by the jealous eye of her protector, who wreaks a shocking revenge on the young couple. Written on Skin draws on a 12th-century Occitan legend about the troubadour Guillaume de Cabestanh.

A humourous "domestic opera" about an upwardly mobile couple in their mid thirties who can't resolve an argument about the cap being left off the toothpaste.

The Snow Queen is Hans Abrahamsen's first opera, composed to a self-penned libretto, based on Hans Christian Andersen's eponymous fairy tale. Following an in-depth study of the topic of snow and a life-long obsession with Andersen's fairy tales, Abrahamsen composed the opera between 2014 and 2018. Hans Abrahamsen's music, with it's smooth transitions and subtly modified repeats, lends the lyrics both depth and lightness. He is keen to point out the range of avenues for interpretation available. " It's possible to read the fairy tale in a variety of ways. It contains many mysteries which are open to numerous interpretations." Accompanying Barbara Hannigan is a top-class ensemble of singers, including Peter Rose, Katarinya Dalayman and Rachael Wilson. Cornelius Meister is the musical director, currently general music director at the Staatsoper Stuttgart.

Barbara Hannigan is a renowned soprano and exceptionally talented artist and musician from Canada, who recently has begun an international career as conductor. Making its North American premiere, Taking Risks shows Hannigan preparing to conduct her first opera, Stravinsky’s masterpiece The Rake’s Progress. From auditions to opening night, we follow the journey of a dedicated, passionate, and perceptive woman, taking a behind-the-scenes look at her creative process, with many moments of excitement and magic.

Canadian soprano and conductor Barbara Hannigan conducts and sings with the French Radio Orchestra in a sensual programme celebrating the city of lights: gay Paris. Mezzo-soprano Julia Dawson, tenor Ziad Nehme and bass-baritone Douglas Williams also perform. Programme: Igor Stravinsky – Pulcinella Kurt Weill – Youkali Jacques Offenbach - La Gaîté parisienne

In “C’est presque au bout du monde”, I explore a mystery which fascinates me : where do these inhuman voices come from ? Where in the body is the source of this unsettling anomaly of singing ? - Mathieu Amalric

Brett Dean's multi-award-winning opera received its world premiere at Glyndebourne Festival 2017. The world premiere recording of Brett Deans new opera based on Shakespeares best-known tragedy: To be, or not to be. This is Hamlets dilemma, and the essence of Shakespeares most famous and arguably greatest work, given new life in operatic form in this original Glyndebourne commission. Thoughts of murder and revenge drive Hamlet when he learns that it was his uncle Claudius who killed his father, the King of Denmark, then seized his fathers crown and wife. But Hamlets vengeance vies with the question: is suicide a morally valid deed in an unbearably painful world?

When a woman steps onto the conductor's podium, she is always one of the first: the first to lead a world-class orchestra, the first to conduct the closing night of London's Proms, the first to win the German Conductor Prize. It seems as though the world of orchestral conducting might finally be ready to change its attitudes toward female conductors.

Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…

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Opera based on the story of Edward II and Piers Gaveston. Music by George Benjamin, libretto by Martin Crimp. BBC broadcast of the 2018 premiere at the Royal Opera House, the composer conducting, prefaced by commentary and interviews.

Premiered in Stockholm in 1978, the work is based on a play by Michel de Ghelderode (1898-1962) and unfolds in an imaginary land inspired by the famous Dutch painter Pieter Brueghel the Elder: Nekrotzar, the Grand Macabre, announces the end of the world; but in a land ruled by eros, alcohol and corruption, his plan to unleash the Apocalypse bursts like a soap bubble. LIVE RECORDING FROM THE GRAN TEATRE DEL LICEU, BARCELONA, 2011

The film follows Canadian singer, conductor and actress Barbara Hannigan backstage in an attempt to reveal the secret behind this wild, fearless and remarkably versatile woman.

The Emerson String Quartet records their last album, Infinite voyage, in three days, after 47 years of music together. For this farewell, the string quartet invited soprano Barbara Hannigan to join them, and a film was born. Their precise, inhabited work, the moments of enthusiasm and fright, the research and the jokes, the evening meals and the morning confidences, the age limit of these men and the flamboyance of this woman nourishing each other, the admiring friendship full of irony and joyful rigor, the craft and yet the discovery, the humor as a cog towards concentration, the individual and the group… all this composes a portrait of the usually invisible making of music. Before everyone goes their own way.

Opera confronts us with extremes of emotion, sometimes delivering unforgettable, life-changing experiences. Fuoro sacro (‘Sacred Fire’) seeks out singers who have the power to pierce our hearts, presenting three of them at work in the most intimate details of their rehearsals and preparations. Ermonela Jaho, Barbara Hannigan and Asmik Grigorian are watched closely as some of their secrets are revealed: how they inhabit their roles and transform words and notation on a page into that intangible but powerful magic being communicated to audiences from the opera stage. Over 90 minutes of extras are included featuring vocal warm-ups and live performances accompanied by pianists Evgenia Rubinova, Reinbert de Leeuw and Francesco Piemontesi.