Acting
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A spectacular chase between the prince and the monster opens the scene, featuring a love story with a kidnapped princess, two warring antagonists—the Queen of the Night and Sarastro—, "funny characters" like Papageno and Papagena, and, last but not least, the magical instruments of flute and glockenspiel... The enchanting music and fairytale motifs make "The Magic Flute" the perfect introduction to the world of opera for young and old.
Suspecting her missing husband is being held as a political prisoner, a noblewoman disguises herself as a male prison guard. She discovers him weakened in the darkest dungeon, but will she be able to rescue him before it is too late?
Norma is a woman torn between two systems. As a chaste druid priestess, she decides on war and peace in an occupied land; secretly, she’s the lover of Roman commander Pollione and mother of his two children. Her double life unravels when Pollione plans to leave her for the younger priestess Adalgisa. Caught between love and vengeance, faith and reason, tradition and empire, Norma nearly kills her children—before choosing another, equally radical path. Vincenzo Bellini’s 1831 opera is a masterpiece of Italian Romanticism. The role of Norma, with its emotional and vocal range from bel canto to raw outcry, is iconic. Director Vasily Barkhatov sets the tragedy amid political upheaval, where old idols are replaced by new. Star soprano Asmik Grigorian debuts in the title role. Adalgisa is sung by Aigul Akhmetshina.
After a victorious battle, three witches predict that Macbeth, who commands King Duncan's army, will ascend the throne of Scotland. Urged on by his wife to force fate, he takes advantage of the monarch's stay in their castle to murder him... The daring Krzysztof Warlikowski revisits Verdi's most powerful Shakespearean opera, with baritone Vladislav Sulimsky and soprano Asmik Grigorian in the roles of the murderous spouses.
Mozart’s Requiem – his final and unfinished masterpiece – is an extraordinary work. Discover the piece at the Salzburg Festival in the hands of conductor Teodor Currentzis, the ensemble musicAeterna, Anna Prohaska (soprano), Katharina Magiera (contralto), Mauro Peter (tenor), and Tareq Nazmi (bass). Few musical works are as steeped in legend as Mozart’s Requiem in D minor, K. 626. Commissioned anonymously by the eccentric count Franz von Walsegg, the funereal oeuvre would become Mozart’s last: when he died on December 5, 1791, only the Requiem aeternam and Kyrie movements were fully composed and orchestrated. Completed by other composers (Mozart’s student Franz Xaver Süssmayer in particular) using Mozart’s sketches and notes, the resulting work weaves the emotions we associate with death into a timeless musical exploration of every human being’s destiny, and constitutes a powerful final testament to its creator’s genius.
Guiseppe Verdi’s Requiem is still heard mainly in theatre and concert halls. However, the author himself intended this composition to be performed in church, and on special occasions. Conducted by Teodor Currentzis and performed by soloists and musicAeterna choir and orchestra, Verdi’s famous funeral mass returns from the concert stage to Milan’s Church of San Marco, the same place where it was premiered in 1874. The seven parts of the Requiem become steps on the way to comprehending the sacrament of death, the operatic character of orchestral and vocal writing acquires the strictness of the Catholic tradition, and musical images of rage, despair, and rebellion against the inevitable end are crowned with appeasement.
In a village community that holds firm to archaic customs, the young hunter Max must pass a marksmanship test so he may marry his sweetheart, Agathe. Of all times now when his shooting has been very much below par! Carl Maria von Weber and his librettist Friedrich Kind fluctuate between ghost story, fairy tale, fortune play and interplay between heaven and hell.
