Thomas Allen

Recently widowed well-to-do Laura Henderson purchases the Windmill Theatre in London as a post-widowhood hobby. After starting an innovative continuous variety review, which is copied by other theaters, they begin to lose money. Mrs Henderson suggests they add risqué burlesque acts similar to the Moulin Rouge in Paris.

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive. The internationally renowned Mozart interpreter Sir Colin Davis conducts the chorus and orchestra of the Royal Opera House and a glittering cast in David McVicar's 2003 production of the opera Mozart wrote in the final year of his life, recorded live at Covent Garden.

Candide falls in love with the beautiful but materialistic Cunegonde. Her barron father doesn't approve of the affair so Candide wanders, meeting all the misfortunes along the way.

Renée Fleming lights up the Met stage as Hanna Glawari, the fabulously wealthy widow of the title in Lehár’s beloved operetta, set in Paris and seen in a glittering production directed and choreographed by Broadway’s Susan Stroman. Nathan Gunn is Danilo, Hanna’s former flame, who is supposed to woo and marry her in order to keep her fortune in their home country of Pontevedro. Kelli O’Hara sings Valencienne, the flirtatious young wife of the Pontevedrian ambassador in Paris, Baron Zeta, played by Thomas Allen, and Alek Shrader is her suitor, Camille. Andrew Davis conducts the waltz-rich score, and the new English translation is by Jeremy Sams.

This production of Strauss’s most sumptuous work by director Nathaniel Merrill and designer Robert O’Hearn is almost as beloved as the opera itself. It perfectly captures the glittering never-land of rococco Vienna the way the Viennese—and the rest of the world—wish it had been, and it’s the ideal setting for an adult comedy of love and errors. Susan Graham is the aristocratic young Octavian, torn between two women: Renée Fleming as the Marschallin, the mature woman who understands that one day Octavian must leave her; and Christine Schäfer as Sophie, the young girl who unexpectedly captures his heart. Kristinn Sigmundsson is the lecherous Baron Ochs who sets the whirling plot in motion, and Edo de Waart conducts.

Staging directors Patrice Caurier and Moshe Leiser infuse German composer Engelbert Humperdinck's fairy-tale opera with more than a dollop of black humor in this 2008 London performance that's both enchanting and menacing. Angelika Kirchschlager and Diana Damrau play Hansel and Gretel, respectively, and beloved British baritone Thomas Allen portrays their father in an outstanding production led by maestro Colin Davis.

"Manon", wrote Puccini to his publisher Giulio Ricordi in 1889, "is a heroine I believe in and therefore she cannot fail to win the heart of the public." This turned out to be a truly prophetic statement since none of Puccini’s other world successes were received on their first nights as rapturously as Manon Lescaut. The popularity of Puccini’s great masterpiece has never waned and the highly acclaimed Götz Friedrich production at Covent Garden was hailed as an operatic milestone. Two of the world’s leading stars--Kiri Te Kanawa and Placido Domingo--head a strong cast conducted by the brilliant Italian conductor Giuseppe Sinopoli.

All-time classical favourites from the first ever public concert held in the grounds of Buckingham Palace, hosted by Her Majesty Queen Elizabeth II. Broadcast live on BBC Television, 1st June 2002. Opera fans are in for a particular treat with Dame Kiri Te Kanawa (singing Bizet and Gershwin), Sir Thomas Allen (Rossini and Sir Edward German), and Roberto Alagna and Angela Gheorghiu (Puccini and Verdi) sharing the honours. Maestro Mstislav Rostropovich also makes a rare guest appearance with the cello section of the London Symphony Orchestra playing Villa-Lobos.

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Clive Anderson introduces this special concert celebrating 75 years of classic MGM film musicals. Performing live at London's Royal Albert Hall, John Wilson and his orchestra celebrate the golden age of Hollywood musicals with a plethora of songs from the great movies including 'The Wizard of Oz', 'High Society', 'Meet Me in St Louis' and many more.

Live performance from the Metropolitan Opera, 27 February, 1996.

Glyndebourne's pulsating new production of the Waltz King's much-loved comic operetta. Its story centers on a magnificent masked ball, given by a Russian prince, that brings together all the main characters in various disguises. The three-act journey from boudoir to ballroom to jail provides ample opportunities for farce and humor, but also for genuine human emotion and a surprisingly realistic view of urban life.

From the "James Levine: Celebrating 40 Years at the Met" DVD box set. Jean-Pierre Ponnelle’s landmark production of Mozart’s most human comedy provides the perfect setting for this superb cast under James Levine’s ebullient leadership. The philandering and arrogant Count Almaviva (Thomas Allen) is no match for his wily servant Figaro (Ruggero Raimondi), whose soon-to-be-wife Susanna (Kathleen Battle) is as manipulative as she is charming. Add in one beautiful, disillusioned Countess (Carol Vaness) and one irrepressible, testosterone-laden teenage boy (Cherubino, played by Federica von Stade), and it’s no wonder some critics say this is the perfect opera.

The 2004 Opus Arte DVD release of Wolfgang Amadeus Mozart's Don Giovanni (recorded at Teatro alla Scala in 1987) is highly regarded by English-language critics as a definitive "traditional" production, notable for its legendary collaboration between conductor Riccardo Muti and director Giorgio Strehler.

Live performance from Cologne Opera. Conlon conducts a skittishly dynamic performance of Don Giovanni. He relies on Thomas Allen’s tough Don to give the work much of its dark menace and on Holle’s terrifying Commendatore to provide the moral outrage – his job is to keep things moving, and he does. The exteriors – blank city spaces reminiscent of the paintings of Giorgio De Chirico – and moodily claustrophobic interiors mirror effectively the anguish of the orphaned Anna and the abandoned Elvira; this is a performance in which the two women victims of the Don function effectively as correctives to his libertine charm. Andrea Rost as Zerlina brings real delicacy to her role, reminding us that “La ci darem la mano” is a duet about her flirtation with Don Giovanni and not just a famous stand-alone moment. This is an admirable presentation of a fine performance.

James Morris leads an all-star cast including Karita Mattila, Ben Heppner, Thomas Allen and René Pape, in this production of Wagner's comic opera, recorded live at New York's Metropolitan Opera in 2001. James Levine conducts.

Containing some of the most beautiful arias and attractive ensembles in all opera, Così fan tutte is packed with both pathos and humour. Mozart and Da Ponte's witty, compassionate examination of young love has ensured its lasting popularity. Jonathan Miller’s original 1995 production for Covent Garden is dear to the hearts of London audiences and has been revived numerous times. Necessity, they say, is the mother of all invention. With no money left for costumes, Miller has the genius idea of asking Giorgio Armani to lend a hand... This production is from Sept 2010.

1982 revival of 1974 John Copley production.

An opera by Benjamin Britten, on a libretto by E.M. Forster and Eric Crozier, adapted from the story by Herman Melville. Billy Budd is a young sailor aboard a British man-o'-war, persecuted by his master-at-arms, Claggart. Accused of mutiny, Budd accidently strikes Claggart dead, leaving Captain Vere with no choice but to hang him.

There are elements of Eurotrash in this outdoor Aix-en-Provence summer opera production. Nevertheless, the splendid singing and acting transform the story, normally treated as farce, into something considerably more serious. As many other critics have noted, the young lovers have not yet sorted everything out as this performance ends. Act One begins with the principal characters running around in the outdoor theater -- while the audience takes it in as if they had been advised to sit back and enjoy the novelty. Very likely they were also asked to refrain from applauding at the end of arias and ensemble pieces, in which the three-hour opera abounds.