The Ghosts of Versailles

This concert, recorded to celebrate the 25th anniversary of the landmark musical Les Miserables, gathers the casts of the show's 2010 original production at the Queen's Theatre, the 1985 original production by the London company, and the 2010 production at the Barbican together for one performance. Together with talents like Michael Ball, Hadley Fraser, and John Owen-Jones, the performers present the play's musical numbers in a semi-theatrical style, fully costumed and with all the emotion of the musical's heyday.

Maria Callas, the world's greatest opera singer, lives the last days of her life in 1970s Paris, as she confronts her identity and life.

Features live performances of Dua Lipa's greatest hits accompanied by the Heritage Orchestra, as well as personal reflections on her career.

Taylor Swift takes the stage in Dallas for the Reputation Stadium Tour and celebrates a monumental night of music, memories and visual magic.

The Marx Brothers take on high society and the opera world to bring two lovers together. A sly business manager and two wacky friends of two opera singers help them achieve success while humiliating their stuffy and snobbish enemies.

A struggling female soprano finds work playing a male female impersonator, but it complicates her personal life.

A concert film that the former Pink Floyd singer-songwriter made on various tour dates between 2010 and 2013, when he was playing his former group's 1980 double-album in its entirety.

Recorded in Seattle, WA on Halloween Night, 1991, Live at the Paramount is the only known Nirvana live show recorded on 16mm film. Now released to coincide with the 20th anniversary of the release of Nirvana's watershed album.

The brothers Gibb perform their greatest hits from the 60's, 70's, 80's and 90's including many songs written for and made hits by other artists but never recorded by the Bee Gees themselves.

Live Aid was held on 13 July 1985, simultaneously in Wembley Stadium in London, England, and the John F. Kennedy Stadium in Philadelphia, United States. It was one of the largest scale satellite link-ups and television broadcasts of all time: watched live by an estimated global audience of 1.9 billion, across 150 nations. "It's twelve noon in London, seven AM in Philadelphia, and around the world it's time for Live Aid...!"

This film follows the remarkable and inspirational true story of Paul Potts, a shy, bullied shop assistant by day and an amateur opera singer by night.

Celebrating the 30 year anniversary of Michael Jackson's solo career, this legendary performance took place on September 10, 2001.

For Apple Music Live, Gaga presents MAYHEM Requiem, a celebration and musical reimagining of MAYHEM.

A primetime special with performances from the superstar including Adele’s first new material in six years plus her chart-topping hits. The special will also feature an exclusive interview with Adele by Oprah Winfrey from her rose garden, in Adele’s first televised wide-ranging conversation.

Where We Are: Live from San Siro Stadium features the entire 23 track concert filmed at San Siro Stadium in Milan in June 2014, as well as 24 minutes of bonus content including backstage footage of One Direction and their crew.

This contemporary re-imagining of Andrew Lloyd Webber and Tim Rice's legendary rock musical Jesus Christ Superstar presents the story of the last seven days of Christ leading up to his crucifixion as seen through the eyes of Judas Iscariot. Filmed as an arena rock opera, the performance features a star-studded line-up which includes award-winning musical comedian, Tim Minchin as the role of Judas Iscariot; pop icon and former Spice Girl Melanie C as Mary Magdalene; radio DJ Chris Moyles in his stage debut as King Herod; and Ben Forster, to take on the title role of Jesus.

Ariana Grande takes the stage in London for her Sweetener World Tour and shares a behind-the-scenes look at her life in rehearsal and on the road.

The Sound of Music Live! is a television special that was originally broadcast by NBC on December 5, 2013. Produced by Craig Zadan and Neil Meron, the special was an adaptation of Rodgers and Hammerstein's Broadway musical The Sound of Music, starring country singer Carrie Underwood as Maria von Trapp, performed and televised live from Grumman Studios in Bethpage, New York. Meron felt that if the telecast were successful, the concept could become "another kind of entertainment that can exist on TV." By her request, Underwood's casting as Maria was personally endorsed by Julie Andrews, who starred in the 1965 film.

A down-on-his-luck coach is hired to prepare a team of the best American dancers for an international tournament that attracts all the best crews from around the world, but the Americans haven't won in fifteen years.

At a sold-out concert in her hometown of LA, Olivia Rodrigo pours her heart into an electrifying night of chart-topping hits and pop-rock power ballads.

In Mea Culpa, Christoph Schlingensief blurs a delicate line: he ignores the threshold that separates the healthy from the sick. By making his cancer the subject of an opera, premiering on the largest German-speaking theater, he is putting the art district under pressure: a wonderful institution like the Burgtheater must use its artistic resources lavishly to reveal the entire "truth" about us humans. At the end of the day, when the scenery on Janina Audick's revolving stage has finally come to rest, when Isolde's last Liebestad has been sung enchantingly beautifully by Elfriede Rezabek and indescribable jubilation breaks out, then Schlingensief is completely alone with his illness.

St. Margarethen is a magnificent structure and a grand setting for Nabucco. This venue, along with the gorgeous costumes, spectacular lighting, lasers and pyrotechnics made for one grand, five star production! This is reason enough to see it and it must be an advantage to view it on DVD.--It would probably be harder to digest the whole spectacle if you were actually sitting in the audience, as there is so much to take in. The whole cast was in great form, both in singing and acting. Simon Yang as Zaccaria and Igor Morosow as Nabucco were excellent. Gabriella Morigi was a convincing Abigail who got better and better. Bruno Ribeiro as Ismaele and Elisabeth Kulman as Fenena were great, too.

Originally commissioned to celebrate the completion of the Suez Canal and the opening of Cairos new opera house, Verdis Egyptian epic Aida is here seen in a spectacular new staging in the Teatro Regio Torino by the Oscar-winning American film director William Friedkin, creator of such famous movies as The Exorcist and The French Connection. The cast features American soprano Kristin Lewis who has been heralded for her remarkable voice, which she uses with powerful dramatic instinct, and Georgian mezzo-soprano Anita Rachvelishvili, whose Amneris dominates the stage with her dark, rounded, irresistible voice and extraordinary stage presence. Gianandrea Noseda leading the Orchestra and Chorus Teatro Regio Torino received accolaides from all: he controls everything- orchestra, singers, chorus, dancers, acrobats- with an all-encompassing overview. He knows exactly when its time to linger over a timbre, a color, an expressive chord.

With ancient Rome as a backdrop, composer Benjamin Britten's chamber opera chronicles the undoing of the virginal Lucretia at the hands of Tarquinius. Stars Kathryn Harries, Anthony Rolfe Johnson, Russell Smythe and Jean Rigby imbue the lead roles with fervor and suspense while the English National Opera Orchestra provides spectacular musical accompaniment to this powerful synthesis of Greek tragedy and opera.

"La Bohème" is one of Giacomo Puccini's most popular and timeless works and the second-most performed opera at New York's Metropolitan Opera. This production, directed by the legendary Franco Zeffirelli, features José Carreras, Teresa Stratas, Renata Scotto and Richard Stilwell. The opera is replete with extraordinary visual beauty as it presents the tragic story of young bohemians struggling to make it in the world.

The audience is invited into Violetta’s privacy to have a close look at the fire to which she abandons herself among the guests of this musical and phantasmagorical celebration that blends theatre and opera, voices that speak and sing, and where the distinction between the instrumentalists and the singers becomes blurred, where Charles Baudelaire is seated next to Christophe Tarkos, and where the phantoms of this Paris in full industrial boom whose future we are living at present, sing and die.

Released in 1967, the famous black-and-white film adaptation of Donizetti's opera, starring tenor Carlo Bergonzi and soprano Renata Scotto, alongside Giuseppe Taddei, is known for its charming performances and popular recordings. The film and associated recordings captured leading Italian singers in their prime, showcasing Donizetti's beloved work, famous for the tenor aria "Una furtiva lagrima". L'Elisir d'amore saw various productions and releases in 1967, including a RAI TV film in Italy, performances at Glyndebourne starting June 17, San Francisco Opera in October, and a World Record Club vinyl release in the UK, indicating it was a popular year for Donizetti's opera across different media

Imagine a window into the past. Imagine finally connecting singers' bodies to the voices you have always treasured on record, watching footage of performances from another era. All of singers featured here have something in common (with one exception, Sutherland): they sang and performed on stage before the advent of filmed opera. . And it shows, for the first time, a few tantalizing minutes of recently recovered footage from Callas' legendary Lisbon Traviata, featuring Addio dal Passato and Parigi oh cara with Alfredo Kraus. This DVD will leave you asking for more.

The tale of a quick-witted fox and her escape from confinement for a life in the forest.

Kent Nagano superbly masters the challenges presented by this score, shapes the dynamics with subtle intensity, and casts the score in a mellow glow. As Marfa, the spurned lover of Ivan Khovansky‘s son Andrei, Doris Soffel unfolds such a rich palette of sonorities, from the pathos of the lower ranges to shaded discant heights, that “one is tempted to speak of a Russian mezzo”. The final chorus, which Mussorgsky did not compose, is played in the orchestrally transparent version of Igor Stravinsky – the third great Russian composer who contributed to making “Khovanshchina“ a timeless, gripping stage work. With his stripped-down sets and historicising costumes, director Dmitri Tcherniakov, one of the new voices of contemporary Russian theatre, builds a bridge to the political present. A lesson in history and music!

At first glance, the title of Shostakovich’s opera seems to speak for itself: Katherina, neglected and unhappy in her marriage, commits the most heinous crime just like the Shakespearian Lady Macbeth. But Nikolai Leskov’s short novel, which portrays Katherina as a monster, was only the starting point for Shostakovich to elicit understanding for an oppressed woman whose pursuit for self-determination is suppressed by society. Through combining satiric, grotesque and tragic elements in his music, Shostakovich succeeds in striking the balance between repulsion at Katherina’s immoral acts and sympathy for her. Violence, eroticism and the paralysing boredom of Russian society in the 19th century are the founding elements of this composition. The choir and orchestra of the Maggio Musicale Fiorentino conducted by James Conlon accompany tremendous soloists such as Jeanne-Michèle Charbonnet, Vladimir Vaneev and Vsevolod Grivnov in the original language in this live recording.

Pious restraint comes face to face with sensuous hedonism in Camille Saint-Saëns’s grand-opera retelling of the Bible story of Samson and Delilah. Multi-Olivier Award winning director Richard Jones returns to The Royal Opera to stage this spectacular fin-de-siècle masterpiece, not performed at Covent Garden since 2004. Elina Garanca stars as the Philistine Dalila, SeokJong Baek as the inspiring Jewish hero Samson and Antonio Pappano conducts the full forces of the Orchestra of the Royal Opera House. With superb singing in solos and duets of great intimacy and fervour, gorgeous music with thrilling orchestral interludes, and splendid choral numbers for the Royal Opera Chorus – this is a performance to remember.

This Blu-ray is a splendid record of a creative production with terrific voices and direction, as good as the Met's videos any day. It also tends to be creepy and atmospheric, with music as good as anything Gounod wrote for his FAUST. Recommended to lovers of horror and opera!

A film of the opera The Turn of the Screw by Benjamin Britten. A young governess arrives at an old house in the country to look after two orphans. What unfolds is a chilling tale as she experiences strange ghostly encounters with some of the previous occupants of the house and finds herself engaged in a battle to protect the children’s souls from evil. Myfanwy Piper’s libretto of Henry James’s famous short story leaves much to our imagination and Britten’s score is haunting, terrifying and brilliant. Shot on location at Wilton's Music Hall, London, the whole space of the venue, not just the stage, is used to tell the story.

Takarazuka Revue's Phantom based on the play by Maury Yeston and Arthur Kopit.

Recorded at the Glyndebourne Festival Opera in 1995, this acclaimed presentation of composer Gioachino Rossini's epic opus ERMIONE is based on Jean Racine's play "Andromache." Set in Troy after the city fell to the Greeks, the production recounts the rancorous battle between widow Andromache and Helen of Troy's green-eyed daughter, Ermione for the love of Pyrrhus

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.

In Benjamin Britten's operatic adaptation of Henry James' masterwork, a naive governess (Helen Field) arrives at a country manor and soon discovers that it holds a murky secret involving her charges and two ghostly servants who wield a sinister influence on them. The taut, atmospheric production also stars Sam Linay, Machiko Obata, Menai Davies and Phyllis Cannan, with the Stuttgart Radio Symphony Orchestra providing accompaniment.

Jean-Marie Villegier's modern interpretation of Handel's "Rodelinda" – filmed live at the world-renowned Glyndebourne Opera House in the United Kingdom, sets the timeless tale of jealousy and treachery in the black-and-white world of the silent-movie era. Soprano Anna Caterina Antonacci sings the title role of Rodelinda, with tenor Kurt Streit and bass Umberto Chiummo performing the parts of Grimoaldo and Garibaldo, respectively.

This set has Edita Gruberova singing in top form, all her scooping cast aside, which one finds in abundance in her Lucia under Richard Bonynge. Here, however, she makes ravishing use of those bits of tone that only she can produce: those instances of coloratura and dramatic legato with little asides and small florishes of style that suggest her intelligent approach and her high degree of musical involvement in this role. She does this in her I Puritani and her Anna Bolena, less so in Roberto Deveraux and Maria Stuarda(both sets). Listen to Addio del passato and the Sempre Libra...ravishing, yes, but there are again those nuances learned from Callas that she makes her own. A very singualr perform,ance, and extremely moving with its detail and cry for pity throughout..from the start even. Neil Schicoff is excellent, not an unworthy Alfredo at all! His is a great lyric tenor voice that should have been in the top line.