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La fille du régiment (2007)
This version of Donizetti’s comic opera zooms right to the top of any list of essential videos for opera fans. In this action filled physical comedy, the beautiful tomboy Marie was found on a battlefield as a baby and adopted, not by one soldier but by an entire regiment. When Marie falls—quite literally—into the arms of the handsome Tonio, her military dads jump to protect her to stop a possible marriage. LA FILLE DU RÉGIMENT may not be the composer’s best work, but given a top-notch production with world class singing actors, it brings vocal thrills and an abundance of laughs, a combination that’s hard to beat. The stars are Juan Diego Flórez and Natalie Dessay, both unbeatable in bel canto roles, and both in top form here.
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1984 (2008)
Inspired by one of the twentieth century’s greatest novels, composer Lorin Maazel evokes Orwell’s totalitarian nightmare, where “Big Brother” is always watching, and those guilty of “thoughtcrime” are condemned to face their worst fears in the infamous “Room 101”. Filmed during world premiere performances of Robert Lepage’s spectacular and psychologically gripping Royal Opera production and conducted by the composer, an international cast brings Orwell’s datk vision to shattering operatic life.
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Carmen in 3D (2011)
Passion, jealousy and betrayal take center stage at Londons Royal Opera House in a spectacular production of the worlds most popular opera. Bizets Carmen is packed with some of the best-loved and memorable music in all of opera. In this characteristically vivid and vibrant stage production by Francesca Zambello, beautifully filmed in 3D by Julian Napier, Seville is brought to life with ranks of soldiers, crowds of peasants, gypsies and bullfighters as well as a magnificent horse, a donkey and even some chickens! This spectacular RealD and Royal Opera House production features a supremely talented cast, gripping drama and Bizets energetic and passionate score. It is truly a musical event to remember!
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Der Rosenkavalier (2017)
In his new production, Robert Carsen places the action at the end of the Habsburg Empire, underscoring the opera’s subtext of class and conflict against a rich backdrop of gilt and red damask
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