Live performance of 30 Seconds to Mars in Malaysia (2011)
The Black Oud represents a subtle new direction in documentary. I have used the term 'bio-documentary' to describe this slight, though essential, difference between my film and the majority of personal or experimental documentaries made in the last decade.
The Grove is the second part of Lawrence Jordan's H.D. Trilogy. It continues what began with THE BLACK OUD (again featuring Joanna McClure as the catalyst) and concludes in STAR OF DAY.
The film is simply the internal, subliminal (poetic) thoughts of an aging woman poet as she travels the world, alone, probably for the last time, thinking of a friend she has lost. Finally, she returns home to write ("write or die"). These story elements are all included in the last long poem of H.D. when she was in her 80s. - Lawrence Jordan
While Killzone 2 (and 3s) servers will officially shut down at the end of March 2018; its legend as a technological achievement in console FPS games will live on forever. As a bit of a retrospect, here we dive in DEEP into the nostalgia and break down Killzone 2 from its inception.
After disinheriting his nephew Ernesto, the elderly DON PASQUALE seeks a wife to produce an heir for his estate. Dr. Malatesta sympathizes with Ernesto and devises a plan to help Ernesto regain his inheritance and the widow Norina. In this Metropolitan Opera production of Donizetti's lighthearted opera, Anna Netrebko is a brazen, beautiful, vocally indomitable and utterly winning Norina while Mariusz Kwiecien, as Malatesta, uses his voice and physique with force and wit. Otto Schenk's direction allows Donizetti's buffo charmer to resonate with deepter and more stimulating emotions.
Sonya Yoncheva sings one of opera’s most beloved heroines, the tragic courtesan Violetta, a role in which she triumphed on the Met stage in 2015, opposite Michael Fabiano as her lover, Alfredo, and Thomas Hampson as his father, Germont. Carmen Giannattasio sings later performances of the title role opposite Atalla Ayan, with the great Plácido Domingo as Germont. Nicola Luisotti conducts.
Met audiences were fascinated by Mariusz Treliński’s gripping, visionary production of Wagner’s epic opera. In the daunting title roles of the doomed lovers, Nina Stemme and Stuart Skelton are passionate, overwhelming, and heartbreaking as they battle every obstacle that separates them from their true destiny. René Pape is King Marke, betrayed not only by Isolde but by Tristan, the man he most trusts and loves like a son. With Ekaterina Gubanova as Isolde’s confidante Brangäne and Evgeny Nikitin as Kurwenal, Tristan’s loyal lieutenant. Simon Rattle conducts a surging, shimmering account of Wagner’s monumental score.
Tony Award winner Bartlett Sher’s bold new production probes the psychological underpinnings of Verdi’s dynamic setting of Shakespeare’s great tragedy. At the helm of this performance is riveting conductor Yannick Nézet-Séguin, who brings out all the cascading emotions in Verdi’s turbulent score. Aleksandrs Antonenko is the Moor Otello, the triumphant general of the Venetian army who is ultimately brought down by the sly insinuations of his friend Iago (Željko Lučić). Sonya Yoncheva continues to win fans as Desdemona, Otello’s faithful and long-suffering wife. With Günther Groissböck as Lodovico and Dimitri Pittas as Cassio.
John Adams’s groundbreaking work vividly brings to life President Nixon’s 1972 visit to communist China. Peter Sellars’s Met production, based on his 1987 world-premiere staging, features choreography by Mark Morris and stars James Maddalena as Nixon, Robert Brubaker as Chairman Mao, Janis Kelly as First Lady Pat Nixon, Russell Braun as Chinese Premier Chou En-lai, and Kathleen Kim as Chiang Ch’ing, Mao’s wife. From the pomp of the public displays to the intimacy of the protagonists most private moments, Adams, Sellars, and librettist Alice Goodman reveal the real characters behind the headlines in this landmark American opera.
Live performance from the Metropolitan Opera, 10 December 2011.
The last of the four music dramas in Richard Wagner's Der Ring des Nibelungen. On the rock of Brünnhilde the three Norns weave fate. Valhalla must burn, bringing an end to the gods. Siegfried acquires Brünnhilde’s strength as a Valkyrie. He gives her his ring, and she gives him Grane, her horse. Hagen urges his half-brother Gunther to marry Brünnhilde, although she is fated to be the wife of Siegfried, who is tricked into marrying their sister, Gutrune. Brünnhilde curses Siegfried and tells Hagen he can be wounded only from the back. Hagen pierces Siegfried’s back and mortally wounds him. Siegfried's body is brought back, to Gutrune's distress. Gunther and Hagen fight and the former is killed, but the ring cannot be taken from Siegfried's body. Brünnhilde orders a pyre to be raised and rides into it on Grane, wearing the ring, which will return, on her death, to the Rhinemaidens, who drag Hagen down to the depths of the river. Valhalla finally burns.
Live from the Metropolitan Opera, February 2012.
Met Music director James Levine conducts a cast of youthful stars in Mozart’s sophisticated comedy about testing the ties of love. Susanna Phillips and Isabel Leonard are the sisters Fiordiligi and Dorabella, who are led to believe their fiancés have gone off to war. Matthew Polenzani and Rodion Pogossov are Ferrando and Guglielmo, the lovers who return in disguise to test their girls' fidelity. Danielle de Niese sings the scheming maid Despina and Maurizio Muraro is Don Alfonso, the philosopher and mastermind pulling the strings.
Star soprano Anna Netrebko created a sensation with her riveting performance as the malevolent Lady Macbeth, the central character in Verdi’s retelling of Shakespeare’s tragedy. She is joined by Željko Lučić, who brings dramatic intensity and vocal authority to the title role of the honest general driven to murder and deceit by his ambitious wife. The great René Pape is Banquo and Joseph Calleja gives a moving performance as Macduff. Adrian Noble’s powerful production provides an ideal setting for this dark drama, which is masterfully presided over by Met Principal Conductor Fabio Luisi.
The Met assembled an ideal cast for François Girard’s acclaimed new production of Wagner’s final masterpiece: Jonas Kaufmann in the title role of the fool “made wise by compassion”, René Pape as Gurnemanz, the veteran Knight of the Grail, Katarina Dalayman as Kundry, Peter Mattei is Amfortas, the anguished ruler of the Grail’s kingdom, and Evgeny Nikitin sings the evil magician Klingsor.
Richard Eyre’s elegant production, which opened the Met’s 2014–15 season, sets the action of Mozart’s timeless social comedy in a manor house in 1930s Seville. Ildar Abdrazakov leads the cast as the resourceful Figaro set on outwitting his master, the philandering Count Almaviva, played by Peter Mattei. Marlis Petersen sings Susanna, the object of the Count’s affection and Figaro’s bride-to-be, Amanda Majeski is the Countess, and Isabel Leonard gives a standout performance as the pageboy Cherubino. Music Director James Levine on the podium brings out all the humor, drama, and humanity of Mozart’s score.
Renée Fleming sings one of her signature roles, the title character in Dvořák’s sumptuously melodic Rusalka. The story of the opera, which is about a water spirit’s tragic romance with a human prince, is drawn from several folktale sources including Hans Christian Andersen’s “The Little Mermaid.” Star conductor Yannick Nézet-Séguin leads a cast that also includes Piotr Beczala as the handsome Prince whom Rusalka yearns to love; Dolora Zajick as the cackling swamp witch Ježibaba; Emily Magee as the Foreign Princess, Rusalka’s rival; and John Relyea as Rusalka’s father, the Water Sprite.
Renée Fleming is Countess Madeleine, the beautiful, enigmatic woman at the center of Strauss’s sophisticated “Conversation Piece for Music.” She is being courted by two men: Joseph Kaiser sings the composer, Flamand, and Russell Braun is Olivier, the poet. The stellar cast also includes Peter Rose as the theater director La Roche, Sarah Connolly as the actress Clairon, and Morten Frank Larsen as the Countess’s brother. John Cox’s elegant production places the action in the 1920s. Andrew Davis conducts.