Peter Rose

Ageing misfit Sir Morosus lives alone in an old-style apartment in Charlottenburg in Berlin. He is wealthy, but also lonely and a bit grumpy. Then his nephew Henry moves in with him and his life takes a turn for the better. Director Jan Philipp Gloger homes in on two of the most pressing problems of the day: loneliness and the housing shortage. The Staatskapelle Berlin is conducted by Christian Thielemann.

A myth, a heroic epic, a family saga - perhaps all of these together – make up Richard Wagner’s Ring tetralogy. This epic production of the Staatsoper Unter den Linden sees a remarkable collaboration between Christian Thielemann, one of the most distinguished Wagner conductors of our time, and Dmitri Tcherniakov, one of the great, internationally celebrated opera directors of our time.

Siegfried's love story transposed to a high-tech hell... A fascinating re-reading of the third opera in Wagner's tetralogy, served up by Dmitri Tcherniakov's daring staging and Christian Thielemann's virtuoso musical direction.

The Snow Queen is Hans Abrahamsen's first opera, composed to a self-penned libretto, based on Hans Christian Andersen's eponymous fairy tale. Following an in-depth study of the topic of snow and a life-long obsession with Andersen's fairy tales, Abrahamsen composed the opera between 2014 and 2018. Hans Abrahamsen's music, with it's smooth transitions and subtly modified repeats, lends the lyrics both depth and lightness. He is keen to point out the range of avenues for interpretation available. " It's possible to read the fairy tale in a variety of ways. It contains many mysteries which are open to numerous interpretations." Accompanying Barbara Hannigan is a top-class ensemble of singers, including Peter Rose, Katarinya Dalayman and Rachael Wilson. Cornelius Meister is the musical director, currently general music director at the Staatsoper Stuttgart.

Tim Albery's Olivier-nominated production for The Royal Opera delves deep into the psychology of Wagner's cursed wanderer and his beloved Senta, detailing the monomania and uncompromising idealism that finally drives them apart. Michael Levine's elemental single set is dominated by a rolling metal hull that represents the Dutchman's phantom ship, the poverty of Senta's home and the treacherous sea.

Staatsoper Berlin’s new production of Rameau’s tragédie lyrique, directed by Alletta Collins; featuring costumes, sets and lighting designed by Ólafur Eliasson; and musical direction by Simon Rattle, who makes his debut with the Freiburg Baroque Orchestra.

Stage director Frank Castorf “might have been born to direct From the House of the Dead” (Opera Today). His gritty, visually striking adaptation brings bold modern and postmodern touches to Janáček’s masterwork without ever overshadowing the intense forward momentum of the music, conducted to dramatic perfection by Simone Young and sung by an all-star cast in Munich. Janáček adapted Dostoevsky for this powerfully compelling opera set in a Siberian prison camp, full of starkly contrasting moods and motifs, unusual in its episodic structure. The last opera Janáček ever composed, its third act was on his desk when he died in 1928; attempts by his students to “complete” his orchestration have largely fallen away over the decades in favor of the original version. Despite the grimness of the setting and the brutality of several characters, the composer’s compassion shines through in tender moments, movingly illustrating his motto for the work: “in every creature, a spark of God.”

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.

Experimental filmmaker Pip Chodorov traces the course of experimental film in America, taking the very personal point of view of someone who grew up as part of the experimental film community.

Robert Carsen's production of Benjamin Britten's opera for Gran Teatre del Liceu, Barcelona.

Requiring 38 soloists, chorus, and large orchestra, Hans Pfitzner's "Palestrina" is a challenging opera to stage. In Munich, the city in which it was premiered in 1917, director Christian Stückle, conductor Simone Young, and the Bavarian State Opera met those challenges with stunning success.

This is a live performance of BENJAMIN BRITTEN's "A Midsummer Night's Dream" shot at Teatro del Liceu in April of 2005 featuring singers DAVID DANIELS, OFELIA SALA, GORDON GIETZ & WILLIAM DAZELEY. HARRY BICKET conducts Orquestra Simfonica del Gran Teatro del Liceu. The production received such great reviews & audience reaction that performances continued in various opera houses throughout Europe that same year. The stage direction by ROBERT CARSEN also received rave reviews and is what is seen here in this program.

New peoduction, 2009. Filmed by the Royal Opera House in co-production with Opus Arte, June 13/17.

British director Elijah Moshinsky traveled to Istanbul's Topkapi Palace with a cast of gifted singers and actors to film a lavish production of Mozart's Die Entfuhrung Aus Dem Serail (aka The Abduction From The Harem), and this documentary offers a look at both the behind-the-scenes efforts to put the project on screen and extended highlights from the resulting production. Mozart in Turkey also touches on the opera's performance history and Mozart's life at the time it was composed.

Mozart's La Clemenza Di Tito was originally commissioned to celebrate the coronation of the Emperor Leopold II as King of Bohemia in 1791. This rarely-seen masterpiece was Mozart's last opera. Nicholas Hytner's elegant staging for the Glyndebourne Festival Opera sheds new light on the compelling story of passion that overrides loyalty and integrity that is tested to the extreme.

This live recording was made at the Royal Albert Hall during one of Londons famous Promenade Concert seasons. Sir Georg Solti conducts the Chicago Symphony Orchestra and Chorus in a magnificent performance of Berliozs concert cantata. This feast of Berlioz launched Soltis farewell tour with the orchestra he had directed for twenty years and was described by The Times as the unsurpassable culmination of two decades of music-making...one that summarised all that has been most admirable about Soltis long reign in Chicago. Like reading the book by flashes of lightning was how one writer described the relationship of Berlioz to Goethe in this Dramatic Legend, his way of shaping twenty scenes selected from the story into a narrative in four parts. Though it has sometimes been staged, the works drama is to be found within the music itself, which illuminates the incidents with what the conductor Sir Thomas Beecham once called a bunch of the loveliest tunes in existence.