Ever since its premiere in Turin in 1896, La bohème has been a huge hit with audiences across the world. Within two years, it had been seen in Buenos Aires, Los Angeles, Prague, Berlin, Manchester and beyond. With over 500 performances chalked up at Covent Garden alone, this opera is one of the most popular and enduring in the repertoire. In this performance from 2020, Sonya Yoncheva stars as the doomed seamstress Mimì, with Charles Castronovo as Rodolfo, who falls in love with her at first sight. Simona Mihai and Andrzej Filonczyk perform the roles of the on-off lovers, Musetta and Marcello. Poverty and passion collide in a story of friendship and fellowship, love and loss. Featuring some of Puccini’s best-loved music, this performance is conducted by Emmanuel Villaume.

Without question, this is an incredibly bizarre production. The revised storyline makes little sense, and there is a surprising amount of violence and sexual innuendo. However, the singers are superb, both vocally and in regard to their stage presence and acting, the orchestra plays beautifully, the chorus is wonderful, and the set is as clever as it is strange. It's definitely not for purists, or for someone new to this particular opera. But for someone who's seen Die Entfuhrung before, and is familiar enough with the original story to not miss it, watching Belmonte, Constanze, Blonde, Pedrillo, and Osmin embark on an entirely new adventure -- and push the boundaries of good taste -- is rather enjoyable.

How can emotion come to light on the opera set? Does it come from singing, acting or music? How can someone become the incarnation of Verdi's masterpiece? Following world famous French soprano Natalie Dessay from the first repetitions until the premiere under the direction of Jean-François Sivadier, we meet a very special woman, a piece of art, a myth: LA TRAVIATA.

Met Music Director Emeritus James Levine conducts Tony Award winner Julie Taymor’s production of Mozart’s masterpiece, Die Zauberflöte. Golda Schultz makes her Met debut as Pamina with Kathryn Lewek as the Queen of the Night. The holiday presentation of The Magic Flute, an abridged staging sung in English for families, was the first Live in HD performance to be transmitted. This is the first time the full-length German opera will be seen in the series.

A live recording of Don Giovanni from the Festspielhaus Baden Baden, recorded on May 23rd 2013.

La Rondine (The Swallow) is possibly the least performed of Giacomo Puccinis later operas, but is still just as much a masterwork as its more performed counterparts. Originally conceived as the composers first operetta, the work is an artful blend of opera and operetta, with a lighter mood than Puccinis other works. This live production filmed at the Deutsche Oper Berlin stars Dinara Alieva and Charles Castronovo in the lead roles. Renowned stage director Rolando Villazon sets this rendition, and the Orchestra and Chorus of the Deutsche Oper Berlin is conducted here by acclaimed Maestro Roberto Rizzi Brignoli.

Natalie Dessay made her first European appearances as Violetta in La traviata in a new production by the French director Jean-François Sivadier at the 2011 Aix-en-Provence Festival. This DVD captures her intense performance in the company of American tenor Charles Castronovo as Alfredo and French baritone Ludovic Tézier as his father, Giorgio Germont.

Lucia’s brother Enrico is horrified to learn she has fallen in love with his sworn enemy Edgardo. He hastily arranges her marriage to his associate Arturo. Edgardo and Lucia privately exchange rings before he leaves to fight in France. Enrico tricks Lucia into believing that Edgardo has been unfaithful. Longing for death, she signs the contract with Arturo – moments before Edgardo returns. Lucia murders Arturo in their wedding bed. His death is followed first by Lucia’s, and then by Edgardo’s.

In 2009, Frédéric Mistral’s tale of love and loss in Provence came to the Opéra de Paris with a new production of Gounod’s 1864 opera Mireille. Nicolas Joel’s naturalistic staging frames the accomplished performances of Albanian soprano Inva Mula as Mireille and American tenor Charles Castronovo as her ardent country lover Vincent.

In Benoît Jacquot’s production, Manet’s Olympia dominates the stage of the Opéra Bastille. In 1863, the painting caused a scandal: the prostitute awaits her client, her expression proud, her demeanour assured. Is this Violetta? Like Olympia, Verdi’s most celebrated heroine surrenders to the spectator just as she surrenders to love, going so far as to die on stage, a woman’s ultimate sacrifice for her lover. Or might it be the spectator who strips her bare and intrudes upon her privacy, in the image of this milieu of social voyeurism? Whatever the case, these two women regard us with defiance and subjugate those who cannot help but look at them.