Live performance from Schwetzinger Festspiele, 1992. Based on Voltaire's tragedy, TANCREDI is a story of innocence wronged set against a backdrop of Turks at war with Syracuse. Amenaide, the daughter of Argirio, leader of the senate, is in love with the exiled knight Tancredi. Argirio offers Amenaide's hand in marriage to Orbazzano, the leader of a rival faction, as a token of reconciliation. Amenaide resists this and sends a letter to Tancredi, who is back in Syracuse in hiding. The letter is intercepted, and it is mistaken as an invitation to the Turk Solamir to enter Syracuse. Amenaide is sentenced to death for treachery, but Argirio allows a champion to fight for her vindication... will her beloved Tancredi save her? Bernadette Manca di Nissa, Maria Bayo, and Raul Gimenez star in this Rossini opera with Gianluigi Gelmetti conducting the Radio Symphony Orchester Stuttgart.

Live performance from Schwetzinger Festspiele, 1992. Based on Voltaire's tragedy, TANCREDI is a story of innocence wronged set against a backdrop of Turks at war with Syracuse. Amenaide, the daughter of Argirio, leader of the senate, is in love with the exiled knight Tancredi. Argirio offers Amenaide's hand in marriage to Orbazzano, the leader of a rival faction, as a token of reconciliation. Amenaide resists this and sends a letter to Tancredi, who is back in Syracuse in hiding. The letter is intercepted, and it is mistaken as an invitation to the Turk Solamir to enter Syracuse. Amenaide is sentenced to death for treachery, but Argirio allows a champion to fight for her vindication... will her beloved Tancredi save her? Bernadette Manca di Nissa, Maria Bayo, and Raul Gimenez star in this Rossini opera with Gianluigi Gelmetti conducting the Radio Symphony Orchester Stuttgart.

A dying German magnate invites his youngest son and daughter-in-law home to discuss the future of the family's shipbuilding empire. There, the daughter-in-law stumbles upon a secret of the family's Nazi past.

Discover this rare Verdian jewel! Aroldo—one of the composer’s least performed works—premiered in 1857 in Rimini, Italy. The work was created in response to the censorship of Verdi’s 1849 Stiffelio, whose tale of a protestant pastor publicly pardonning an adulterer and his wife proved too scandalous for 19th-century Italian society. In creating Aroldo, Verdi’s librettist and collaborator Francesco Maria Piave transposed Stiffelio’s story and characters to the more distant setting of Great Britain at time of the Crusades, and the composer took advantage of this new version to add a fourth act to the opera, and to rewrite part of the first act as well as a few arias.

Medieval soldier of fortune Ettore is traveling through Europe with his partners looking for a fight where they can earn some money. When they come across a Spanish castle under siege by the French army, Ettore bides his time to determine which side is the winning one. This is at first the French, but the treatment he receives from them is unpleasant enough to make him change his mind and turn to the Spanish side. Somehow, Ettore must rally the weakened Spanish troops to battle their enemy long enough for reinforcements to arrive.

A betrayed wife decides to teach her philandering husband a lesson in this riotous farce. Marta (Catherine Spaak) discovers that husband Franco (Nino Manfredi) has been stepping out with her own best friend (Maria Grazia Buccella), and gets revenge by inventing an imaginary lover. Franco takes the bait, leading to improbable but hilarious complications.