A film about the importance of art in times of crisis. The year 2020 will go down in history. But how can art help us in these hard times? That's the main question, Salzburg. Eine Kunstgeschichte. is trying to answer.

What happens when famous directors stage an opera? Eckhart Schmidt shows successful and failed attempts.

Sparks fly in this video of the all-star concert from Berlin's equivalent of the Hollywood Bowl in July 2006, part of the World Cup festivities. The electricity is generated by the all-star trio of tenors Placido Domingo and Rolando Villazon and soprano Anna Netrebko in a program of operatic and vocal favorites. The crowd estimated at 20,000 eats it all up, and so will home viewers who'll relish the prospect of great singers performing great music.

Massenet's opera centres on its charming but contrary heroine, the vivacious young Manon who longs for luxury and excitement. We first encounter her en route to a convent, where her family are sending her to be educated. Along the way, she falls in love with the young student Des Grieux, and, impetuously, runs off with him. She soon leaves him, however, to become the mistress of a rich nobleman. Thus begins her descent into criminality and depravity, all too soon dragging the besotted Des Grieux with her, until she is imprisoned. Despite its tragic story, the opera is full of French charm and vitality – typified by the ambiguous Manon herself. Her plight is touching because of the subtle play of innocence and calculation in her character. The score contains many sparkling arias and ensembles, moving rapidly from moods of exuberance to tenderness, with perfect dramatic timing. Recorded live at the Staatsoper Unter den Linden, Berlin, April/May 2007.

Violetta, a courtesan much wooed by Parisian society, organizes a grand party that is attended, amongst others, by the young Alfredo Germont. He confesses his feelings to Violetta, who is already suffering from consumption. She vacillates between genuine affection and a realistic assessment of her situation as a "fallen woman", which precludes any lasting relationship with a man. The Willy Decker production of La Traviata, recorded live at the Salzburger Festspiele in August, 2005. Anna Netrebko stars as Violetta Valéry, with Rolando Villazón as Alfredo Germont and Thomas Hampson as Giorgio Germont. Carlo Rizzi conducts the Wiener Philharmoniker.

Donizetti's L'Elisir d'Amore is one of the staples of the comic opera repertory. The plot hinges on whether earnest but dim-witted Nemorino will snag Adina, the flirtatious heroine. She's a tease who takes up with Belcore, an army sergeant, to make Nemorino jealous. After numerous (and humorous) plot twists that include a phony love potion, it all ends happily. Adina and Nemorino declare their love for each other, Belcore is dumped, and the fraudulent Dulcamara does a landslide business in love potions. It's all a fast-moving bundle of fun, especially with the star-filled cast of this 2005 Vienna State Opera performance.

A seventeen year old travels from London to the Austrian Alps to attend the legendary Mozart boarding school. There, he discovers a centuries-old forgotten passageway into the fantastic world of Mozart's "The Magic Flute".

This superb 2006 production of the Los Angeles Opera's La Traviata stars Renée Fleming, who joins the ranks of the elite handful of sopranos whose vocal and acting talents make their portrayals memorable. Her Violetta Valéry is a vulnerable figure torn between self-indulgence and love, sacrificing personal happiness to become a victim of the social mores of mid-19th-century bourgeois France. Fleming's acting captures the complexity of the character and her vocalism is flawless. She negotiates the wild coloratura of Act One with aplomb, and is stunning in the lyric passages that pervade the opera, and touching in her scenes with her lover, Alfredo, and his father. Her singing is free of the mannerisms that have sometimes crept into her work and at the same time she brings countless personal touches to the role, phrasing and verbal emphases that shed fresh light on the character.

Italian immigrant Francesca Cabrini arrives in 1889 New York City and is greeted by disease, crime, and impoverished children. Cabrini sets off on a daring mission to convince the hostile mayor to secure housing and healthcare for society's most vulnerable. With broken English and poor health, Cabrini uses her entrepreneurial mind to build an empire of hope unlike anything the world had ever seen.