Kate Lindsey

Captured live from Milan, Damiano Michieletto world premiere production of Francesco Filidei's new opera, based on Umberto Eco's medievel thriller.

Production of the Salzuberger Festspiele 2024. French director Mariame Clément will explore the relationship between art and real life by linking the three “tales” with individual stages of Hoffmann's biography as an artist in her production. This has decisive consequences for the female characters, or rather for the view of the images that Hoffmann projects onto Stella: the angelic but emotionally cold Olympia, who turns out to be a doll;

When hard-working single father Luke stumbles across an underground nightclub, he meets Aysha, a beautiful, seductive woman. Their first kiss yields fireworks — which are immediately followed by Luke’s sobering realization that Aysha is not the cisgender woman he thought, but a remarkably femme drag queen. Unable to deny the spark between them the pair are forced down the unexpected path of transformation, where they must question their identities and confront their individual truths.

Dido, founder and queen of Carthage, falls in love with the Trojan hero Aeneas and they conduct a passionate affair. Tricked into leaving Dido by an evil Sorceress, Aeneas prepares his fleet in secret for departure. Dido cannot live without Aeneas and sings her great lament (‘When I am laid in earth’) and her passing is mourned by a chorus of cupids.

Olga Neuwirth, for a long time one of the great composers of the present, succeeds with this opera in creating a captivating arc across many musical genres. It’s an exciting, socially critical production by Polly Graham who puts a fantastically singing and playing Kate Lindsey in the center of the action.

No plot available for this movie.

The Seven Deadly Sins tells the story of two sisters, Anna I and Anna II. The sisters set out from the banks of the Mississippi River in Louisiana to find their fortune in the big cities, intending to send their family enough money to build a little house on the river. Along the way they encounter the seven deadly sins. Meanwhile, the fleshpots of Mahagonny attract many visitors, but prove disappointing and expensive; God orders the inhabitants to hell, but they revolt, claiming they are there already"

Méphistophélès, less an intellectual "principle of negation" than a devilishly attractive magician, draws his attention to Marguerite - and Faust is delighted. A deal is quickly struck: the devil serves Faust on earth, and after Faust's death it is to be the other way around. Marguerite is also not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains an episode, as Faust is drawn to new attractions, while Marguerite remains pregnant, only to see her unfaithful lover kill her brother.

As the imperious title empress, mezzo-soprano Joyce DiDonato leads the Met premiere of Handel’s tale of deception and deceit. Harry Bicket conducts Sir David McVicar’s wry new production, which gives this Baroque black comedy a politically charged, modern updating.

A ruthless dictator falls in love with a sexy woman. Together, they get rid of every obstacle in their way: his wife, her former lover, and also the voice of reason. Everything is sacrificed to passion, in this tale where evil triumphs, virtue and reason are humiliated, and nothing corresponds to our moral principles. Jan Lauwers, the director and choreographer, sets L'incoronazione di Poppea in a way congenial to his means: a visual artist, he translated the emotions expressed by Monteverdi’s music into dancing and visual images. The result was mixed; the general impression was one of many ideas, seemingly not fully developed or analysed. The stage was constantly cluttered with moving bodies, or tableau vivants, leaving a sense of confusion, and distracting from the music.