A 1995 ZDF / 3sat Production of Mozart's Opera "Don Giovanni', performed by The Salzburg Marionette Theater and presented by Sir Peter Ustinov. Voices: Don Giovanni - Cesare Siepi Donna Anna - Birgit Nilsson Donna Elvira - Leontyne Price Don Ottavio - Cesare Valletti Leporello - Fernando Corena Zerlina - Eugenia Ratti Masetto - Heinz Blankenburg Il Commendatore - Arnold van Mill Wiener Philharmoniker Conductor: Erich Leinsdorf

Composer: Wolfgang Amadeus Mozart Librettist: Emanuel Schikaneder Premiere: 30 September 1791, Vienna Language: German Subtitles: English, Italian (Click on CC) Synopsis: https://www.opera-arias.com/mozart/die-zauberflote/synopsis/ Cast & Production: Tamino - Nicolai Gedda Papageno - William Workman Königin der Nacht - Cristina Deutekom Sprecher - Dietrich Fischer-Dieskau Pamina - Edith Mathis Sarastro - Hans Sotin Papagena - Carol Malone 1er Geharnischter - Helmut Melchert 2er Geharnischter - Kurt Moll Hamburgische Staatsoper Orchestra & Chorus Conductor: Horst Stein Stage Director: Peter Ustinov rec. 1971 The Magic Flute (German: Die Zauberflöte) is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form during the time it was written that included both singing and spoken dialogue. The work premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's death. It was the last opera that Mozart composed. The opera was an outstanding success from its first performances, and remains a staple of the opera repertory to this day. The libretto for The Magic Flute, written by Schikaneder, is thought by scholars to be based on many sources. Some works of literature current in Vienna in Schikaneder's day that may have served as sources include the medieval romance Yvain by Chrétien de Troyes, the novel Life of Sethos by Jean Terrasson, and the essay "On the mysteries of the Egyptians" by Ignaz von Born. The libretto is also a natural continuation of a series of fairy tale operas produced at the time by Schikaneder's troupe. Especially for the role of Papageno, the libretto draws on the Hanswurst tradition of the Viennese popular theatre. Many scholars also acknowledge an influence of Freemasonry. The Magic Flute appears to have two references to the music of Antonio Salieri. The first is that the Papageno–Papagena duet is similar to the Cucuzze cavatina in Salieri's Prima la musica e poi le parole. Both are centred around musical-textual playfulness with humorous bird-like utterances of pseudo-Italian words.he Magic Flute also echoes Salieri's music in that Papageno's whistle is based on a motif borrowed from Salieri's Concerto for Clavicembalo in B-flat major. Die Zauberflöte Synopsis ACT I: Prince Tamino is rescued from a monster by the Three Ladies of the Queen of the Night, but the birdcatcher Papageno takes the credit. As a punishment for lying, the Ladies padlock his mouth. They then give Tamino a painting of the Queen's abducted daughter Pamina. Falling in love with her image, he sets out to rescue her. The Queen promises that if he succeeds, she will agree to their marriage. Tamino is given a magic flute, Papageno some magic bells, and together they journey to Sarastro's palace, where Pamina is being held. Papageno's blundering arrival inadvertently saves Pamina from being attacked by Monostatos, a moor in the service of Sarastro. Papageno and Pamina leave in search of Tamino, who has arrived at a temple whose priest informs him that it is the Queen and not Sarastro who is evil. Papageno and Pamina are confronted by Monostatos and his slaves, but, using the bells, they manage to escape. Pamina and Tamino finally meet, and immediately fall in love. ACT II: Tamino and Papageno are told they have to undergo a series of trials if they are to be accepted into the brotherhood of the temple. The first being a period of silence. While Pamina is asleep, Monostatos again approaches, but is warded off by the Queen, who gives her daughter a dagger and tells her that she can only regain her power if Sarastro is killed. Monostatos is once more forcing himself on Pamina when Sarastro enters. He knows of the Queen's plans but reminds Monostatos that the brotherhood is bound by love. Papageno is given a fleeting glimpse of his ideal mate, Papagena, but is warned that he will be denied her if he fails in his trials. Pamina is taken to Tamino, and together they undergo trials by fire and water. Aided by the magic flute, they pass through safely. Papageno is united with Papagena, despite his failure to maintain silence. The Queen, the Three Ladies and Monostatos are engulfed by a clap of thunder and the remainder of the cast celebrate the victory of light over darkness.

Composer: Richard Wagner Librettist: Richard Wagner Premiere: 10 June 1865, Munich (Royal Court and National Theatre) Language: German (English subtitles) Synopsis: https://www.opera-arias.com/wagner/tristan-und-isolde/synopsis/ Act II-III: https://rumble.com/v2ezd5k-tristan-und-isolde-act-iii-bayreuth-festspielhaus-1983.html Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Straßburg. It was composed between 1857 and 1859 and premiered in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to "Tristan und Isolde" not as an opera, but called it "Eine Handlung" (literally drama or plot), which was the term used by the Spanish playwright Calderón for his dramas. Wagner's composition of Tristan und Isolde was inspired by his affair with Mathilde Wesendonck and the philosophy of Arthur Schopenhauer. Widely acknowledged as one of the peaks of the operatic repertory, Tristan was notable for Wagner's advanced use of chromaticism, tonality, orchestral colour and harmonic suspension. The opera was profoundly influential among Western classical composers and provided inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg and Arnold Schoenberg. Many see Tristan as the beginning of the move away from conventional harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. SYNOPSYS - Previous History: To free Cornwall from paying tribute to Ireland, Tristan, nephew of King Mark of Cornwall, had killed Morold, the champion of Ireland, in single combat. Severely wounded in the battle, Tristan had made his way to Ireland where, under the assumed name of Tantris, he had been healed by the magical arts of Isolde, daughter of the king. Isolde, who had been betrothed to Morold, recognised Tristan (a piece broken out of his sword matched the fragment in Morold's head), but spared his life. On his return to Cornwall, to satisfy jealous courtiers that he was not aspiring to the throne, Tristan had persuaded his uncle to ask for the hand of Isolde. - Act I - On board Tristan's ship returning from Ireland to Cornwall: Raging at her fate, Isolde laments that she has not her mother's magic art of calling up a storm to wreck the ship. She is angry that Tristan keeps apart and sends her attendant Brangäne to summon him. Tristan answers mildly that he must steer the ship; but his retainer Kurwenal answers roughly that Tristan is not Isolde's vassal, singing a vigorous song, taken up by the sailors and clearly audible to Isolde, celebrating Tristan's killing of Morold. Isolde tells Brangäne how she had spared Tristan's life when he was in her power and complains bitterly that he has repaid her by seeking her as a bride for his old uncle, an insult that no one would have dared if Morold were alive and Cornwall still owed tribute to Ireland. Brangäne reminds her of the love potion which her mother has given her, but Isolde thinks only of the poison which is in the same chest. When Kurwenal announces their imminent arrival in Cornwall and tells her to prepare to land, she gives him a message for Tristan: he must make amends for an unatoned wrong. She orders Brangäne to pour the poison into a golden goblet. When Tristan arrives, she reproaches him with having avoided her during the voyage. He replies that he intended no discourtesy, but rather greater respect by keeping his distance from his uncle's bride. Isolde claims that Morold's blood still lies between them, as she was not party to any reconciliation. He offers his sword for her to kill him if Morold was so dear to her, but she says King Mark would hold it against her if she killed him. Instead she offers a drink of atonement. Understanding her intention, he drinks and Isolde seizes the goblet and drinks the remainder. But Brangäne has substituted the love potion and they fall into each other's arms, oblivious of all around them, as the ship reaches land and King Mark approaches to claim his bride. Conductor: Daniiel Barenboim Chor & Orchestra: Bayreuther Festspiele Staged & Directed by: Jean-Pierre Ponnelle Set & Costume design by: Jean-Pierre Ponnelle Cast & Characters: René Kollo: Tristan Matti Salminen: König Marke (King Marke) Johanna Meier: Isolde Hermann Becht: Kurwenal Robert Schunk: Melot Hanna Schwarz: Brangane Helmut Pampuch: Ein Hirt (a shepherd) Martin Egel: Ein Steuermann (a helmsman) Robert Schunk: Ein Junger Sieemann ( a young sailor)

Composer: Wolfgang Amadeus Mozart Librettist: Lorenzo da Ponte Premiere: 29 October 1787, Prague (Gräflich Nostitzsches Nationaltheater) Language: Italian Cast: Cesare Siepi, Dezső Ernster, Elisabeth Grümmer, Anton Dermota, Lisa Della Casa, Otto Edelmann, Erna Berger, Walter Berry. The Choir of Wiener Staatsoper Wiener Philharmoniker Wilhelm Furtwängler Don Giovanni is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time. Synopsis: Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit. ACT I Leporello waits outside a house where his master, Don Giovanni, is forcing himself upon Donna Anna. She cries for help and her father, the Commendatore, runs to her assistance. In the ensuing fight Don Giovanni kills the Commendatore. Donna Anna and her betrothed, Don Ottavio, vow revenge. Donna Elvira, recently jilted by Don Giovanni, arrives in search of the Don; he makes good his escape by leaving Leporello to read out his "book of conquests", in which the names of the Don's 2065 lovers are recorded. Don Giovanni comes across a peasant wedding and promptly begins to charm the bride, Zerlina, but Elvira arrives and alerts her to the Don's intentions. Donna Anna and Don Ottavio then arrive, and as the Don takes his leave of them, Anna identifies him as the man who had tried to rape her. At a party hold by Don Giovanni, Zerlina reassures her lover Masetto of her affections, but she begins to weaken in the Don's presence. Wearing masks, Anna, Elvira and Ottavio arrive at the ball, which is interrupted by Zerlina's scream. She stumbles onto the stage, the Don attempts to blame Leporello for the attack, and Anna, Elvira and Ottavio unmask themselves to publicly denounce the Don. ACT II Don Giovanni exchanges his costume with Leporello and serenades Elvira's maid as soon as Elvira has left with Leporello, believing him to be the remorseful Don. Masetto arrives with a gang of men who are intent on punishing the Don. The Don, pretending to be Leporello, tells Masetto how to find the murderer, then beats Masetto half to death. The Don and his servant meet in a graveyard, where the statue of the Commendatore addresses them; Don flippantly invites him to supper. The statue duly arrives and demands the Don's repentance. Unbending, Don Giovanni is finally dragged screaming into hell. Elvira, Ottavio, Anna and Leporello address the audience with the moral: "Evildoers always come to an evil end."

The Magic Flute (Swedish: Trollflöjten) is Ingmar Bergman's 1975 film version of Mozart's opera Die Zauberflöte. Audio in Swedish with English subtitles. It was intended as a television production and was first shown on Swedish television on 1 January 1975, but was followed by a theatrical release later that year. The work is widely viewed as one of the most successful films of an opera ever made, and as an unusual item among the director's works. The film won BAFTA TV Award for Best Foreign Television Programme in 1976 and was nominated for Golden Globe for Best Foreign Language Film. In 1968, the Swedish poet Alf Henrikson prepared a Swedish-language version of the libretto for the purpose of a performance by the Royal Swedish Opera, which Bergman adopted as the basis of his script. However, Bergman altered the libretto in a number of respects: Sarastro is Pamina's father, trios in act 2 are omitted, and "Ein Mädchen oder Weibchen" is sung by Papageno just before he sees Papagena. Instead of his usual costume of plumage, Papageno wears conventional clothing. The roles of the Three Slaves, originally spoken roles assigned to adult actors, are given to children, who are silent. In producing the opera, Bergman sought to fulfill his early dream of a production in the Drottningholm Palace Theatre (one of the few surviving Baroque theatres in the world). This setting would also approximate the conditions of the original 1791 production in the Theater auf der Wieden in Vienna. The introductory exterior shots of the film are intended to suggest that it was indeed filmed in the Drottningholm theatre. However, the scenery at Drottningholm "was considered too fragile to accommodate a film crew. So the stage – complete with wings, curtains, and wind machines – was painstakingly copied and erected in the studios of the Swedish Film Institute". Bergman asked his friend Hans Schmidt-Isserstedt to conduct the opera, but he flatly refused. Choir conductor Eric Ericson also declined at first but was later persuaded by Bergman to take it on. The cinematographer was Bergman's longtime colleague Sven Nykvist. In addition to the singers who appeared in the film, the musical forces included the Swedish Radio Symphony Orchestra and Ericsson's own choir, the Swedish Radio Choir. Cast & Characters: Josef Köstlinger – Tamino Britt-Marie Aruhn [sv]; Kirsten Vaupel [sv]; Birgitta Smiding [sv] – Three Ladies Håkan Hagegård – Papageno Birgit Nordin – Queen of the Night Irma Urrila – Pamina Ragnar Ulfung – Monostatos Ulrik Cold – Sarastro Elisabeth Erikson [sv] – Papagena Erik Saedén – Speaker Gösta Prüzelius – First Priest Ulf Johanson – Second Priest Hans Johansson and Jerker Arvidson [sv] – Two Sentries in Armor Einar Larson, Siegfried Svensson, Sixten Fark, Sven-Eric Jacobsson, Folke Jonsson, Gösta Bäckelin, Arne Hendriksen, Hans Kyhle, Carl Henric Qvarfordt – Nine Priests Urban Malmberg [sv], Ansgar Krook [sv], Erland von Heijne – Three Boys Unknown – First, Second, and Third Slaves

This film is the one existing record of Karajan's Salzburg Ring on video. Made in 1978, with imaginative extra film sequences to complement the original stage production for the Easter Festival, it brings to life the epic grandeur of Karajan's concept, with the fallible gods, headed by Thomas Stewart's nobly-sung Wotan, depicted in all their mythic majesty. Audio in German with English subtitles. Opera Synopsis: https://www.opera-arias.com/wagner/das-rheingold/synopsis/ Cast & Characters: Wotan: Thomas Stewart Donner: (Played) Vladimir de Kanel, (Sung) Leif Roar Froh: Hermin Esser Loge: Peter Schreier Alberich: Zoltàn Kelemen Mime: Gerhard Stolze Fasolt: (Played) Gerd Nienstedt, (Sung) Karl Ridderbusch Fafner: Louis Hendrikx Fricka: Brigitte Fassbaender Freia: Jeannine Altmeyer Erda: (Played) Martha Model, (Sung) Birgit Finnila Woglinde: Sung by Eva Randova Wellgunde: Sung by Edda Moser Flosshilde: Sung by Liselotte Rebmann Berliner Philharmoniker Conductor: Herbert von Karajan Director and artistic supervision: Herbert von Karajan Set&Costume Design: Georges Wakhevitch & Jean Forestier Das Rheingold (English: The Rhinegold), WWV 86A, is the first of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen (English: The Ring of the Nibelung). It was performed, as a single opera, at the National Theatre Munich on 22 September 1869, and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus, on 13 August 1876. Wagner wrote the Ring librettos in reverse order, so that Das Rheingold was the last of the texts to be written; it was, however, the first to be set to music. The score was completed in 1854, but Wagner was unwilling to sanction its performance until the whole cycle was complete; he worked intermittently on this music until 1874. The 1869 Munich premiere of Das Rheingold was staged, much against Wagner's wishes, on the orders of his patron, King Ludwig II of Bavaria. Following its 1876 Bayreuth premiere, the Ring cycle was introduced into the worldwide repertory, with performances in all the main opera houses, in which it has remained a regular and popular fixture.

Die Walküre in the staging that inaugurated the 1994/95 Season of the Teatro alla Scala, conducted by Riccardo Muti and directed by André Engel. Die Walküre (The Valkyrie), WWV 86B, is the second of the four operas that form the cycle Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. Die Walküre's best-known excerpt is the "Ride of the Valkyries". Composer: Richard Wagner Librettist: Richard Wagner Premiere: 26 June 1870, National Theatre Munich Language: German Synopsis: https://www.opera-arias.com/wagner/die-walk%C3%BCre/synopsis/ Translation: No Subtitles Cast & Characters: Siegmund - Placido Domingo Hunding - Matthias Hölle Wotan - Monte Pederson Sieglinde - Waltraud Meier Brünnhilde - Gabriele Schnaut Fricka - Marjana Lipovšek Gerhilde - Susan Anthony Ortlinde - Ruth Floeren Waltraute - Margareta Hintermeier Schwertleite - Anna Gonda Helmwige - Gabriele Maria Ronge Siegrune - Katia Lytting Grimgerde - Penelope Walker Rossweisse - Lioba Braun Chorus & Orchestra of Teatro alla Scala Conducted by Riccardo Muti

Opera Title: Così fan tutte, ossia La scuola degli amanti Composer: Wolfgang Amadeus Mozart Libretto: Lorenzo Da Ponte Premiere: 26 January 1790, Vienna (Burgtheater) Language: Italian Synopsis: https://www.opera-arias.com/mozart/cosi-fan-tutte/synopsis/ Characters & Interpreters: Fiordiligi: Gundula Janowitz Dorabella: Christa Ludwig Ferrando: Luigi Alva Guglielmo: Hermann Prey Despina: Olivera Miljakovic Don Alfonso: Walter Berry Conductor: Karl Böhm Orchestra: Wiener Philharmoniker Chorus: Wiener Philharmonia Chor Recorded: 1970 Così fan tutte, ossia La scuola degli amanti, K. 588, is an opera buffa in two acts by Wolfgang Amadeus Mozart. Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Merchant of Venice and The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii. Place: Naples Time: the 18th century ACT I Ferrando and Guglielmo are convinced of the fidelity of Fiordiligi and Dorabella, the two sisters to whom they are betrothed. Don Alfonso, on the other hand, claims all women are fickle and wagers that he can prove it. The young men agree to take Alfonso's test, and he tells the sisters that their husbands-to-be have been enlisted into the army. Once the men have departed, the sisters' maid Despina is persuaded by Alfonso to introduce two young Albanian friends (Ferrando and Guglielmo in disguise) to Fiordiligi and Dorabella. Each "stranger" then begins to court the other's fiancée, and they begin to make progress after pretending to take poison. Despina disguises herself as a doctor and successfully cures the Albanians. ACT II When Ferrando learns that Dorabella has yielded to Guglielmo, he becomes yet more determined to win Fiordiligi's heart. Eventually, she too succumbs and a double wedding is planned - with Despina, again in disguise, as the notary. Just as the army is heard returning, the Albanian newlyweds disappear and Ferrando and Guglielmo appear in their place. Producing the marriage contract, they remonstrate with the sisters, who soon confess their deceit. After paying Alfonso his wager, Ferrando and Guglielmo forgive Fiordiligi and Dorabella.

Composer: Richard Wagner Librettist: Richard Wagner Premiere: 28 August 1850, Weimar (Grand Ducal Court Theatre) Language: German Subtitles: English Director: Brian Large Act III: https://rumble.com/v44445k-wagner-lohengrin-domingo-studer-lloyd-abbado-wiener-staatsoper-1990-act-iii.html Lohengrin is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The story of the eponymous character is taken from medieval German romance, notably the Parzival of Wolfram von Eschenbach and its sequel, Lohengrin, written by a different author, itself inspired by the epic of Garin le Loherain. It is part of the Knight of the Swan tradition. Cast & Characters: Lohengrin: Plácido Domingo Elsa, Princess of Brabant: Cheryl Studer Henry the Birdcatcher, German king: Robert Lloyd Friedrich Telramund, Count of Brabant: Hartmut Welker Ortrud, his wife: Dunja Vejzovic Royal herald: Georg Tichy 4 Brabant knights: Bojidar Nikolov, Franz Kasemann, Claudio Otelli, Peter Koves 4 pages: Silvia Panzenbock, Ingrid Sieghart, Ulrike Erfurt, Johanna Graupe The chorus of the Vienna state opera The orchestra of the Vienna state opera Chorus master Helmuth Froschauer Conductor Claudio Abbado ACT II - Scene 2: The fortress of Antwerp Telramund blames Ortrud for his downfall, as she had told him that she saw Elsa drown her young brother, but she convinces him that he was defeated by magic rather than divine intervention. She claims that the stranger's magic would fail if he could be made to reveal his name - or even if the tip of a finger were to be cut off. As only Elsa can ask him to reveal his name, Ortrud plans to undermine her confidence. Elsa appears on the balcony and Otrud, calling to her from the darkness, succeeds in winning her pity, invoking the pagan gods in triumph as Elsa prepares to let her in. Ortrud begs Elsa to intercede for Telramund and suggests that as the stranger arrived by magic, so he may leave by magic, but Elsa's faith is unshaken. At dawn the herald proclaims the banishment of Telramund and announces that the king has invested the crown of Brabant in Elsa's husband, who will lead the Brabantians into battle. Four nobles mutter their resentment at this decision and Telramund offers to lead them in rebellion. As Elsa is about to enter the church for her wedding Ortrud claims that she must yield pride of place to her, since her husband has been falsely accused and is of noble birth, whereas no one knows anything about Elsa's husband. Claiming that he would be revealed a fraud if he had to divulge the source of his power, she challenges Elsa to ask the question. Telramund accuses the strange knight of witchcraft and asks his name and lineage, but he is answerable to Elsa alone. Telramund whispers to Elsa that if she were to let him cut off the tip of the stranger's finger his secret would be known and he would never leave her. She rejects the advice and goes into the church with her husband, who orders Telramund and Ortrud to leave.

ACT III - Scene 3: The bridal chamber Following the good wishes of their attendants, Elsa and her husband are left alone for the first time. Their delight in one another is soon undermined by her regrets that she cannot call her husband by his name and her fears that he may leave her. A hysterical vision of the swan returning to take him away leads to the fatal question. Telramund bursts in with his followers and is killed by Lohengrin, who tells the nobles to bring the body before the king. He calls Elsa's ladies to dress her and tells her he will answer her question before the king. Scene 4: The banks of the Scheldt The king thanks the people for their support in defending Germany against the heathen. The body of Telramund is carried in, followed by Elsa and her husband, who tells the king he will not be able to lead the people of Brabant into battle. He is absolved from blame for Telramund's death. Explaining that Elsa has been tricked into asking the forbidden question, he answers it: he is one of the champions of the Holy Grail, who are sent out into the world to defend the cause of right. But they must leave once their identities are known. He is Lohengrin, son of Parsifal, who wears the crown of the Grail. He prophesies that Germany will never be conquered by the eastern hordes. The swan appears and Lohengrin bids farewell to Elsa, telling her that if he had been able to stay, her bother Godfrey, who is not dead, would have returned. Ortrud exults at her success in driving Lohengrin away and that Godrey must remain in the form of the swan as a result of her witchcraft. Lohengrin kneels in prayer and when he takes the chain from the neck of the swan, it is transformed into Godfrey. Elsa falls lifeless as Lohengrin leaves, his boat now drawn by a white dove.

Composer: Richard Wagner (1813-1883). Conductor: James Levine Stage Production: Otto Schenk Metropolitan Opera Orchestra and Chorus. Audio: German (English subtitles hardcoded) Der Ring des Nibelungen (The Ring of the Nibelung) is a cycle of four epic operas (or "dramas" to use the composer's preferred term) by the German composer Richard Wagner (1813-83). The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The four dramas, which the composer described as a trilogy with a Vorabend ("preliminary evening"), are often referred to as the Ring Cycle, Wagner's Ring, or simply the Ring. Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four operas that constitute the Ring cycle are, in sequence: 1. Das Rheingold 2. Die Walküre https://rumble.com/v4avrsx-richard-wagners-der-ring-des-nibelungen-die-walkre-act-i-ii-met-1990.html 3. Siegfried https://rumble.com/v4beex3-richard-wagners-der-ring-des-nibelungen-siegfried-act-i-met-1990.html 4. Götterdammerung https://rumble.com/v4bml29-richard-wagners-der-ring-des-nibelungen-gtterdmmerung-act-i-met-1990.html Das Rheingold ('The Rhine Gold') is the first of the four operas that constitute Richard Wagner's Der Ring des Nibelungen ('The Ring of the Nibelung'). It was originally written as an introduction to the tripartite Ring, but the cycle is now generally regarded as consisting of four individual operas. Das Rheingold Synopsis: https://www.opera-arias.com/wagner/das-rheingold/synopsis/ ONE AND ONLY ACT: Place of Action Scene 1: At the bottom of the Rhine Scene 2: An open space on the mountain tops Scene 3: Nibelheim, the home of the dwarfs, deep under the earth Scene 4: The same as Scene 2, except that all is hidden by mist Cast & Crew: Wotan - James Morris Donner - Alan Held Froh Mark - Baker Loge - Siegfried Jerusalem Alberich - Ekkehard Wlaschiha Mime Heinz - Zednik Fasolt - Jan-Hendrik Rootering Fafner - Matti Salminen Fricka - Christa Ludwig Freia - MariAnne Häggander Erda - Birgitta Svendén Woglinde - Kaaren Erickson Wellgunde - Diane Kesling Flosshilde - Meredith Parsons Filmed March/April, 1990 Set and Projection Designer: Günther Schneider-Siemssen Costume Designer: Rolf Langenfass Lighting Designer: Gil Wechsler Video director: Brian Large

Die Walküre (The Valkyrie), WWV 86B, is the second of the four music dramas that constitute Richard Wagner's Der Ring des Nibelungen, (English: The Ring of the Nibelung). It was performed, as a single opera, at the National Theatre Munich on 26 June 1870, and received its first performance as part of the Ring cycle at the Bayreuth Festspielhaus on 14 August 1876. Die Walküre's best-known excerpt is the "Ride of the Valkyries". Die Walküre Synopsis: https://www.opera-arias.com/wagner/die-walk%C3%BCre/synopsis/ Act I - The interior of Hunding's dwelling Act II - A wild rocky pass Prior history: During the lengthy time that has passed since the gods entered Valhalla at the end of Das Rheingold, Fafner has used the Tarnhelm to assume the form of a dragon, and guards the gold and the ring in the depths of the forest. Wotan has visited Erda seeking wisdom, and by her has fathered a daughter, Brünnhilde; he has fathered eight other daughters, possibly also by Erda. These, with Brünnhilde, are the Valkyries, whose task is to recover heroes fallen in battle and bring them to Valhalla, where they will protect the fortress from Alberich's assault should the dwarf recover the ring. Wotan has also wandered the earth, and with a woman of the Völsung race has fathered the twins Siegmund and Sieglinde, who have grown up separately and unaware of each other. From the Völsungs Wotan hopes for a hero who, unencumbered by the gods' treaties, will obtain the ring from Fafner. Cast & Characters: Siegmund - Gary Lakes Sieglinde - Jessye Norman Wotan - James Morris Brünnhilde - Hildegard Behrens Hunding - Kurt Moll Fricka - Christa Ludwig Gerhilde - Pyramid Sellers Ortlinde - Martha Thigpen Waltraute - Joyce Castle Schwertleite - Sondra Kelly Helmwige - Katarina Ikonomu Siegrune - Diane Kesling Grimgerde - Wendy Hillhouse Rossweisse - Jacalyn Bower Die Walküre Act III: https://rumble.com/v62jwow-wagner-der-ring-des-nibelungen-die-walkre-act-iii-met-1990-reupload.html

Act III - The summit of a rocky mountain The valkyries gather on the mountain, bearing heroes on their horses to take to Valhalla. Brünnhilde appears with Sieglinde and begs their protection against Wotan. But first she must save Sieglinde, whose wish for death changes to joy when she learns that she is carrying Siegmund's child, who will grow up to be a mighty hero named Siegfried. She agrees to flee, taking the fragments of the sword entrusted to her by Brünnhilde. As Wotan appears, Brünnhilde tries to hide among her sisters, but steps forward when he accuses her of cowardice. When he pronounces her banishment from Valhalla and her doom to be locked in sleep and forced to become the wife of the first man who finds her, the other valkyries are horrified; but when he threatens them with a similar fate they flee in terror. Brünnhilde pleads with Wotan that she had really carried out his secret wish, knowing that he loved Siegmund, and tells how she had been moved by his pleading and his love for Sieglinde, but Wotan reproaches her for yielding to the claims of love while he has been forced to follow the stern path of duty. She begs that if she must become mortal she should not be left prey to the first comer but be given only to a hero - pointing out that Sieglinde will bear Siegmund's child and has the fragments of the sword. Wotan is finally moved and agrees to surround her with a wall of fire which only a man who knows no fear can cross. He kisses her to sleep, bids her a sad farewell and summons Loge to create a blaze around the rock, declaring that no one who fears his spear will be able to cross the flames. 1. Das Rheingold: https://rumble.com/v4anwmk-richard-wagners-der-ring-des-nibelungen-das-rheingold-met-1990.html 2. Die Walküre: Act I-II: https://rumble.com/v4avrsx-richard-wagners-der-ring-des-nibelungen-die-walkre-act-i-ii-met-1990.html 3. Siegfried Act I: https://rumble.com/v4beex3-richard-wagners-der-ring-des-nibelungen-siegfried-act-i-met-1990.html 4. Siegfried Act II: https://rumble.com/v4bhgwb-richard-wagners-der-ring-des-nibelungen-siegfried-act-ii-met-1990.html 5. Siegfried Act III: https://rumble.com/v4bhoco-richard-wagners-der-ring-des-nibelungen-siegfried-act-iii-met-1990.html 6. Götterdämmerung Act I: https://rumble.com/v4bml29-richard-wagners-der-ring-des-nibelungen-gtterdmmerung-act-i-met-1990.html 7. Götterdämmerung Act II-III: https://rumble.com/v4bn9ue-richard-wagners-der-ring-des-nibelungen-gtterdmmerung-act-ii-iii-met-1990.html

Siegfried is the third of the four operas that constitute Der Ring des Nibelungen (The Ring of the Nibelung), by Richard Wagner. It received its premiere at the Bayreuth Festspielhaus on 16 August 1876, as part of the first complete performance of The Ring. This part of the opera is primarily inspired by the story of the legendary hero Sigurd in Norse mythology. In the third opera of Wagner's Ring Cycle, a young man named Siegfried, raised by the dwarf Mime, finds the pieces of a magic sword and goes on a quest to experience fear for the first time, all part of a plan set forth by the god Wotan. ACT I - Mime's forge in the forest Mime tries in vain to forge a sword strong enough for Siegfried to kill the dragon Fafner. Siegfried returns from the forest with a bear with which he terrifies Mime. He easily breaks the latest sword on the anvil. Mime reproaches him with ingratitude, reminding him that he has brought him up from childhood. Refusing to believe that Mime is his father, Siegfried manages to extract from him the information that his mother, Sieglinde, had died giving birth to him, leaving the fragments of his father's sword, Nothung. Siegfried demands that Mime reforge this sword and storms out, hoping he may soon be free of the dwarf. Mime knows he cannot forge the sword, but when the Wanderer (Wotan) appears and offers to answer any three questions on pain of forfeiting his head, Mime asks him only useless questions (about the races of dwarf, giants and gods). When the Wanderer demands a reciprocal question test, Mime is able to answer the first two questions but fails on the third: who will reforge Nothung? The Wanderer tells Mime that his head is forfeit, but he leaves it to be claimed by one who knows no fear. Mime realises that this is one lesson he has failed to teach Siegfried and tries vainly to make up this omission, but Siegfried is unmoved, even by the mention of the fearsome dragon. Mime has to admit that his skill is unequal to the task of forging Nothung and Siegfried takes to the task himself, breaking all the rules of smithing, but succeeding, while Mime brews a potion he plans to administer to Siegfried when he has killed Fafner, so that he can kill him and seize the ring. Cast & Characters: Siegfried - Siegfried Jerusalem Mime - Heinz Zednik Brünnhilde - Hildegard Behrens Wanderer - James Morris Alberich - Ekkehard Wlaschiha Fafner - Matti Salminen Erda - Birgitta Svendén Waldvogel - Dawn Upshaw Siegfried Act II: https://rumble.com/v4bhgwb-richard-wagners-der-ring-des-nibelungen-siegfried-act-ii-met-1990.html

ACT II - Deep in the forest, near the entrance to Fafner's cave. Alberich waits near the cave, hoping that someone will kill the dragon and give him the chance to take possession once more of the ring. The Wanderer appears and, to Alberich's surprise, professes no interest in the ring, but warns him that Mime is bringing Siegfried to kill the dragon. The Wanderer summons Fafner, who rejects Alberich's offer to protect him from Siegfried in exchange for the ring. 
Mime brings Siegfried to the spot, promising that here he will learn fear. Siegfried wonders about his mother and listens to the murmurs of the forest, in particular a bird, whose warbling he tries to imitate on a roughly improvised reed pipe. He gives up and blows a call on his hunting horn, which wakens Fafner. Siegfried kills the dragon; when he pulls out his sword, his hand is splashed with blood. As he sucks it clean, he finds himself able to understand the woodbird, which tells him to take the ring and Tarnhelm from the hoard. Mime and Alberich meet and quarrel, watching with horror as Siegfried emerges with the ring and Tarnhelm. The woodbird warns Siegfried of Mime's intended treachery and when Mime offers him the drugged drink, he is able to understand Mime's thoughts and strikes him dead. The woodbird tells Siegfried of a bride awaiting him on a rock surrounded by fire and he sets off, following the bird. Siegfried Act III: https://rumble.com/v4bhoco-richard-wagners-der-ring-des-nibelungen-siegfried-act-iii-met-1990.html

ACT III - A wild spot at the foot of a mountain. The Wanderer summons the sleeping Erda, once more seeking the benefit of her wisdom, but she answers that she now knows nothing, suggesting first that he ask the Norns (fates) and then Brünnhilde. She is horrifed to learn about Brünnhilde's punishment. The Wanderer then says that he has no need of her advice as he has decided to accept gladly the end of his power; he will leave the world to Siegfried, and Brünnhilde will perform the redeeming deed. But when Siegfried appears, he is impatient to find yet another old man standing in his path. His youthful brashness arouses the Wanderer's anger and as Siegfried tries to go past, he interposes his spear, pointing out that the sword Siegfried carries has already been shattered by it. Believing that he has found his father's enemy, Siegfried breaks the spear with his sword. The Wanderer withdraws, no longer able to oppose Siegfried, who climbs the mountain and passes through the ring of flame which surrounds Brünnhilde. After some hesitation he kisses her awake and she greets him ecstatically by name. At first, however, she shrinks from his embrace, reluctant to lose her divine powers, but eventually responds to his passion and they triumphantly proclaim their love. Götterdämmerung Act I: https://rumble.com/v4bml29-richard-wagners-der-ring-des-nibelungen-gtterdmmerung-act-i-met-1990.html

Götterdämmerung (Twilight of the Gods), WWV 86D, is the last in Richard Wagner's cycle of four music dramas titled Der Ring des Nibelungen (The Ring of the Nibelung, or The Ring for short). It received its premiere at the Bayreuth Festspielhaus on 17 August 1876, as part of the first complete performance of the Ring. The title is a translation into German of the Old Norse phrase Ragnarök, which in Norse mythology refers to a prophesied war among various beings and gods that ultimately results in the burning, immersion in water, and renewal of the world. However, as with the rest of the Ring, Wagner's account diverges significantly from his Old Norse sources. In the final opera of Richard Wagner's Ring Cycle, the lovers Siegfried and Brünnhilde are torn apart by a pair of royal siblings who use magic and deception to gain their love and the magic ring. Götterdammerung Synopsis - Place of action: PROLOGUE: The Valkyrie's rock at night The three norns, spinning their rope of fate, relate how the world ash tree has withered since Wotan cut his spear from it and the spring at its base has dried up. He had the tree chopped down and the branches piled round Valhalla, ready for the final conflagration. The norns' rope frays and they cannot see the end of the story of the stolen gold and the curse. The rope breaks and the Norns' wisdom is at an end. Siegfried leaves Brünnhilde to seek new adventures. He gives her the ring and she gives him her horse Grane. He sets off towards the Rhine. Act I - Scene 1: The hall of the Gibichungs on the Rhine Hagen advises Gunther that both he and his sister Gutrune should marry. He proposes Brünnhilde for Gunther and Siegfried for Gutrune, telling her that Siegfried will be sure to fall in love with her after he has drunk a magic potion, but not mentioning that it is a draught of forgetfulness, necessary to make Siegfried forget Brünnhilde. Siegfried will help Gunther win Brünnhilde, since only he can break through the wall of fire, and will receive Gutrune as his reward. Siegfried arrives at Gunther's court and is welcomed warmly. Gutrune offers him the drink and he forgets Brünnhilde, falls in love with Gutrune and agrees to help Gunther win Brünnhilde, using the Tarnhelm to make himself look like Gunther. Gunther and Siegfried swear blood-brotherhood but Hagen abstains. Siegfried and Gunther set off to win Brünnhilde and Hagen remains on watch, brooding over his plans to win the ring. Scene 2: The Valkyrie's rock Brünnhilde is visited by her sister valkyrie Waltraute. She tells how she has found love and happiness, but Waltraute sadly tells her how Wotan, his spear shattered, has returned to Valhalla and sits there inactive. The only thing that can free the world from Alberich's curse is for the ring to be returned to the Rhinemaidens, but Brünnhilde refuses to surrender Siegfried's parting gift and Waltraute leaves sorrowfully. Siegfried's horn seems to announce the returning hero, but the man who bursts through the flames is a stranger. The disguised Siegfried drags the ring from Brünnhilde's finger and claims her as Gunther's bride. He follows her into the cave, preparing to spend the night there, with his sword between them, to keep faith with Gunther. Cast & Character: Siegfried - Siegfried Jerusalem Brünnhilde - Hildegard Behrens Gunther - Anthony Raffell Hagen - Matti Salminen Waltraute - Christa Ludwig Alberich - Ekkehard Wlaschiha Gutrune - Hanna Liskows Woglinde - Kaaren Erickson Wellgunde - Diane Kesling Flosshilde - Meredith Parsons 1. Norn - Gweniet Bean 2. Norn - Joyce Castle 3. Norn - Andrea Gruber Götterdämmerung Act II-III: https://rumble.com/v4bn9ue-richard-wagners-der-ring-des-nibelungen-gtterdmmerung-act-ii-iii-met-1990.html

ACT II: In front of the Gibichung hall, near the Rhine Alberich crouches in front of thie sleeping Hagen, urging the destruction of Siegfried. Hagen swears that his schemes to win back the ring are working. Siegfried suddenly materialises, telling Hagen that Gunther is returning with Brünnhilde as his bride. Hagen summons the vassals and orders them to begin preparations for the wedding feast. Gunther arrives with Brünnhilde and announces the double wedding. Brünnhilde is aghast to find that Siegfried does not recognise her and astonished to see on his finger the ring she thinks Gunther took from her. Gunther, knowing nothing about this, is puzzled also and Siegfried says he got the ring from Fafner's treasure. Hagen declares that Siegfried must have taken it from Gunther by fraud. Brünnhilde declares that Siegfried is her husband but he explains that he laid the sword between them, thinking that she is accusing him of usurping Gunther's rights. He swears on the point of Hagen's spear that he did not break faith with Gunther and Brünnhilde swears that he is lying. Siegfried and Gutrune go into the hall and Hagen offers to avenge Brünnhilde's wrongs. She tells him how Siegfried can be killed: when she made him invulnerable by means of her magic arts she left his back unprotected, knowing he would never turn his back on an enemy. Gunther, at first objecting because he has sworn blood-brotherhood with Siegfried, is eventually persuaded by Hagen, who adds the lure of the ring to arguments that Gunther's honor is at stake. They plan to kill Siegfried on a hunt and blame a wild boar for his death. Brünnhilde and Gunther vow vengeance while Hagen vows to regain the ring. ACT III Scene 1: A valley on the Rhine Siegfried, unsuccessful in his hunting, encounters the Rhinemaidens and they ask him for the ring. At first he refuses, then yields; but when they warn him that it will bring him ill luck he disdains the threat and keeps it. The rest of the hunting party appears. Hagen invites Siegfried to tell his history. With promptings from Hagen, he runs through his life story to the point where he killed Mime, when Hagen offers him a drink which contains an antidote to the forgetfulness potion and he goes on to relate his winning of Brünnhilde, to the horror of Gunther. Hagen spears Siegfried through the back. Siegfried addresses a last ecstatic greeting to Brünnhilde and dies. His body is carried away by Gunther's men. Scene 2: The hall of the Gibichungs at night Gutrune is uneasy. Siegfried's body is brought in and Hagen tells Gutrune he was killed by a wild boar, but she does not believe him and accuses Gunther. He blames Hagen, who then admits to the deed. They quarrel over the ring and Hagen kills Gunther. Siegfried's hand rises accusingly as Hagen tries to take the ring, and he falls back in horror. Brünnhilde claims her right as Siegfried's true wife to mourn him. She orders a funeral pyre to be built. All that has happened is now clear to her, and she knows what has to be done, telling the Rhinemaidens to take the ring from the ashes after the fire has burnt down. It will then be purified from the curse. She rides Grane into the flames. The Rhine overflows and the Rhinemaidens take back the ring, dragging Hagen to his death as he tries to stop them. In the distance Valhalla bursts into flames and is consumed, along with the gods.

Oper Title: Mitridate, re di Ponto Composer: Wolfgang Amadeus Mozart Librettist: Vittorio Amedeo Cigna-Santi Premiere: 26 December 1770, Milan (Teatro Regio Ducal) Language: Italian Subtitles: English, Russian (click on CC for subtitles) Synopsis: https://www.opera-arias.com/mozart/mitridate,-re-di-ponto/synopsis/ Mitridate, re di Ponto (Mithridates, King of Pontus), is an opera seria in three acts by the young Wolfgang Amadeus Mozart. The libretto is by Vittorio Amedeo Cigna-Santi, after Giuseppe Parini's Italian translation of Jean Racine's play Mithridate. Mozart wrote Mitridate while touring Italy in 1770. The opera was first performed at the Teatro Regio Ducale, Milan, on 26 December 1770 (at the Milan Carnival). It was a success, performed 21 times despite doubts because of Mozart's extreme youth – he was 14 at the time. No revival took place until the 20th century. The opera features virtuoso arias for the principal roles, but only two ensemble numbers. Place: around the Crimean port of Nymphæum Time: 63BC during the conflict between Rome and Pontus Prologue: Mitridate, having suffered a heavy defeat in battle, is presumed dead. This incorrect news is passed by Arbate, the Governor, to Aspasia (Mitridate's fiancée) and to Farnace and Sifare (Mitridate's sons). Cast & Characters Gosta Winbergh - MITRIDATE, King of Pontus (Tenore) Yvonne Kenny - ASPASIA, the Queen, pledged in marriage to Mitridate (Soprano) Ann Murray - SIFARE, Mitridate's son (Soprano) Anne Gjevang - FARNACE, Mitridate's eldest son (Contralto) Joan Rodgers - ISMENE, Parthian Princess (Soprano) Peter Straka - MARZIO, Roman legionary officer (Tenore) Massimiliano Roncato - ARBATE, Governor of Nymphæa (Soprano) From The Teatro Olimpico Vicenza Wiener Concentus Musicus Conductor: Nikolaus Harnoncourt Stage Director: Jean-Pierre Ponnelle Rec. 1986

Title: Così fan tutte, ossia La scuola degli amanti (Women are like that, or The School for Lovers) Composer: Wolfgang Amadeus Mozart Librettist: Lorenzo da Ponte Premiere: 26 January 1790, Vienna (Burgtheater) Language: Italian Translation(s): English and Italian subtitles (click on CC for subtitles). Act 2: https://rumble.com/v6j49bm-mozart-cos-fan-tutte-act-2-dessi-ziegler-corbelli-kundlak-muti-la-scala-198.html Orchestra & Chorus of Teatro alla Scala Chorus Master: Giulio Bertola Conductor: Riccardo Muti Costume & Settings: Mauro Pagano Director: Michael Hampe Recorded Live at Teatro alla Scala, 11 April 1989 Cast & Characters: Daniela Dessì: Fiordiligi Dorabella: Delores Ziegler Guglielmo: Alessandro Corbelli Ferrando: Jozef Kundlak Despina: Adelina Scarabelli Don Alfonso: Claudio Desderi Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Merchant of Venice and The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii. Synopsis: ACT I Place: Naples Time: the 18th century Ferrando and Guglielmo are convinced of the fidelity of Fiordiligi and Dorabella, the two sisters to whom they are betrothed. Don Alfonso, on the other hand, claims all women are fickle and wagers that he can prove it. The young men agree to take Alfonso's test, and he tells the sisters that their husbands-to-be have been enlisted into the army. Once the men have departed, the sisters' maid Despina is persuaded by Alfonso to introduce two young Albanian friends (Ferrando and Guglielmo in disguise) to Fiordiligi and Dorabella. Each "stranger" then begins to court the other's fiancée, and they begin to make progress after pretending to take poison. Despina disguises herself as a doctor and successfully cures the Albanians.

Synopsis - ACT 2: When Ferrando learns that Dorabella has yielded to Guglielmo, he becomes yet more determined to win Fiordiligi's heart. Eventually, she too succumbs and a double wedding is planned - with Despina, again in disguise, as the notary. Just as the army is heard returning, the Albanian newlyweds disappear and Ferrando and Guglielmo appear in their place. Producing the marriage contract, they remonstrate with the sisters, who soon confess their deceit. After paying Alfonso his wager, Ferrando and Guglielmo forgive Fiordiligi and Dorabella.

Opera Title: Le nozze di Figaro Composer: Wolfgang Amadeus Mozart Librettist: Lorenzo da Ponte Premiere: 1 May 1786, Vienna (Burgtheater) Language: Italian Translation(s): English & Italian subtitles (Click on CC) Synopsis: https://www.opera-arias.com/mozart/le-nozze-di-figaro/synopsis/ Le nozze di Figaro Act III-IV: https://rumble.com/v4l82nf-mozart-le-nozze-di-figaro-act-iii-iv-freni-te-kenawa-prey-fischer-dieskau-b.html Le nozze di Figaro (English: The Marriage of Figaro), K. 492, is an opera buffa (comic opera) in four acts composed in 1786 by Wolfgang Amadeus Mozart, with an Italian libretto written by Lorenzo Da Ponte. It premiered at the Burgtheater in Vienna on 1 May 1786. The opera's libretto is based on a stage comedy by Pierre Beaumarchais, La folle journée, ou le Mariage de Figaro ("The Mad Day, or The Marriage of Figaro"), which was first performed in 1784. It tells how the servants Figaro and Susanna succeed in getting married, foiling the efforts of their philandering employer Count Almaviva to seduce Susanna and teaching him a lesson in fidelity. The opera is a cornerstone of the repertoire and appears consistently among the top ten in the Operabase list of most frequently performed operas. Cast & Crew: Hermann Prey as Figaro Mirella Freni as Sussana Dietrich Fischer-Dieskau as Il Conte di Almaviva Kiri Te Kanawa as La Contessa di Almaviva Maria Ewing as Cherubino Paolo Montarsolo as Bartolo Heather Begg as Marcellina John van Kesteren as Basilio Hans Kraemmer as Antonio Janet Perry as Barbarina Willy Caron as Don Curzio Wiener Philharmoniker Conductor: Karl Böhm Director: Jean-Pierre Ponnelle Producer: Fritz Buttenstedt Cinematography: Ernst Wild Costume Design: Jean-Pierre Ponnelle

ACT III Figaro stalls Marcellina by telling her that he is of noble birth and cannot marry without his parents' consent. He reveals a birthmark on his arm, whereupon Marcellina realizes that she and Bartolo have found their long-lost son. They embrace just as Susanne enters. She is furious, but once the situation is explained she joins in the celebration. After the countess has dictated the note that Susanna is to pass to the Count, a double wedding is prepared - Susanna and Figaro being joined by Marcellina and Bartolo. ACT IV Figaro encounters Barbarina, the gardener's daughter, who inadvertently reveals that Susanna has received a message from the count. Figaro assumes the worst, and decides to catch his errant wife when she arrives for her tryst in the garden. The countess and Susanna appear in each other's clothes (Susanne has now taken Cherubino's place in the subterfuge) and much mistaken identity ensues in the darkness (Cherubino is there to meet Barbarina too). Eventually Figaro realizes his wife is faithful and the count realizes he has been tricked. He begs for his wife's forgiveness, and receives it.

Composer: Wolfgang Amadeus Mozart Librettist: Gianbattista Varesco Premiere: 29 January 1781, Munich (Cuvillés Theater) Language: Italian Subtitles: Italian, English, French, German, Spanish. Act III: https://rumble.com/v4yhmnb-mozart-idomeneo-act-iii-pavarotti-cotrubas-von-stade-levine-ponnelle-met-19.html Idomeneo, re di Creta ossia Ilia e Idamante (Italian for Idomeneo, King of Crete, or, Ilia and Idamante; usually referred to simply as Idomeneo, K. 366) is an Italian language opera by Wolfgang Amadeus Mozart. The libretto was adapted by Giambattista Varesco from a French text by Antoine Danchet, which had been set to music by André Campra as Idoménée in 1712. Mozart and Varesco were commissioned in 1780 by Karl Theodor, Elector of Bavaria for a court carnival. Cast & Characters: Idomeneo - Luciano Pavarotti Idamante - Frederica Von Stade Ilia - Ileana Cotrubas Arbace - John Alexander Elettra - Hildegard Behrens Gran Sacerdote di Nettuno - Timothy Jenkins La voce: Richard J. Clark Due cretesi: Loretta di Franco, Batyah Godfrey Due troiani: Charles Anthony, James Courtney Metropolitan Opera Orchestra & Chorus Conductor: James Levine Chorus Master: David Stivender Stage Director: Jen-Pierre Ponnelle Director: Brian Large Live from MET, 6 November 1982, during the first-ever performance of Idomeneo at the Metropolitan Opera. Idomeneo Synopsis - Idomeneus, King of Crete Act I: King Idomeneus (ldomeneo) has sent prisoners from Troy back to Crete, including Ilia, King Priam's daughter. Unknown to Idomeneus, Ilia and Idamantes (Idamante), Idomeneus's son, are in love, and Idamantes is also loved by Elektra (Elettra). Idomeneus is set to return to Crete, at which point the prisoners will be granted amnesty, but a storm forces him to offer to Neptune a sacrifice of the first living thing he meets as he steps ashore. This turns out to be his son. Act II: Idomeneus tries to avoid his obligation to Neptune by sending Idamantes to Argos as an escort for Elektra. But Neptune raises a terrible storm out of which appears a monster which then begins to tear the island apart. The people realize that someone has offended the gods, and Idomeneus confesses.

ACT III: Idamantes prepares to battle with the monster. Before doing so he tells Ilia that he loves her. The jealous Elektra bursts in with Idomeneus, who then tells of his vow to Neptune. Idamantes kills the monster, then offers himself in fulfilment of his father's promise to Neptune. The voice of Neptune intervenes, sparing Idamantes' life, but demanding that Idomeneus abdicate. ldamantes duly takes the throne, with Ilia at his side.

Film version of the famous Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (Profane songs for singers and choirs accompanied by instruments and magical figures). Audio in Latin with subtitles in English, Italian, German and Latin (click on CC for subtitles). Directed by Ponnelle under the supervision of the author Carl Orff, who set to music selected texts in Latin and Old German from the Carmina burana manuscript of around 1250. Amazing musical interpretation conducted by Kurt Eichhorn, assisted by three highly inspired soloists: Prey, Popp and van Kesteren. Cast & Crew: Lucia Popp: Soprano John van Kesteren: Tenor Hermann Prey: Baritone Chor des Bayerischen Rundfunks Tolzer Knabenchor Munchner Rundfunkorchester Conductor: Kurt Eichhorn The introductory section "Fortuna imperatrix mundi" includes the chorus "O Fortuna" which frames the entire scenic cantata, thus underlining the omnipresence of fate in human affairs. In the first part, "Primo vere"/"Uf dem Anger" the joys of awakening nature in spring are praised; in the second, "In taberna", the abbot of Cucania narrates the earthly pleasures of eating and drinking; in the third part, "Cour d'amours"/"Blanziflor et Helena", love is celebrated, constantly poised between the sacred and the profane.