Adaneth - Arts & Literature

From the Teatro alla Scala in Milan, Giuseppe Verdi's Requiem Mass. Audio in Latin with Latin subtitles. English subtitles version: https://www.bitchute.com/video/uP4k0aQrW97g/ A historical interpretation of Verdi's score which was born on the wave of emotion for the death of Alessandro Manzoni and was performed for the first time by the composer himself on 22 May 1874 in the Basilica of San Marco in Milan. A Requiem imbued with a strong dramatic charge, which reflects the main line of Verdi's theater: a grandiose meditation on the mystery of death, which, despite the sign of rebellion against divine will, restores dignity and consolation to man. This production was recorded on film in 1967 at the Teatro alla Scala under the conduction of Karajan. Among the protagonists is a very young Luciano Pavarotti, alongside three other top performers such as Leontyne Price, Fiorenza Cossotto and Nicolai Ghiaurov. The production, with orchestra and choir of the Teatro alla Scala, was made to celebrate the tenth anniversary of the death of Arturo Toscanini and was followed by a triumphal tour in Moscow, Montreal and New York.

A 1994 Documentary Film narrated by Michael Gambon. Directed by Gerald Caillat, Sue Knussen and Peter R. Smith. Additional interviews, as an extra bonus material, at the end of the documentary. This is a fascinating documentary on some of the greatest conductors of all time. A unique program featuring sixteen of the great conductors of the last century in rehearsal and performance. Revealing archive footage is complemented by first-hand recollection's of these legendary conductors by some of the most eminent musicians. With commentary by John Eliot Gardiner, Isaac Stern, Jack Brymer, Sir Thomas Beecham, Yehudi Menuhin, Oliver Knussen, Suvi Raj Grubb, George Szell, Bruno Walter, Otto Klemperer, Hugh Bean, Werner Tharichen, Richard Mohr, Leopold Stokowski, Julius Baker, Herbert von Karajan. Featuring in archive footage: Thomas Beecham, Leonard Bernstein, John Barbirolli, Fritz Busch, Wilhelm Furtwängler, Richard Strauss, Arthur Nikisch, Serge Koussevitzky, Otto Klemperer, Jascha Heifetz, Arturo Toscanini, Herbert von Karajan, Serge Koussevitzky, Georg Solti (in TV Broadcast version), Marsha Hunt as Nora Ryan (in clip from 1947 film Sinfonie eterne 'Carnegie Hall'), Leopold Stokowski (Clip from 1947 film Sinfonie eterne 'Carnegie Hall', Frank McHugh as John Donovan (in clip from 1947 film Sinfonie eterne 'Carnegie Hall'), Bruno Walter, Felix Weingartner.

A 1997 Teldec Classics International production, in association with IMG Artists. Produced by Marcos Klorman, directed by Peter R. Smith. Narrator, Michael Letchford. Most of the audio is in English, subtitles hardcoded. The Art of Conducting (Legendary Conductors of a Golden Era) has longer portraits of six major conductors of the twentieth century: Sergiu Celibidache, Wilhelm Furtwangler, Erich Kleiber, Willem Mengelberg, Evgeny Mravinsky, and Charles Munch. Also includes rare film clips of Herbert von Karajan, Hermann Scherchen, André Cluytens, and Václav Talich. Archival footage is complemented by first-hand recollections of these conductors by people who knew them; Yehudi Menuhin, Daniel Barenboim, Bernard Haitink. Peter Andry, Alexander Barantschik, Walter Barylli, Otto Edelmann, Vic Firth, Yuri Grigorovich, Bernard Haitink, and Evgeny Mravinsky. Music Content: -Herbert Von Karajan - R. Strauss -Vaclav Talich - Dvorak -Hermann Scherchen - Kalinnikov -Andre Cluytens - Ravel -Evgeny Alexandrovich Mravinsky - Tchaikovsky, Shostakovich -Erich Kleiber - Beethoven, J. Strauss II -Willem Mengelberg - Berlioz, Bizet, Weber -Wilhelm Furtwangler - J. Strauss II, R. Strauss -Charles Munch - Franck, Debussy, Ravel, Berlioz -Sergiu Celibidache - Beethoven, R. Strauss, Dvorak Participants: - Sergiu Celibidache with the Berlin Philharmonic Orchestra, the Orchestra of Süddeutscher Rundfunk, and the Munich Philharmonic Orchestra - Wilhelm Furtwängler with the Berlin Philharmonic Orchestra - Erich Kleiber with the Concertgebouw Orchestra, the Czech Philharmonic, and the Berlin Staatskapelle - Willem Mengelberg with the Concertgebouw Orchestra - Evgeny Mravinsky with the Czech Philharmonic Orchestra and the Leningrad Philharmonic Orchestra - Charles Munch with the Czech Philharmonic Orchestra, the Boston Symphony Orchestra, and the Hungarian State Orchestra - Herbert von Karajan with the Berlin Philharmonic Orchestra - Václav Talich, Hermann Scherchen, and André Cluytens with the Czech Philharmonic Orchestra.

Composer: Georges Bizet Librettist: Henri Meilhac, and Ludovic Halévy Premiere: 3 March 1875, Paris (Opéra Comique) Language: French Subtitles: English Artists: Grace Bumbry, Jon Vickers, Justino Díaz, Mirella Freni, Olivera Miljakovic Directors: Herbert von Karajan Mariemma & Ballet de Espana Set Design: Teo Otto Costume Design: Georges Wakhevitch Carmen Synopsis ACT I A square in Seville, with a guardhouse and cigarette factory Micaela looks for Don José, but he will not be there till the guard is changed. Urchins mock the soldiers at the changing of the guard. The girls from the cigarette factory mingle with the soldiers, but Carmen remains aloof: she can only love one who flees, not one who loves her. Since Don José is ignoring her, she flings a flower in his face and runs off. He hides it inside his tunic as Micaela returns, bringing a letter from his mother and a kiss, which he returns. There is a disturbance in the factory, Carmen has stabbed another girl and Zuniga orders Don José to take her to prison, but she bewitches him into letting her escape. ACT II The tavern of Lillas Pastia Carmen rejects the advances of Zuniga. She is waiting for Don José, who is about to be released from prison (he had been demoted and imprisoned for letting her escape). She also seems unimpressed by the toreador Escamillo, who makes advances to her. As all leave except Carmen and her gypsy friends, Zuniga promises to return, despite her discouragement. She refuses to join the smugglers because she is in love. Hearing Don José's voice, she tells the others to leave. He is jealous when he learns that she has danced for the officers, so she dances for him, but is interrupted by the bugle sounding the retreat. When Don José insists that he must return to barracks she accuses him of not loving her. He produces the faded flower, telling her it has stayed with him through his imprisonment. If he loves her, she says, he will follow her to the mountains, but he is still resolved to leave. He is still there when Zuniga returns and disobeys Zuniga's order to leave. They come to blows and are separated by the smugglers. Don José now has no choice but to desert and join the smugglers. ACT III A pass high in the mountains The smugglers make camp. Don José regrets his present way of life, particularly as Carmen is disenchanted with him. As Mercédès and Frasquita lightheartedly tell their fortunes, Carmen consults the cards and reads her death in them. Don José is left on guard as the girls go down to beguile the customs officers while the men take the goods through. Micaela has come in search of Don José. She hides. Escamillo has come in search of Carmen and is discovered by Don José. They fight, and only the return of the smugglers saves Escamillo, as Carmen restrains Don José. Micaela is discovered. She has brought Don José a message from his dying mother and Carmen scornfully tells him to go. He swears that he will return. ACT IV Outside the bullring in Seville Escamillo arrives for the bullfight, accompanied by Carmen. Warned by her friends that Don José is looking for her, she refuses to beware, but waits outside to confront him. As she continues to resist his entreaties and threats, he kills her as the crowd acclaims the victorious Escamillo. Having killed his beloved Carmen, Don José surrenders to the law.

A 2012 Documentary Film written and directed by Renzo Carbonera. Narrator Douglas Dean. Ernest Hemingway is an almost mythical figure. In addition to being an author, he is literary work himself - a real rock star ante litteram. Much of his life has been an eternal holiday, minutely documented and continues to be a source of inspiration for himself. Wherever there are places that share their quotes: true or presumed. The pictures that portray him are thousands. Hemingway had built a fame as a captain of ventura, expressing a strong personality, man and myth, joining the life lived in the imagination of his characters. It is in this context that his many trips to Italy are included. From the First World War to the advent of Fascism, from the Second World War to the Boom Years: both male and female acquaintances, relationships with food and wine, landscapes, loves, pleasures and tragedies of life, especially in Veneto, were fundamental to the writer. Finding how Hemingway was a forerunner of the modern public figure, we will also see how he eventually found himself victim to the icon that was sewn on him. Finding its strange and private sides between the mountains and the lagoons of a territory that he loved to the end, makes the silence more silent on the fragility of this hard.

Episode 2: Focusing on the influence of the great German school of organ builders in Northern Europe, this episode was filmed in The Netherlands and Germany. With the advent of the Lutheran reforms in the church, the organ became an increasingly widespread and important part of religious worship. The development of organ music from Sweelinck, the ‘maker of organists’, through Buxtehude to the golden age, in which the genius of Johann Sebastian Bach is highlighted, is shown. Featuring music by Jan Pieterszoon Sweelinck, Dietrich Buxtehude, Matthias Weckmann and Johann Sebastian Bach. Organists: Gustav Leonhardt, Bernard Foccroulle, Hans Heintze Episode 1: https://rumble.com/v3d7v06-a-history-of-the-organ-latin-origins-episode-1.html

Episode 3: This episode focuses on the first half of the 18th Century - the Golden Age of organ music. The French and German school of organ production is presented and works by Marchand, Dandrieu and Johann Sebastian Bach will be played. Featuring music by Louis Marchand, Johann Sebastian Bach and Jean-Francois Dandrieu. Organists: Xavier Darasse, André Isoir and Gustav Leonhardt

Episode 4: Tracing the organ’s development, from the beginning of the nineteenth century to the present day, this episode visits France and Switzerland. The impact of changes in society, tastes and musical styles, as well as technological advances, are examined and illustrated with music by Charles-Marie Widor, Max Reger, Olivier Messiaen and Jehan Alain. Organists: Marie-Claire Alain, René Saorgin, Louis Robilliard and Xavier Darasse

Composer: Mikhail Ivanovič Glinka Librettist: Nestor Kukolnik, Egor Fyodorovich (von) Rozen, Vladimir Sollogub and Vasily Zhukovsky Premiere: 27 November 1836 OS (9 December NS) at the Bolshoi Kamenny Theatre in St. Petersburg Language: Russian Translation: English subtitles A Life for the Tsar is a "patriotic-heroic tragic opera" in four acts with an epilogue by Mikhail Glinka. During the Soviet era the opera was known under the name Ivan Susanin. Cast & Characters: Evgeny Nesternko as Ivan Susanin Marina Mescheriakova as Antonida Alexander Lomonosov as Bogdan Sobinin Elena Zaremba as Vanya Boris Bezhko as Polish Commander The Bolshoi Symphony Orchestra and Chorus Conducted by Alexander Lazarev The original Russian libretto, based on historical events. The historical basis of the plot involves Ivan Susanin, a patriotic hero of the early 17th century who died in the expulsion of the invading Polish army for the newly elected Tsar Michael of Russia, the first of the Romanov dynasty, elected in 1613. The opera was immediately hailed as a great success, and became the obligatory season-opener in the Imperial Russian opera theaters. A Life for the Tsar occupies an important position in Russian musical theater as the first native opera to win a permanent place in the repertoire. It was one of the first Russian operas to be known outside Russia. In keeping with Glinka's European training, much of A Life for the Tsar was structured according to conventional Italian and French models of the period. Nevertheless, several passages in the opera are based on Russian folk songs or folk melodic idioms that become a full part of the musical texture. Most importantly, this opera laid the foundation for the series of Russian nationalistic historical operas continued by works such as Serov's Rogneda, Mussorgsky's Boris Godunov, Rimsky-Korsakov's Maid of Pskov, Tchaikovsky's The Oprichnik or Mazeppa, and Borodin's Prince Igor. SYNOPSIS ACT I - The village of Domnino Antonida is eager to marry Sobinin, but her father, Susanin, refuses permission until a Russian has been duly chosen to take the tsar's throne. When Sobinin informs him that the Grand Council in Moscow has chosen a tsar, everyone celebrates. ACT II - Poland In a sumptuous hall, the nobility celebrates the Polish dominance over the Russians by singing and dancing. Suddenly, a messenger comes in with the news that Mikhail Romanov has been selected as the tsar of Russia but is now in hiding. The Poles vow to overthrow him. ACT III - Susanin's cabin Susanin and his adopted son, Vanya, pledge to defend the new tsar. Susanin blesses Sobinin and Antonida on their upcoming wedding when a detachment of Polish soldiers bursts in to demand the tsar's whereabouts. Instead, Susanin sends Vanya to warn the tsar while Susanin leads the soldiers off the trail into the woods. Antonida is devastated. Sobinin gathers some men to go on a rescue mission. ACT IV - A dense forest Sobinin reassures his men of the rightness of their mission. When night falls, in a part of the forest near a monastery, Vanya knocks at the gates and alerts the inhabitants to spirit the tsar away. Susanin has led the suspicious Polish troops into an impassable, snow-covered area of the forest. The Poles sleep while Susanin waits for the dawn and bids farewell to his children. A blizzard sets in, and when day breaks, the Poles awake. They realise that Susanin has deceived them and so kill him. EPILOGUE - Red Square, Moscow. Across the stage walks a crowd of people, celebrating the triumph of the new tsar. Alone in their own solemn procession, Antonida, Sobinin and Vanya mourn Susanin. A detachment of Russian troops comes upon them, discovers their connection with Susanin and comforts them. As the scene changes to Red Square, the people proclaim glory to the tsar and to Susanin's memory.

Opera title: Norma Aria: Mira, o Norma... Composer: Vincenzo Bellini Librettist: Felice Romani Lyrics in Italian with English translation. Soprano: Renata Scotto as Norma Soprano: Mirella Freni as Adalgisa Conductor - Lorenzo Anselmi National Philharmonic Orchestra Recorded July 1978 in Walthamstow Town Hall.

J.R.R.T. - A Study of J.R.R. Tolkien is a 1992 documentary, narrated by Judi Dench, produced to celebrate the centenary of J.R.R. Tolkien’s birth. It is sometimes called “J.R.R. Tolkien: A Portrait” and “J.R.R. Tolkien - An Authorized Film Portrait”. It features archive footage and audio recordings of J.R.R. Tolkien, and interviews with three of his children Priscilla, John, and Christopher. It also includes interviews with Baillie Tolkien, Robert Murray, Queen Margrethe II of Denmark, Rayner Unwin, Tom Shippey, and Verlyn Flieger.

Opera title: Le Nozze di Figaro Aria: "Sull'aria... che soave zeffiretto" Composer: Wolfgang Amadeus Mozart Librettist: Lorenzo da Ponte Lyrics in Italian with English translation. Soprano: Renata Scotto as Countess Almaviva Soprano: Mirella Freni as Susanna Conductor - Lorenzo Anselmi National Philharmonic Orchestra Recorded July 1978 in Walthamstow Town Hall. "Sull'aria... che soave zeffiretto" (On the breeze...What a gentle little Zephyr) is a duettino, or a short duet, from act 3 of Wolfgang Amadeus Mozart's opera The Marriage of Figaro, K. 492, to a libretto by Lorenzo Da Ponte. In the duettino, Countess Almaviva (a soprano) dictates to Susanna (also a soprano) the invitation to a tryst addressed to the countess' husband in a plot to expose his infidelity.

A 1997 RM Arts Arts Documentary narrated by Tim Hardy. The organ is one of the oldest, most complex and most glorious musical instruments known to man. The four-part series tells the history of this magnificent instrument, displaying the beauty of the sound it produces, the wealth of music written for it, the craftsmanship involved in building such a complicated and often ornate structure and the wonderful settings in which it has come to reside. The journey takes us from Italy, Spain, Germany and France to discover and listen to the changes that make up the history of this wonderful instrument. Episode 1: Starting out in the Verona workshop of Bartolomeo Formentelli, this episode travels through Italy, Spain and France to trace the origins, history and development of the organ. It encompasses the classical sobriety of the Italian style, the Golden Age of the organ in sixteenth-century Spain, and the French style of the eighteenth century. Featuring music by Pierre Attaignant, Antonio de Cabezón, Girolamo Frescobaldi, Francisco Correa de Arauxo, François Couperin, Nicolas de Grigny and Louis-Claude Daquin

ACT III - Scene 1. In Italy, near Velletri during the War of the Austrian Succession As soldiers carouse in the background, Don Alvaro reveals in a soliloquy that he is the son of a Spaniard who had married the daughter of the last of the Incas and tried to free Peru from Spanish rule. His parents had been defeated, put in prison, where Alvaro was born, and executed, while he was brought up in the wilderness. Unaware that Leonora is still alive, he prays to her to look down on him from heaven. Disturbed by sounds of quarrelling and a cry for help, he rescues Don Carlo from the consequences of a quarrel over a game of cards. Excusing himself for being in such low company, on the grounds that he is but recently arrived, Carlo identifies himself as Don Felice de Bornos, aide-de-camp to the general, and Alvaro gives in reply the name he has assumed, Don Federico, Herreros, captain of grenadiers and, as Carlo exclaims in delight, the pride of the army. The two swear eternal friendship and go into battle together. Alvaro is wounded and Carlo exhorts the surgeon to save him, promising Alvaro the order of Calatrava for his bravery. Feeling death near, Alvaro begs Carlo to burn unopened a packet of documents he will find among his possessions, and Carlo swears to obey; but while the surgeon is operating, doubts occur, spurred by Alvaro's horrified reaction to the name of Calatrava. He is tempted to open the packet, but his sense of honor restrains him. But near the packet he finds a portrait of Leonora and his suspicions are confirmed, and he receives with joy the news that Alvaro will live - so that he can kill him. Scene 2. The camp near Velletri The sun rises on bustling camp activity. Among those present is Preziosilla, telling fortunes, Trabuco, trafficking with the soldiers, and Melitone, reproving everyone for pagan goings-on on Sunday. When the soldiers turn on him, Preziosilla averts their wrath by embarking on a rousing rataplan. ACT IV - Scene 1. The courtyard of the monastery of Hornachuelos five years later Brother Melitone is dispensing food to the poor, complaining as he does so, so that they compare him unfavourably with the charitable Father Raffaele. When they have gone he discusses Father Raffaele with the Father Superior, explaining that he seems more like the devil than a member of a monastic order. Don Carlo knocks at the gate asking for Father Raffaele (Alvaro) and when they are alone confronts him, wishing to resume the interrupted duel - he has even brought two swords. But Alvaro has withdrawn from the world and tries to avoid the conflict. Rising to Carlo's taunt on his ancestry, he gains control of himself, but a blow cannot be overlooked and they run off to fight to the death. Scene 2. A mountain gorge near a cave in the vicinity of the monastery Leonora, dressed as a hermit, appears from the cave, praying for peace of mind: she has been unable to forget Don Alvaro. The sound of fighting disturbs her and she calls an imprecation on the heads of those disturbing her holy refuge. But the voice of the dying Carlo is heard calling for confession and Alvaro comes to beg the hermit to give him the last rites. They recognise one another and Alvaro tells her her brother lies dying. She goes to him, but he stabs her as he dies. As she reappears, supported by the Padre Guardiano, Alvaro curses his fate and heaven, but is reproved by the Padre Guardiano, and Leonora assures him that heaven will pardon him. As she dies, Alvaro laments that he, the guilty one, lives on.

Composer: Giuseppe Verdi Librettist: Francesco Maria Piave Premiere: 22 November 1862, St Petersburg (Imperial Bolshoi Theatre) Language: Italian Libretto: https://www.opera-arias.com/verdi/la-forza-del-destino/libretto/ Translation: English subtitles La Forza del Destino (The Power of Fate, often translated The Force of Destiny) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager (Wallenstein's Camp). It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 29 November 1862 O.S. (N.S. 10 November). La forza del destino is frequently performed, and there have been a number of complete recordings. In addition, the overture (to the revised version of the opera) is part of the standard repertoire for orchestras, often played as the opening piece at concerts. Cast & Characters: Giovanni Foiani: Il Marchese di Calatrava Montserrat Caballé: Donna Leonora Piero Cappuccilli: Don Carlo di Vargas José Carreras: Don Alvaro Maria Luisa Nave: Preziosilla Nicolai Ghiaurov: Il Padre Guardiano (The Father Superior) Sesto Bruscantini: Fra Melitone Mila Zanlari: Curra, Leonora's maid Giuseppe Morresi: Un alcade Piero de Palma: Mastro Trabuco Carlo Meliciani: Un chirurgo Franco Riccardi: Un rivendugliolo Orchestra e Coro del Teatro alla Scala Conductor: Giuseppe Patané Synopsis - ACT I: A room in the country house of the Marquis of Calatrava The marquis bids his daughter Leonora an affectionate goodnight, assuring her that the country air will help her to forget the unworthy stranger (who has aspired to her hand). Leonora, on the point of eloping with Don Alvaro, the stranger, is seized with remorse, thinking mournfully of her life when parted forever from her country and her family, while her maid Curra tries to encourage her to pack, warning her of the fate which attends Alvaro if she were to yield to the temptation of confessing to her father. When Alvaro arrives, she is still reluctant to leave, asking him to delay by one day, so she can see her father again; but when Alvaro accuses her of not loving him, she responds to his passion and prepares to elope. But they are surprised by the Marquis and servants. Swearing that Leonora is pure, Alvaro offers his breast to the Marquis, who disdains to kill one he considers beneath him. Alvaro throws his pistol to the floor and it goes off, killing the Marquis, who dies cursing his daughter. Leonora and Alvaro flee. ACT II Scene 1. The inn of the village of Hornachuelos Arriving at the inn disguised as a man, Leonora hides when she sees her brother, Don Carlo, among the crowd waiting for supper. Don Carlo, disguised as a student, begins to interrogate the muleteer Trabuco about the identity of the person he brought to the inn (Leonora), but is interrupted by the arrival of the gipsy Preziosilla on her way to join the Spanish army fighting in Italy. After a rousing call to arms, she offers to tell fortunes, and sees misfortune in Carlo's hand, and also makes it clear that she knows he is not what he says he is. A procession of pilgrims passes on its way to the monastery of Hornachuelos and the company joins in the prayer. Carlo continues to question Trabuco about the sex of the traveller, and even suggests painting a moustache on his face as he sleeps, until restrained by the mayor, who asks him to account for himself. His name is Pereda, he answers, a student from Salamanca, who had accompanied his friend Don Carlo di Vargas in search of his sister and her foreign lover who had killed their father; Carlo has gone to (South) America and he will return to his studies. All go to bed. Scene 2. Outside the monastery of Hornachuelos in the mountains Leonora reaches her goal, the monastery, terrified to have recognised her brother and heard him tell her story. She also heard him say that Don Alvaro, whom she had thought killed in the confusion on the night of the failed elopement, is alive and has gone to South America; and believes that he has deserted her. She rings the bell and manages to convince the reluctant porter, brother Melitone, of her urgent need to see the Padre Guardiano.To the Padre Guardiano she reveals her identity. She had been sent to him by her confessor, as she wishes to follow the example of another woman and live as a hermit in a cave not far from the monastery. After some reluctance, he consents and calls the monks to prayer, to give her his blessing and state to her and the brothers (who do not know she is a woman) the conditions of her future life: she is to see no one and remain undisturbed; he will leave food for her and only in extreme danger or at the hour of her death is she to ring a bell to summon him.

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

A 1998 Short Animation Film directed by Galina Shakitskaya. Night on Bald Mountain, also known as Night on the Bare Mountain, is a series of compositions by Modest Mussorgsky (1839–1881). Inspired by Russian literary works and legend, Mussorgsky composed a "musical picture", St. John's Eve on Bald Mountain on the theme of a Witches' Sabbath occurring at Bald Mountain on St. John's Eve, which he completed on that very night, 23 June 1867. Together with Nikolai Rimsky-Korsakov's Sadko (1867), it is one of the first tone poems by a Russian composer. Mussorgsky was part of a group of Russian composers known as "The Five" that was an innovator of Russian music and promoted a uniquely Russian aesthetic identity. Night on Bald Mountain does that by using a Russian folk story as the inspiration. Mussorgsky was the only member of the group, which included Rimsky-Korsakov and Borodin, who never left his native country. Born into wealth and lineage-his landowning family was reputedly descended from the first Russian Ruler, Rurik-Mussorgsky was sent to officers' school and was groomed to serve in the military, like many of the men in his family. Mussorgsky is one of the most daring and creative Russian composers of his time and his works are novel yet stylistically romantic. Many of his compositions are inspired by Russian history and Russian folklore; folk melodies and harmonies can frequently be heard in his works. Mussorgsky's first ideas for the tone poem A Night on Bald Mountain were inspired by the ancient Russian legend of nocturnal revels that take place on St. John's Night in June on a hill called Lysa Hora near Kiev. The legend tells of a demon, Chernobog, who leads the revels until, in the composer's words, "the sounds of the far-off bell of the little church in a village...disperses the Spirits of Darkness." In 1860, Mussorgsky entertained thoughts of using this idea to write a one-act opera based on Nikolai Gogol's story the The Eve of Ivan Kupala. Ivan Kupala is a combination of St. John and a Slavic god, Kupalo whose feast day is the Summer Solstice. This idea didn't materialize and was transformed instead into a plan for a one-act opera based on Baron Mengden's play the Witches. Both projects were abandoned. In 1867, Mussorgsky had turned the music into what he called a "tone-picture" for orchestra. This piece was entitled St. John's Night on the Bare Mountain. The score was modified several times before finding its present orchestration; Mussorgky's friend Nikolai Rimsky-Korsakov undertook the revisions and re-orchestration of the so called "fourth version" performed it on October 27, 1886 in St. Petersburg as A Night on Bald Mountain. Rimsky-Korsakov altered the ending of the work in his revision of the score. In Mussorgsky's original version, the ending is brutal and savage; Rimsky-Korsakov has the end fade away peacefully. Known as the "Rimsky-Korsakov version" it is a highly polished and effective score that has kept Mussorgsky's name before a wide public and has become one of the most popular works in orchestral literature. The most recognized version of Mussorgsky's tone poem today comes from Walt Disney's 1940 animated film Fantasia as arranged by Leopold Stokowski. Stokowski based his arrangement on Rimsky-Korsakov's in form and content, but on Mussorgsky's original in orchestration. Although the most famous version of A Night on Bald Mountain, the Stokowski arrangement is rarely heard outside of the movie.

Swan Lake (Russian: Лебединое озеро, tr. Lebedinoye ozero), Op. 20, is a ballet composed by Russian composer Pyotr Ilyich Tchaikovsky in 1875–76. Despite its initial failure, it is now one of the most popular ballets of all time. The scenario, initially in two acts, was fashioned from Russian and German folk tales and tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse. The choreographer of the original production was Julius Reisinger (Václav Reisinger). The ballet was premiered by the Bolshoi Ballet on 4 March [O.S. 20 February] 1877 at the Bolshoi Theatre in Moscow. Although it is presented in many different versions, most ballet companies base their stagings both choreographically and musically on the 1895 revival of Marius Petipa and Lev Ivanov, first staged for the Imperial Ballet on 15 January 1895, at the Mariinsky Theatre in St. Petersburg. For this revival, Tchaikovsky's score was revised by the St. Petersburg Imperial Theatre's chief conductor and composer Riccardo Drigo. Swan Lake is generally presented in either four acts, four scenes (primarily outside Russia and Eastern Europe) or three acts, four scenes (primarily in Russia and Eastern Europe). The biggest difference of productions all over the world is that the ending, originally tragic, is now sometimes altered to a happy ending. Some productions include a prologue that shows how Odette first meets Rothbart, who turns Odette into a swan. This rendition of Pyotr Ilych Tchaikovsky's ballet Swan Lake features dancers Ulyana Lopatkina and Danila Korsuntsev; it was staged and filmed at the Mariinsky Theatre in St. Petersburg. The Orchestra of the Mariinsky Theatre, under the baton of Valery Gergiev. Cast & Characters: Ulyana Lopatkina as Odette-Odile Danila Korsuntsev as Prince Siegfried Alexandra Gronskaya as The Queen Pyotr Stasiunas as Tutor Andrei Ivanov as Jester Ilya Kuznetsov as Rothbart

ACT IV - Scene 1: The King's study in Madrid The king broods that his wife has never loved him. In answer to his summons the grand inquisitor appears and Philip confides his suspicion that the prince is planning rebellion. They agree that he should be handed over to the Inquisition, but then the inquisitor demands that Posa be handed over as a far greater heretic. The king refuses, is denounced by the inquisitor, and then tries to make his peace with him, though resentful that the throne has to always give way to the church. The queen rushes in demanding justice, as her jewel casket has been stolen. It has in fact been given to Philip, who orders her to open it. The portrait of Don Carlos is revealed and she defends this on the grounds that he had once been promised as her husband. When the king abuses her and accuses her of adultery, she faints and he calls for help. Eboli and Posa appear, the latter reproaching the king for his lack of self-control. When the two women are left alone, Eboli confesses that it was she who betrayed the queen, jealous because she too loved Carlos, but in vain. The queen pardons her, but when Eboli confesses that she has been the king's mistress, Elisabeth orders her either to a convent or to exile, leaving Eboli to curse the fatal gift of beauty which led to her downfall. Scene 2: An underground prison Posa visits Carlos in prison and tells him that the papers he took from Carlos have been found in his possession and have proved him to be the leader of the rebellion. Posa is shot by an officer of the Inquisition and dies happy that he has been able to preserve Carlos to save Flanders. He tells him that Elisabeth will explain everything to him the next day at the emperor's tomb. Philip, accompanied by grandees, appears and offers Carlos back his sword, but he accuses his father of the murder of Posa, whose death the king also mourns. The people are threatening revolt unless the prince is set free. The king orders the gates to be opened and they surge in, but are subdued when the grand inquisitor orders them to kneel before their king. ACT V - The tomb of Charles V at San Yuste Elisabeth kneels in prayer at the tomb of Charles V. She remembers happier days in France, and prepares to see Carlos for the last time. When he arrives he declares that honor has vanquished love and that he is ready to go to Flanders. They promise to meet in a better world, but their farewell is interrupted by the king, with the grand inquisitor and officers of the Inquisition. Carlos draws his sword to defend himself but is suddenly drawn into the monastery by the mysterious monk, his disguise thrown off, now revealed as the emperor.

Composer: Giuseppe Verdi Librettist: Joseph Méry, and Camille du Locle. Translated into Italian by A. Ghislanzoni. Premiere: French version in five acts: 11 March 1867, Paris Language: Five-act version sung in Italian Synopsis: https://www.opera-arias.com/verdi/don-carlo/synopsis/ Translation: English subtitles Cast&Characters: Renata Scotto as Elizabeth of Valois Vasile Moldoveanu as Don Carlo Tatiana Troyanos as Princess of Eboli Sherrill Milnes as Rodrigo Paul Plishka as Philip II Jerome Hines as the Grand Inquisitor Betsy Norden as Tebaldo The Metropolitan Orchestra and Chorus Conductor James Levine Chorus Master David Stivender Set Designer David Reppa Production by John Dexter Costume Designer Ray Diffen Recorded at the Metropolitan Opera House on 21 February 1980 Don Carlos is a five-act grand opera composed by Giuseppe Verdi to a French language libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien ("Don Carlos, Infante of Spain") by Friedrich Schiller. The opera is most often performed in Italian translation, usually under the title Don Carlo. The story is based on conflicts in the life of Carlos, Prince of Asturias (1545-1568), after his betrothed Elisabeth of Valois was married instead to his father Philip II of Spain as part of the peace treaty ending the Italian War of 1551-1559 between the Houses of Habsburg and Valois. It was commissioned and produced by the Théâtre Impérial de l'Opéra (Paris Opera) and premiered at the company's theatre, the Salle Le Peletier, on 11 March 1867. Over the following twenty years, cuts and additions were made to the opera, resulting in a number of versions being available to directors and conductors. No other Verdi opera exists in so many versions. At its full-length (including the ballet and the cuts made before the first performance), it contains about four hours of music and is Verdi's longest opera.

ACT II - Inside Bartolo's house Bartolo is voicing his suspicions about this soldier when Almaviva appears again, this time disguised as "Don Alonso," a supposed pupil of Don Basilio, who, he says, is indisposed and has sent him to take Rosina's music lesson. To allay Bartolo's suspicions he produces Rosina's note, pretending it has fallen into his hands by accident and suggesting that Bartolo tell her it was given to him by a mistress of the Count, to prove that he is trifling with her affections. Rosina sings an aria to the Count's accompaniment and as Bartolo dozes off, the Count explains his plan for eloping with Rosina later that night. Figaro appears to shave Bartolo and manages to get hold of the key to the balcony. Basilio arrives, but is told to go home because he looks so ill, advice he accepts the more readily because Almaviva slips him a bribe. Figaro begins to shave Bartolo, while Almaviva and Rosina continue to arrange the elopement. Bartolo realises what is going on and the Count and Figaro make their escape. Basilio comes back with the unwelcome news that the unknown suitor is probably Almaviva himself, a conclusion he has reached because of the size of the bribe. Bartolo sends Basilio to bring the notary to perform the marriage with Rosina and, producing her letter to the Count, convinces her that her affections are being trifled with, so she tells him of the planned elopement and agrees to marry him. He goes to get the law to arrest Figaro and Almaviva. During the storm Figaro and Almaviva climb a ladder to the balcony, only to be confronted by an angry Rosina, but the Count calms her fears by revealing his identity. Figaro urges haste, but the ladder has been taken. Basilio arrives with the notary and they get him to solemnise Almaviva's marriage to Rosina. Bartolo and the law arrive too late.

Composer: Giaochino Rossini Librettist: Cesare Sterbini Premiere: 20 February 1816, Rome (Teatro Argentina) Language: Italian Synopsis: https://www.opera-arias.com/rossini/il-barbiere-di-siviglia/synopsis/ Translation: English subtitles Cast & Characters: Figaro - Leo Nucci Il Conte d'Almaviva - Rockwell Blake Rosina - Kathleen Battle Bartolo - Enzo Dara Basilio - Ferruccio Furlanetto Berta - Loretta di Franco Fiorello - David Hamilton Ambrogio - Edvard Ghazal An official - Charles Anthony The Metropolitan Opera Orchestra and Chorus Conductor: Ralf Weikert Chorus master: David Stivender Set design: Robin Wagner Costume design: Patricia Zipprodt The Barber of Seville, or The Futile Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville (1775), which was originally an opéra comique, or a mixture of spoken play with music. The première (under the title Almaviva, or the Futile Precaution) took place on 20 February 1816, at the Teatro Argentina, Rome. It was one of the earliest Italian operas to be performed in America and premiered at the Park Theater in New York City on 29 November 1825. Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all opere buffe; even after two hundred years, its popularity on the modern opera stage attests to that greatness. An opera based on the play had previously been composed by Giovanni Paisiello, another was composed in 1796 by Nicolas Isouard and by Francesco Morlacchi in 1807. Though the work of Paisiello triumphed for a time, Rossini's later version alone has stood the test of time and continues to be a mainstay of operatic repertoire. ACT I - Scene 1: A small square in Seville before dawn Disguised as a student, Count Almaviva serenades Rosina. He learns from Figaro, a former servant, now the city barber and general factotum, that she is Dr Bartolo's ward, and that he has access to the house. Rosina contrives to drop a note for Almaviva, sending her guardian on a wild-goose chase to pick it up and causing him to resolve to keep her under even closer guard. The letter asks for information about her unknown suitor's name, rank and intentions; and when Bartolo has set off in search of his crony Don Basilio, the music teacher, to arrange his marriage to Rosina, Almaviva sings another serenade, telling her that he is a poor student called Lindoro. Inspired by the Count's munificence, Figaro declares that he can get him into the house, disguised as a drunken soldier seeking a billet. Scene 2: Inside Dr Bartolo's house Rosina is determined to marry her unknown suitor, while Bartolo is set on marrying her himself. He tries to interrogate his servants about what has been going on in his house, but they can only yawn or sneeze, because they have been dosed by Figaro. Basilio tells him that Couant Almaviva has been seen in Seville and advises getting rid of him by slander. They retire to work on the marriage contract. Figaro, who has overheard their plans, tells Rosina and urges her to write to his "poor cousin." The letter is already written and she gives it to him. Bartolo, suspecting that she has been writing, confronts her with the evidence. She has an answer to all his accusations, but he is not convinced and says he will lock her in her room when he goes out. Almaviva bursts in, disguised as a drunken soldier. In the confusion he slips Rosina a note, which is seen by Bartolo, but Rosina smartly substitutes the laundry list. The watch arrive to quell the riot, but are awed by a document produced by Almaviva.

1. L'italiana in Algeri Ouverture dal "L'italiana in Algeri" Temporale dal "Il Barbiere di Siviglia" 2. Pulcinella Ouverture dal "Il Turco in Italia" 3. La Gazza Ladra Sinfonia Ouverture dal "La Gazza Ladra" Consulenza musicale di Gianfranco Maselli Orchestra diretta dal Maestro Arturo Basile.

"Once Upon a Time Kuskovo Manor in XVIII century" is a 1993 ballet film by Svetlana Kononchuk, with choreography of Leonid Yakobson. Music: Wolfgang Amadeus Mozart, Gioacchino Rossini, Gaetano Donizetti. Moscow's Bolshoi Ballet Academy dancers: Lyudmila Vasilyeva, Svetlana Kubasova, Lilia Musovarova, Tatyana Paliy, Konstantin Durnev, Andrey Kudelin, Vladimir Malakhov. Kuskovo was the summer country house and estate of the Sheremetev family. Built in the mid-18th century, it was originally situated several miles to the east of Moscow but now is part of the East District of the city. It was one of the first great summer country estates of the Russian nobility, and one of the few near Moscow still preserved. Today the estate is the home of the Russian State Museum of Ceramics, and the park is a favourite place of recreation for Muscovites. In the 17th century, Kuskovo became the property of Boris Petrovich Sheremetev (1652–1719), a Russian field marshal under Czar Peter the Great, who led the Russian Army in the victory over the Swedes at the Battle of Poltava (1707) in the Great Northern War. There was already a wooden church on the site, a house and several ponds. The palace was constructed by his son Petr Borisovich Sheremetev (1713–1788). Count Sheremetev was one of the richest men in Russia, close to the court and a patron of the arts. He built Kuskovo at approximately the same time that he built a city palace on the banks of the Fontanka River in St. Petersburg. When he decided to build a palace at Kuskovo, he ordered that it be larger and more beautiful than the estates of other nobles, and equal to any residence of the Czars. Since it was less than a day's journey from the center of Moscow, it was not designed to accommodate overnight guests, nor for agriculture or any other practical purpose, but purely as a place for entertainment, ceremony and festivities. The estate was visited by Empress Catherine II in 1775; an obelisk in the park marks the event.