Der Rosenkavalier

The great storyteller Hoffmann is losing himself to drink. His rival in love, Councillor Lindorf, claims that Hoffmann knows nothing of the heart, and so goads Hoffmann into telling the tales of his three great loves – each destroyed by a villain who bears an uncanny resemblance to Lindorf… First Hoffmann tells of his infatuation for the mechanical doll, Olympia – who is destroyed by the inventor Coppélius. Next comes the courtesan Giulietta, who throws over his adoration in favour of jewels from the magician Dappertutto. Finally, the gentle Antonia is forced to sing to her death by the wicked Doctor Miracle. His stories finished, Hoffmann rouses from his drunken stupor to find Lindorf has made off with Stella, Hoffmann’s latest love – but the Muse compels him to transform his heartache into art.

The swinging London, early sixties. Beautiful but shallow, Diana Scott is a professional advertising model, a failed actress, a vocationally bored woman, who toys with the affections of several men while gaining fame and fortune.

Mourning the accidental death of his wife and having just moved to New York with his young son, laconic police psychologist Cal Jamison is reluctantly drawn into a series of grisly, ritualistic murders involving the immolation of two youths.

The true story of a disillusioned military contractor employee and his drug pusher childhood friend who became walk-in spies for the Soviet Union.

Bathsheba Everdine, a willful, flirtatious, young woman, unexpectedly inherits a large farm and becomes romantically involved with three widely divergent men.

Supernatural fantasy made by John Schlesinger and Alan Cooke as students.

John Schlesinger's 1957 film about the Wakes Week holiday in Blackburn looks at the tradition where mill towns shut down and thousands of workers head to Blackpool

Hollywood, 1930s. Tod Hackett, a young painter who tries to make his way as an art director in the lurid world of film industry, gets infatuated with his neighbor Faye Greener, an aspiring actress who prefers the life that Homer Simpson, a lone accountant, can offer her.

Eight acclaimed filmmakers bring their unique and differing perspectives to the 1972 Summer Olympic Games held in Munich. The segments include Lelouch's take on Olympic losers and their struggle to remain dignified even in the face of bitter disappointment and defeat; Zetterling's dramatic exploration of the world of weightlifting; and Pfleghar's piece on young Russian gymnast Ludmilla Tourischev's majestic performance on the uneven bars.

Two one-act plays explore love and loneliness. In "Table by the Window" an aging fashion model contrives a reunion with her ex-husband, a politician ruined by scandal, and their passion is rekindled. In "Table Number Seven" a meek woman harbors a secret love for a man accused of fraud and sex offenses, forcing her to take a stand for the first time in her life.

Nabucco - live from Metropolitan Opera, June 2002. On its surface, Nabucco is about the epic struggle of Zaccaria and the Jews suppressed by Babylon’s King Nebuchadnezzar and his vengeful daughter, Abigaille. But to Italians fighting for their freedom from Austria, Verdi’s first great opera was an inspiring call to arms.

Written 20 years after Madame Butterfly (1904), Puccini's version of an 800-year-old fairy-tale is set in a legendary Peking and scored on a grand scale, incorporating not only Chinese musical techniques but a vast range of oriental percussion. Puccini draws heavily on the chorus, and as ever makes intense demands on his heroine, to which Eva Marton rises powerfully, very well complemented by the tenor Michael Sylvester as Calaf. However, what makes this 1994 San Francisco Opera version so enchanting as a visual experience is the realisation by David Hockney, who not only designed the sets and costumes but also directed the production. His vision is highly stylised, richly imagined, atmospheric and very beautiful, and it is a testament to how well this version is directed that much of the original magic is communicated through the confines of a TV screen.

In the awe-inspiring Teatro Olimpico,Vicenza, Cecilia Bartoli, recognised as one of the best singers of our time, gives the most outstanding recital of work from a variety of composers such as Caccini, Schubert, Handel, Vivaldi, Bellini, Donizetti,Mozart, Rossini, Viardot and Bizet.

A production of Mozart's opera recorded live at Zurich Opera House in 2000. Cecilia Bartoli leads an all-star cast including Roberto Saccà, Liliana Nikiteanu, and Agnes Baltsa. The conductor is Nikolaus Harnoncourt. Filmed live at the Zurich Opera House in February 2000 on a set which visualises the subtitle "The School for Lovers", the plot revolves around two army officers arguing about the fidelity of their brides, then setting out to test their chastity. Despite the often playful humour, this is not only psychologically telling music-making, but reveals Mozart exploring the structure of opera, discarding convention to mix large ensemble sections with arias for as many different combinations of singers as possible. With Liliana Nikiteanu attractively contrasted with Bartoli, and thoroughly convincing performances by Roberto Sacca (Ferrando) and Oliver Widmer (Guilelmo), this Così has a freshness and flow which, coupled with the timeless romantic themes, feels very contemporary.

Arabella, Op. 79, is a lyric comedy or opera in three acts by Richard Strauss to a German libretto by Hugo von Hofmannsthal, their sixth and last operatic collaboration.

Flemings voice might have been made for Ariadne and she achieved a great personal triumph in this production: The chief glory of the evening was hearing Renee Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strausss enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess...

Live performance from the Metropolitan Opera, 27 February, 1996.

Live from the Met 1997

Taped live in Barcelona's Gran Teatre del Liceu on January 31, 2002, this L'Orfeo is both a visual delight and a musically satisfying representation of Monteverdi's opera