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- La Traviata stands or falls on its lead singers and in Norah Amsellem and Rolando Villazon this 2005 Salzburg Festival performance has a pair whose electric interactions and brilliant singing are irresistible. If Amsellem can't quite provide the vocal bloom of the great Violettas of the past, hers is a lovely voice used with intelligence and dramatic intensity and she has the coloratura chops to deliver her Act I showpieces with flair. Villazon's tenor has ping on top, terrific color, and an impressive range of rubato, dynamic shadings, and interesting phrasing that makes Alfredo's music sound newly minted. The Germont is Thomas Hampson, no Verdi baritone but an astute singer and actor. Chorus and smaller roles are fine, the orchestra first-rate. Carlo Rizzi has odd notions about the music (usually too fast, sometimes way too slow) but this Traviata triumphs despite his conducting.
- The Moorish general Othello is manipulated into thinking that his new wife Desdemona has been carrying on an affair with his lieutenant Michael Cassio when in reality it is all part of the scheme of a bitter ensign named Iago.
- A selfish hero regrets his apathetic rejection of a young woman's love and his careless incitement of a fatal duel with his best friend.
- Mozart's classic opera about Prince Tamino and Papageno's quest and trials, staged by Otto Schenck for the 1964 Salzburg Festival and filmed live.
- The opera takes place in a operetta-like milieu in Vienna in the 1860s. Protagonists are an impoverished noble family and their daughters of marriageable age, Arabella and Zdenka, as well as the rich Slavic nobles Mandryka and the young officer Matteo. After all sorts of amorous entanglements the drama comes to a happy end.
- Elektra wants vengeance for her murdered father, Agamemnon.
- This Bohème was the talk of the 2012 Salzburg Festival, the first production of Puccini's timeless masterpiece ever given there, in a bold and meticulously observed contemporary staging. A top-flight cast brings a thoroughly modern perspective to the chaotic lives and tragic loves of the young Bohemians, while conductor Daniele Gatti draws out every detail of this endlessly inventive score, with luxurious playing from the Wiener Philharmoniker. "Ms. Netrebko's Mimì emerged as thoroughly genuine and gorgeously sung. Mr. Beczala's Rodolfo was a perfect match" (The New York Times).