A 1998 Documentary about the Italian Composer Giovanni Paisiello. Audio various, with English subtitles.

Giovanni Paisiello (or Paesiello; 9 May 1740 – 5 June 1816) was an Italian composer of the Classical era, and was the most popular opera composer of the late 1700s. His operatic style influenced Mozart and Rossini.

Paisiello was born in Taranto in the Apulia region and educated by the Jesuits there. He became known for his beautiful singing voice and in 1754 was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and eventually became assistant master. For the theatre of the Conservatorio, which he left in 1763, he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, La Pupilla and Il Mondo al Rovescio, for Bologna, and a third, Il Marchese di Tidipano, for Rome. In 1772 Paisiello began to write church music and composed a requiem for Gennara di Borbone, of the reigning dynasty. In 1776 Paisiello was invited by the empress Catherine the Great of Russia to Saint Petersburg, where he remained for eight years, producing, among other charming works, his masterpiece, Il barbiere di Siviglia, which soon attained a European reputation. The fate of this opera marks an epoch in the history of Italian art; for with it the gentle suavity cultivated by the masters of the 18th century died out to make room for the dazzling brilliance of a later period.

When, in 1816, Gioachino Rossini set a revised version of the libretto to music, under the title of Almaviva ossia la inutil precauzione the fans of Paisiello stormed the stage. Rossini's opera, now known as Il barbiere di Siviglia, is now acknowledged as Rossini's greatest work, while Paisiello's opera is only infrequently produced—a strange instance of poetical vengeance since Paisiello himself had many years previously endeavoured to eclipse the fame of Giovanni Battista Pergolesi by resetting the libretto of his famous intermezzo, La serva padrona. Paisiello left Russia in 1784, and, after producing Il Re Teodoro at Vienna, entered the service of Ferdinand IV of Naples, where he composed many of his best operas, including Nina and La Molinara.

Paisiello is known to have composed 94 operas, which are known for their gracefully beautiful melodies. Perhaps the best-known tune he ever wrote is "Nel cor più non mi sento" from La Molinara, immortalized when Beethoven composed piano variations based on it. Paganini also wrote violin variations based on the same tune. Another favourite vocal piece is "Chi vuol la zingarella" from I zingari in fiera, which vividly portrays the scene of an attractive gypsy girl with its dramatic music. Paisiello also wrote a great deal of church music, including eight masses; as well as fifty-one instrumental compositions and many stand-alone songs. He also composed the Inno al Re, the national anthem of the Kingdom of the Two Sicilies. Manuscript scores of many of his operas were presented to the library of the British Museum by Domenico Dragonetti.

The Grove Concise Dictionary of Music notes that "Paisiello was one of the most successful and influential opera composers of his time. Most of his over 80 operas are comic and use a simple, direct and spirited style, latterly with sharper characterization, more colourful scoring and warmer melodies (features that influenced Mozart). His serious operas have less than the conventional amount of virtuoso vocal writing; those for Russia are the closest to Gluck's 'reform' approach.

Io, Don Giovanni (English: I, Don Giovanni) is a 2009 Spanish-Italian-Austrian drama film directed by Carlos Saura. Audio in Italian with English subtitles.

A drama loosely based on the life of 18th century Italian opera librettist and poet Lorenzo da Ponte, who collaborated with Mozart on his "Don Giovanni" opera.

Cast & Characters:
Lorenzo Balducci: Lorenzo da Ponte
Lino Guanciale: Wolfgang Amadeus Mozart
Emilia Verginelli: Annetta
Tobias Moretti: Giacomo Casanova
Ennio Fantastichini: Antonio Salieri
Ketevan Kemoklidze: Adriana Ferraresi Del Bene/Donna Elvira
Sergio Foresti: Leporello
Borja Quiza: Don Giovanni
Carlo Lepore: Il Commendatore
Francesca Inaudi: Costanza Mozart
Franco Interlenghi: Padre di Annetta
Cristina Giannelli: Caterina Cavalieri

A 1962 The Royal Shakespeare Company/BBC Television version of Anton Chekhov's "The Cherry Orchard", translated by John Gielgud and directed by Michael Elliott from Michel Saint-Denis stage production. It features Peggy Ashcroft as Ranevskaya, John Gielgud as Gayev, Dorothy Tutin as Varya, Ian Holm as Trofimov, Judi Dench as Anya, and Patsy Byrne as Dunyasha.

Set in fin-de-siecle Russia, this adaptations of Anton Chekhov's famous play chronicles a noblewoman's return to her family estate after a five-year absence. She finds that the family fortune has dwindled to practically nothing, and that she and her brother are faced with the difficult choice of selling the family's treasured cherry orchard or losing everything. In denial, she continues living in the past, deluding herself and her family, while the beautiful cherry trees are being axed down by the re-possessor Yermolai Alexeyevich Lopahin (George Murcell), her former serf, who has his own agenda.

The Cherry Orchard is the last play by Russian playwright Anton Chekhov. Written in 1903, it was first published by Znaniye (Book Two, 1904), and came out as a separate edition later that year in Saint Petersburg, via A.F. Marks Publishers. On 17 January 1904, it opened at the Moscow Art Theatre in a production directed by Konstantin Stanislavski. Chekhov described the play as a comedy, with some elements of farce, though Stanislavski treated it as a tragedy. Since its first production, directors have contended with its dual nature. It is often identified as one of the three or four outstanding plays by Chekhov, along with The Seagull, Three Sisters, and Uncle Vanya.

The story presents themes of cultural futility – both the futile attempts of the aristocracy to maintain its status and of the bourgeoisie to find meaning in its new-found materialism. It dramatizes the socioeconomic forces in Russia at the turn of the 20th century, including the rise of the middle class after the abolition of serfdom in the mid-19th century and the decline of the power of the aristocracy.

Widely regarded as a classic of 20th-century theatre,the play has been translated and adapted into many languages and produced around the world. It has influenced many other playwrights, including Eugene O'Neill, George Bernard Shaw, David Mamet, and Arthur Miller.

Act III: Faust's vision had been true. Margareta lies in a dismal cell, her mind in a state of confusion and despair. She has been imprisoned for poisoning her mother with the sleeping draught supplied by Faust and for drowning the baby she had borne him. Faust begs Mefistofele to help them escape together. They enter the cell and at first Margareta does not recognize her rescuers. Her joy at being reunited with Faust turns to horror when she sees Mefistofele and recognizes that he is the Devil. Refusing to succumb to further evil, Margareta begs for divine forgiveness. She collapses to the cell floor as the Celestial choir proclaims her redemption.

Act IV: Mefistofele has now transported Faust back in time to Ancient Greece. Helen of Troy and her followers are enjoying the luxurious and exotic surroundings on the banks of a magnificent river. Faust, attired more splendidly than ever, is easily able to win the heart of the beautiful princess. In a passionate outpouring they declare their undying love and devotion to each other.

Epilogue: Back in his study Faust, once more an old man, reflects that neither in the world of reality or of illusion was he able to find the perfect experience he craved. He feels that the end of his life is close, but desperate for his final victory, Mefistofele urges him to embark on more exotic adventures. For a moment Faust hesitates, but suddenly seizing his Bible he cries out for God's forgiveness. Mefistofele has been thwarted; he disappears back into the ground as Faust dies and the Celestial choir once more sings of ultimate redemption.

Composer: Arrigo Boito
Librettist: Arrigo Boito
Premiere: 5 March 1868. La Scala (Milan)
Language: Italian
Subtitles: Italian
Act III-IV: https://www.bitchute.com/video/thS4bgD4jwic/

Mefistofele is an opera in a prologue and five acts, later reduced to four acts and an epilogue, the only completed opera with music by the Italian composer-librettist Arrigo Boito (there are several completed operas for which he was librettist only). Boito began consideration of an opera on the Faustian theme after completing his studies at the Milan Conservatory in 1861. Mefistofele is one of many pieces of classical music based on the Faust legend and, like many other composers, Boito used Goethe's version as his starting point. He was an admirer of Richard Wagner and, like him, chose to write his own libretto, something which was virtually unheard of in Italian opera up to that time. Much of the text is actually a literal translation from Goethe's German to Boito's Italian.

The opera was given its premiere on 5 March 1868 at La Scala, Milan. However, as the evening of 5 March 1868 premiere performance progressed, the hostility of the audience, unfamiliar with Boito's avant-garde musical style and unimpressed by many of the scenes, steadily increased. Furthermore, the work was far too long and the cast inadequate for the complexities of the music. When the curtain finally came down well after midnight, it was clear that the premiere had been a failure. After just two performances, both of which were hissed at by the audiences, the opera was withdrawn.

Boito immediately set to work revising his opera, greatly reduced its length by about one-third by making many scenes smaller in scale. The revised version was premiered in Bologna on 4 October 1875, this time sung by what is generally regarded to be a very fine cast, and was an immediate success. This change in reception is thought to be partly due to Boito's revisions making the opera more traditional in style, and also to the Italian audience having become familiar with, and more willing to accept, developments in opera associated with those of Richard Wagner. Boito made further minor revisions during 1876, and this version was first performed at the Teatro Rossini in Venice on 13 May 1876. Thereafter, Boito continued to make small changes until the final definitive production in Milan on 25 May 1881.

In the early 20th century, revivals of the opera were associated particularly with the famous Russian bass Feodor Chaliapin. In 1969, the New York City Opera presented a new production by Tito Capobianco, with Norman Treigle scoring his greatest success in the title role. As Mefistofele, Samuel Ramey made the role a signature one, appearing in many productions in the 1980s and early 1990s.

Cast & Characters:
Mefistofele - Samuel Ramey
Faust - Alberto Cupido
Margherita - Daniela Dessi
Elena - Graciela von Gyldenfeldt
Martha - Laura Zannini
Wagner - Romano Emili
Pantalis - Monica Tagliasacchi
Nereo - Francesco Memeo

Teatro Comunale di Firenze Orchestra & Chorus
Conductor: Bruno Bartoletti
Stage Director: Carlo Maestrini

Prologue: A heavenly chorus praises God the Creator. Mefistofele scornfully declares that he can win the soul of Faust. His challenge is accepted by the Forces of Good.

Act I - Scene 1: The aged Dr. Faust and his pupil Wagner are watching the Easter celebrations in the main square in Frankfurt. Faust senses that they are being followed by a mysterious friar, about whom he senses something evil. Wagner dismisses his master's feelings of unease and as darkness falls they return to Faust's home

Act I - Scene 2: Faust is in his study, deep in contemplation. His thoughts are disturbed in dramatic fashion by the sudden appearance of the sinister friar, whom he now recognizes as a manifestation of the Devil (Mefistofele). Far from being terrified, Faust is intrigued and enters into a discussion with Mefistofele culminating in an agreement by which he will give his soul to the devil on his death in return for worldly bliss for the remainder of his life.

Act II - Scene 1: Restored to his youth, Faust has infatuated Margareta, an unsophisticated village girl. She is unable to resist his seductive charms and agrees to drug her mother with a sleeping draught and meet him for a night of passion. Meanwhile Mefistofele amuses himself with Martha, another of the village girls.

Act II - Scene 2: Mefistofele has carried Faust away to witness a Witches' Sabbath on the Brocken mountain. The devil mounts his throne and proclaims his contempt for the World and all its worthless inhabitants. As the orgy reaches its climax Faust sees a vision of Margareta, apparently in chains and with her throat cut. Mefistofele reassures him that the vision was a false illusion.

Composer: Jules Massenet
Librettist: Edouard Blau, and Paul Milliet and Georges Hartmann
Premiere: 16 February 1892, Imperial Theatre Hofoper (Vienna)
Language: French
Translation: English Subtitles
Werther Synopsis: https://www.opera-arias.com/massenet/werther/synopsis/

Werther is an opera in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann based on the German epistolary novel The Sorrows of Young Werther by Johann Wolfgang von Goethe. Aged 24 at the time, Goethe finished Werther in five and a half weeks of intensive writing in January to March 1774. It instantly placed him among the foremost international literary celebrities and was among the best known of his works. The novel is made up of biographical and auto-biographical facts in relation to two triangular relationships and one individual: Goethe, Christian Kestner, and Charlotte Buff (who married Kestner); Goethe, Peter Anton Brentano, Maximiliane von La Roche (who married Brentano), and Karl Wilhelm Jerusalem, who died by suicide on the night of Oct 29 or 30, 1772. He shot himself in the head with a pistol borrowed from Kestner.

The novel was adapted as the opera Werther by Jules Massenet in 1892. Although Massenet wrote and completed his opera in 1887, it did not receive any performance until it premiered at the Imperial Theatre Hofoper in Vienna on February 16, 1892, in a German version translated by Max Kalbeck. It had a great success and it rappidly confirmed Jules Massenet's position on the French opera scene. It achieved enormous popularity outside France, notably in Italy, America and England. The French-language premiere followed in Geneva on December 27, 1892, and the first performance in France was at the Opéra-Comique, Paris on January 16, 1893.

The tragic story takes place in Wetzlar, Germany, within the period July to December, in an undefined year in the 1780s. It tells of Werther's intense passion for Charlotte, whom he falls hopelesly in love with at first sight. Charlotte instead marries his best friend, Albert, fulfilling a pledge to her now deceased mother. From a self-imposed exile, Werther pens letters that kindle Charlotte's feelings. When Werther comes to her, she is torn between her love and her duty, but finally sends him away forever. For his part, Albert is aware of the emotions at play around the trio, but is powerless to stop the inevitable outcome. When Charlotte discovers that Werther means to end his life, she rushes to his side and pours out her true heart to him as he expires.

This film production was shot on location in and out Prague and was directed by the distinguished Czech director, Petr Weigl, twice winner of the Prix Italia, and director of the internationally acclaimed films, including Pas de quatre, Labyrinth der Macht, and Romeo and Juliet, all of which received international awards.

Cast & Characters
Werther - Peter Dvorsky
Charlotte - Brigitte Fassbaender
Sophie - Magda Vášáryová (vocals by Magdaléna Hajóssyová)
Albert - Michal Dočolomanský (vicals by Hans Helm)
Le Bailli - František Zvarík (vocals by Peter Mikulás)
Johann - Pavel Kühn
Schmidt - Miroslav Kopp
Brühlmann - Lubomir Vraspir
Kätchen - Vera Cerna

Prague Radio Symphony Orchestra
Bambini di Praga Chorus
Conductor: Libor Pesek
Director: Petr Weigl

Danton's Death is a "freely adaptation" of Georg Büchners' play (incorporating some material from Büchner's Woyzeck) for a BBC Play of the Month in 1978 by Stuart Griffiths and director Alan Clarke, with Norman Rodway as Danton and Ian Richardson as Robespierre.

Danton's Death (Dantons Tod) was the first play written by Georg Büchner, set during the French Revolution. Georg Büchner wrote his works in the period between Romanticism and Realism in the so-called Vormärz era in German history and literature (1815/1830-1848).

The play follows the story of Georges Danton, a leader of the French Revolution, during the lull between the first and second terrors. Georges Danton created the office of the Revolutionary Tribunal as a strong arm for the Revolutionary Government. With this, to be accused of anything real or imagined was to be condemned to death without trial, proofs, evidence or witnesses. Within months he knew this power was a terrible mistake and fought to have it ended. Robespierre stopped him and used the Tribunal to have Danton and all opposition killed, consolidate his power and slaughter uncounted thousands of French men, women, and children. Ultimately he followed Danton to the guillotine. Witnesses describe Danton as dying bravely comforting other innocents executed with him.

Main Cast & Characters:
Norman Rodway as Danton
Ian Richardson as Robespierre
Michael Pennington as Saint-Just
Anthony Higgins as Camille Desmoulins
James Aubrey as Lacroix
Kate Fahy as Julie (Danton's wife)
Zoë Wanamake as Lucile Desmoulins
Shane Briant as Marie-Jean Hérault de Séchelles
Roger Sloman as Bertrand Barère
John Woodnutt as Fouquier-Tinville
Michael Hughes as Louis Legendre
Jonathan Adam as Jean-Marie Collot d'Herbois
Emma Garden as Marion (a prostitute)

"Twelfth Night" is a 1970 British TV adaptation of the play Twelfth Night by William Shakespeare. It was directed by John Sichel and broadcast as the 44th episode of second season of ITV Sunday Night Theatre. The score was composed by Marc Wilkinson.

After a shipwreck, believing her brother has been killed, Viola disguises herself as a boy named Cesario and becomes a courtier to Orsino, who sends her to deliver a message of his love to Olivia, but she falls for the messenger instead.

Main Cast:
Tommy Steele as Feste
Ralph Richardson as Sir Toby Belch
Alec Guinness as Malvolio
Joan Plowright as Viola/Sebastian
Gary Raymond as Orsino
Adrienne Corri as Olivia
John Moffatt as Sir Andrew Aguecheek
Sheila Reid as Maria
Riggs O'Hara as Fabian
Richard Leech as Antonio
Kurt Christian as Curio
Christopher Timothy as Valentine

The Dance of Death is a 1969 film version of the 1900 play The Dance of Death by August Strindberg as presented by the National Theatre Company. It stars Laurence Olivier and Geraldine McEwan. The play was directed by Glen Byam Shaw, and the film version was directed by David Giles. Olivier reprised the role of Edgar, Geraldine reprised her role of Alice, but Robert Stephens, who played Kurt, was replaced by Robert Lang.

An egocentric artillery Captain and his venomous wife engage in savage unremitting battles in their isolated island fortress off the coast of Sweden at the turn of the century. Alice, a former actress who sacrificed her career for secluded military life with Edgar, reveals on the occasion of their 25th wedding anniversary, the veritable hell their marriage has been. Edgar, an aging schizophrenic who refuses to acknowledge his severe illness, struggles to sustain his ferocity and arrogance with an animal disregard for other people. Sensing that Alice, together with her cousin and would-be lover, Kurt, may ally against him, retaliates with vicious force. Alice lures Kurt into the illusion of sharing a passionate assignation and recruits him in a plot to destroy Edgar.

Cast & Characters:
Laurence Olivier as Edgar
Geraldine McEwan as Alice
Robert Lang as Kurt
Janina Faye as Judith
Malcolm Reynolds as Allan
Jeanne Watts as Old Woman
Peter Penry-Jones asa Lieutenant
Maggie Riley as Karen
Carolyn Jones as Jenny
Frederick Pyne as Sentry
Barry James as Sentry
David Ryall as Sentry

BBC Play of the Month, 1979, based on the novel "The Wings of the Dove" by Henry James.

Kate Croy's mother was born to wealth and privilege, but she threw it all away to marry Kate's father, a penniless opium addict who admits to having stolen from his wife. After her mother's death, Kate is offered an opportunity to return to the life her mother gave up.

There is a condition, however: Kate must sever all of her old ties, not only to her father, but also to her lover, the muck-raking journalist Merton Densher, whom she has promised marriage. Kate reluctantly agrees to this, and in the meantime becomes friendly with "the world's richest orphan," Millie Theale, an American making the Grand Tour. Desperate to see Kate, Merton crashes a party that she and Millie are attending, and Millie is attracted to him. When Kate learns that Millie is dying, she comes up with a plan to have her cake and eat it too... but all does not go as planned.

Dramatised by: Denis Constanduros
Costume Designer: Michael Burdle
Lighting: John Summers
Designer: David Spode
Producer: Alan Shallcross
Director: John Gorrie

Cast & Characters:
Maud Lowder: Elizabeth Spriggs
Susan Stringham: Betsy Blair
Merton Densher: John Castle
Kate Croy: Suzanne Bertlsh
Milly Theale: Lisa Eichhorn
Lord Mark: Rupert Frazer
Sir Luke Strett: Alan Rowe
Eugenio: Gino Melvazzi

Music by Georges Bizet
Choreography by Roland Petit

Soloist: Alessandra Ferri, Laurent Hilaire

Directed by Fabrizio Ferri
Presented at the Venice International Film Festival in 1998.

Prelude from ¨Cello Suite No.1 in G major¨
Music by Johann Sebastian Bach

Soloist: Alessandra Ferri
Guitar: Sting
Choreography by Heinz Spoerli
Directed by Fabrizio Ferri
Presented at the Venice International Film Festival in 1998.

Composer: Giuseppe Verdi
Librettist: Temistocle Solera
Premiere: 17 March 1846, Venice (La Fenice)
Language: Italian
Subtitles: None
Attila Libretto: https://www.opera-arias.com/verdi/attila/libretto/

Attila is an opera in a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera, based on the 1809 play Attila, König der Hunnen (Attila, King of the Huns) by Zacharias Werner. The opera received its first performance at La Fenice in Venice on 17 March 1846.

Cast & Characters:
Attila - Samuel Ramey
Ezio - William Stone
Odabella - Linda Roark Strummer
Foresto - Veriano Luchetti
Uldino - Aldo Bottion
Leone - Giovanni Antonini

Orchestra & Chorus of the Teatro La Fenice, Venice
Conductor: Gabriele Ferro
Rec. 23 January 1987

Attila Synopsis:
Time: Mid-5th CenturyPlace: Aquileia, the Adriatic lagoons, and near Rome

Prologue - Scene 1: The ruined city of Aquileia
Attila and his victorious horde are surprised to see a group of women spared as prisoners of war. Their leader, Odabella, asks why the Huns' women remain at home (Allor che i forti corrono / "While your warriors rush to their swords like lions"). Attila, impressed by her courage, offers a boon and she asks for her sword to avenge the death of her father at Attila's own hand (Da te questo or m'è concesso / "O sublime, divine justice by thee is this now granted"). The Roman envoy Ezio asks for an audience and proposes a division of the empire: Avrai tu l'universo, Resti l'Italia a me / "You may have the universe, but let Italy remain mine". Attila denounces him as a traitor to his country.

Scene 2: A swamp, the future site of Venice
A boat bearing Foresto and other survivors arrives; he thinks of the captive Odabella (Ella in poter del barbaro / "She is in the barbarian's power!") but then rouses himself and the others to begin building a new city (Cara patria già madre e reina / "Dear homeland, at once mother and queen of powerful, generous sons").

Act i - Scene 1: A wood near Attila's camp
Odabela laments her father and Foresto (Oh! Nel fuggente nuvolo / "O father, is your image not imprinted on the fleeting clouds?...") believing the latter to be dead. When he appears, she is put on the defensive, denying any infidelity and reminding him of the biblical Judith. The couple is reunited: Oh, t'inebria nell'amplesso / "O vast joy without measure")

Scene 2: Attila's tent
Attila awakes and tells Uldino of a dream in which an old man stopped him at the gates of Rome and warned him to turn back (Mentre gonfiarsi l'anima parea / "As my soul seemed to swell"). In the daylight, his courage returns and he orders a march (Oltre quel limite, t'attendo, o spettro / "Beyond that boundary I await you, O ghost!"). However, when a procession of maidens clad in white approaches, singing a Christian hymn, he recognizes the Roman bishop Leo as the old man of his dream, and collapses in terror.

Act 2: Ezio's camp
Ezio has been recalled, after a peace has been concluded. He contrasts Rome's past glory with the child emperor Valentine (Dagl'immortali vertici / "From the splendid immortal peaks of former glory"). Recognizing the incognito Foresto among the bearers of an invitation to a banquet with Attila, he agrees to join forces (E' gettata la mia sorte / "My lot is cast, I am prepared for any warfare" ). At the banquet, Foresto's plot to have Uldino poison Attila is foiled by Odabella, jealous of her own revenge. A grateful (and unsuspecting) Attila declares she shall be his wife, and places the unmasked Foresto in her custody.

Act 3: The forest
Uldino informs Foresto about the plans for the wedding of Odabella and Attila; Foresto laments Odabella's apparent betrayal (Che non avrebbe il misero / "What would that wretched man not have offered for Odabella). Ezio arrives with a plan to ambush the Huns; when Odabella comes Foresto accuses her of treachery, but she pleads for his trust. Attila finds the three and recognizes their betrayal. As Roman soldiers approach, Odabella stabs him with the sword he had given her. The three conspirators cry that the people have been avenged.

Flamenco, Flamenco is a 2010 Spanish documentary film written and directed by Carlos Saura, Cinematography by the Oscar award winning Vittorio Storaro and the musical direction by Isidro Munoz. With the participation of Sara Baras, Paco De Lucia, Miguel Carmona Jose.

Flamenco is one of Spain’s greatest forms of artistic expression. It is a passionate art that tells a story with song and dance which can convey varying emotions. And to capture this tale is not an easy task. It is a fitting challenge reserved for one of Spain’s greatest filmmakers with a keen eye in showing the character Spain regardless of the era.

“Flamenco, Flamenco” is a musical and dance film by Carlos Saura. His vision for the masterpiece film is a multi-sensorial cinematic experience that prioritizes visual fluidity over didactic explanations. Yet he captures the traditions and history of the Flamenco with vigor and authenticity. The film is a look at the history and traditions of flamenco music and dance through the live performance of a wide variety of pieces.

Tracklist:
01. Rumba
02. Alegría
03. Soleá Por Bulerías
04. Cartagenera Y Bulerías
05. Garrotín
06. Copla Por Bulería
07. Soleá
08. Saeta
09. Marcha Processional
10. Martinete Y Toná
11. Bulería
12. cio
13. Guajira
14. Alegría
15. Tangos
16. El Tiempo
17. La Leyenda Del Tiempo
18. Cancióm De Cuna
19. Zapateao
20. Bulería Por Soleá
21. Bulería De Jerez

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.

Act III (MULTISUB Version): https://rumble.com/v4yhmnb-mozart-idomeneo-act-iii-pavarotti-cotrubas-von-stade-levine-ponnelle-met-19.html

Composer: Wolfgang Amadeus Mozart
Librettist: Gianbattista Varesco
Premiere: 29 January 1781, Munich (Cuvillés Theater)
Language: Italian
Translation: English subtitles
Idomeneo Act I-II (MULTISUB Version): https://rumble.com/v4yh3z8-mozart-idomeneo-act-i-ii-pavarotti-cotrubas-von-stade-levine-ponnelle-met-1.html
Act III: https://www.bitchute.com/video/DV9vNjNTSU9h/

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.

La Sylphide (English: The Sylph; Danish: Sylfiden) is a romantic ballet in two acts. Music by Jean-Madeleine Schneitzhoeffer and libretto by Adolphe Nourrit, based on Charles Nodier's Trilby, ou Le Lutin d'Argail (English: Trilby; or, The Fairy of Argyll).

Cast & Characters:
Aurélie Dupont as La Sylphide (The Sylph, a forest spirit)
Mathieu Ganio as James Ruben (a Scottish farmer)
Mélanie Hurel as Effie (James' fiancée)
Jean-Marie Didière as Old Madge (a village sorceress)
Emmanuel Huff as Gurn (James' friend)
Virginie Rousselière as Effie's mother (an elderly woman)
Isabelle Ciaralova & Gil Isoart: Pas de deux des écossais

Choreography by Pierre Lacotte
after Philippe Taglioni

Corps de Ballet et Orchestre de l'Opéra National de Paris
Conductor: Ermanno Florio
Recorded in July 2004

There were two versions of the ballet; the original choreographed by Filippo Taglioni in 1832, and a second version choreographed by August Bournonville in 1836. Bournonville's is the only version known to have survived and is one of the world's oldest surviving ballets.

On 12 March 1832 the first version of La Sylphide premiered at the Salle Le Peletier of the Paris Opéra with choreography by the groundbreaking Italian choreographer Filippo Taglioni and music by Jean-Madeleine Schneitzhoeffer. Taglioni designed the work as a showcase for his daughter Marie. La Sylphide was the first ballet where dancing en pointe had an aesthetic rationale and was not merely an acrobatic stunt, often involving ungraceful arm movements and exertions, as had been the approach of dancers in the late 1820s. Marie was known for shortening her skirts in the performance of La Sylphide (to show off her excellent pointe work), which was considered highly scandalous at the time.

The ballet's libretto was written by tenor Adolphe Nourrit, the first "Robert" in Meyerbeer's Robert Le Diable, an opera which featured Marie Taglioni in its dance section, Ballet of the Nuns. Nourrit's scenario was loosely based on a story by Charles Nodier, Trilby, ou Le Lutin d'Argail, but swapped the genders of the protagonists — a goblin and a fisherman's wife of Nodier; a sylph and a farmer in the ballet. The scene of Old Madge's witchcraft which opens Act II of the ballet was inspired by Niccolò Paganini's Le Streghe, which in its turn was inspired by a scene of witches from Il Noce di Benevento (The Walnut Tree of Benevento), an 1812 ballet by choreographer Salvatore Viganò and composer Franz Xaver Süssmayr.

In 1892, Marius Petipa mounted a revival of Taglioni's original La Sylphide for the Imperial Ballet, with additional music by Riccardo Drigo. A variation Drigo composed for the ballerina Varvara Nikitina in Petipa's version is today the traditional solo danced by the lead ballerina of the famous Paquita Grand Pas Classique. In 1972, a new version of La Sylphide, based on the Taglioni version, was choreographed and staged by Pierre Lacotte for the Paris Opera Ballet. Since Taglioni's choreography has been irretrievably lost, Lacotte's choreography is based on prints, notes, drawings, and archival materials from the era of the ballet's premiere.

La Sylphide is often confused with the 1909 ballet Les Sylphides, another ballet involving a mythical sylph. The latter was choreographed by Michel Fokine for the Ballets Russes, using music by Frédéric Chopin, as a short performance. Though inspired by La Sylphide, it was meant to be performed as an independent ballet with its own merits.

Bournonville version: The Danish ballet master August Bournonville had intended to present a revival of Taglioni's original version in Copenhagen with the Royal Danish Ballet, but the Paris Opera demanded too high a price for Schneitzhoeffer's score. In the end, Bournonville mounted his own production of La Sylphide based on the original libretto, with music by Herman Severin Løvenskiold. The premiere took place on 28 November 1836,[4] with the prodigy Lucile Grahn and Bournonville in the principal roles.

The Bournonville version has been danced in its original form by the Royal Danish Ballet ever since its creation and remains one of Bournonville's most celebrated works.

BBC Play of the Month, 1977, based on the novel "The Ambassadors" by Henry James.

Dramatised by Denis Constanduros
Directed by James Cellan
Starring: Paul Scofield, Lee Remick, Delphine Seyrig, David Huffman, Gayle Hunnicutt, Don Fellows, William Hootkins

Lambert Strether embarks on a delicate and challenging mission in Europe. He is sent to Europe to rescue a young American - the son of his widowed fiancée - from the charms of a mysterious French beauty. Upon his arrival, he encounters Maria Gostrey.

BBC Play of the Month, 1974, based on the Play "The Importance of Being Earnest" by Oscar Wilde.

Directed by James MacTaggart.
Starring: Coral Browne, Michael Jaystone, Julian Holloway, Gemma Jones, Celia Bannerman, Lally Bowers and Richard Pearson.

In 1890s London, two friends use the same pseudonym ("Ernest") for their on-the-sly activities. Hilarity ensues.

The Importance of Being Earnest, a Trivial Comedy for Serious People is a play by Oscar Wilde. First performed on 14 February 1895 at the St James's Theatre in London, it is a farcical comedy in which the protagonists maintain fictitious personae to escape burdensome social obligations. Working within the social conventions of late Victorian London, the play's major themes are the triviality with which it treats institutions as serious as marriage and the resulting satire of Victorian conformity. Its high farce and witty dialogue have helped make The Importance of Being Earnest a very popular play.

The successful opening night marked the climax of Wilde's career but also heralded his downfall. The Marquess of Queensberry, whose son Lord Alfred Douglas was Wilde's lover, planned to present the writer with a bouquet of rotten vegetables and disrupt the show. Wilde was tipped off, and Queensberry was refused admission. Their feud came to a climax in court in April 1895 when Wilde sued for libel. The proceedings provided enough evidence for Wilde’s arrest, trial, and conviction on charges of 'gross indecency'. Wilde's homosexuality was revealed to the Victorian public, and he was sentenced to two years imprisonment with hard labour. Despite the play's early success, Wilde's notoriety caused it to be closed after 86 performances. After his release from prison, he published the play from exile in Paris, but he wrote no more comic or dramatic works.

Othello (Russian: Отелло, romanized: Otello) is a 1955 Soviet romantic drama film, written and directed by Sergei Yutkevich, based on the play Othello by William Shakespeare. Cinematography by Yevgeniy Nikolayevich Andrikanis and music by Aram Khachaturian. Audio in Russian with English subtitles.

The film was shot in Crimea. It was entered into the 1956 Cannes Film Festival, where Yutkevich received the Best Director Award.

Cast & Characters:
Sergei Bondarchuk as Othello
Andrei Popov as Iago
Irina Skobtseva as Desdemona
Vladimir Soshalsky as Cassio
Yevgeny Vesnik as Roderigo
Antonina Maksimova as Emilia
Yevgeny Teterin as Brabantio
Mikhail Troyanovsky as Duke of Venice
Aleksei Kelberer as Montano
Nikolai Briling as Lodovico
Leila Ashrafova as Bianca

Episode 4: https://www.bitchute.com/video/DchM954qnqpW/

Episode 3: https://www.bitchute.com/video/dSSJ1EPUgBQ7/

Johann Sebastian Bach (Full Title: "Johann Sebastian Bach - The Master of Music") is joint East German & Hungarian miniseries, written and directed by Lothar Bellag. It was produced to commemorate the three hundredth anniversary of the birth of the baroque composer Johann Sebastian Bach 1685-1750). It was originally aired in four episodes on DDR 1 in 1985. Audio in German with English subtitles.

Performed with extreme historical rigor and excellent period reconstruction, from the famous challenge with organist Louis Marchand to work as a musical director in Leipzig, this is a sophisticated miniseries about the life and work of Johann Sebastian Bach, one of the greatest musicians and composers of all time.

This four-part mini-series details the adult life of J.S. Bach. The series traces the stations of his career and concentrates not only on the music but on his family life as well. It also provides a unique insight into the early half of the 18th century. Follow Bach’s brilliant trajectory: his relations with other musicians of the time, his loves and, above all, the process of creating several of his masterpieces.

Selected Cast:
Ulrich Thein as Johann Sebastian Bach
Angelika Waller as Maria Barbara Bach
Franziska Troegner as Anna Magdalena Bach
Rosemarie Bärhold as Liese
Gunnar Helm [de] as Carl Philipp Emanuel Bach
Hans-Peter Minetti as Christian Friedrich Henrici
Ralf Lehm [de] as Johann Matthias Gesner
András Kozák as Leopold, Prince of Anhalt-Köthen
Yvetta Kornová as Catharina Dorothea Bach

Episode 2: https://www.bitchute.com/video/p9qdemNrMCBP/

Act IV - A Prison
Arrigo arrives at the prison gate and, on Montforte's orders, waits to be admitted. He contemplates the situation that his friends are in: Giorno di pianto / "O jour de peine"/ Day of weepeing, of fierce sorrow!". Elena is brought out and confronts him. Finally, he admits that Montforte is his father and she begins to be willing to sympathise: Arrigo! Ah, parli a un core... / "Arrigo! Ah, you speak to a heart already prepared to forgive." Not seeing Arrigo, Procida approaches Elena and reveals a letter telling him of awaiting freedom. But Montforte arrives and orders a priest and the execution of the prisoners while Procida is amazed to discover the truth of Arrigo's situation. Arrigo begs for mercy for his friends and Montforte confronts him with one thing: Dimme sol, di "Mio padre / "Say to me only, say "My father...". Arrigo says nothing as the executioner appears and the couple are led away, followed by Arrigo. Montforte steps in to prevent him from joining them. As Elena is led towards the executioner, Monteforte steps in and announces a pardon for the Sicilians. Furthermore, he agrees to the marriage of Elena and Arrigo and announces to the crowd: "I find a son again!". There is general rejoicing.

Act V - The gardens of Montforte's palace
As Knight and maidens gather, Elena gives thanks to all: Mercé, dilette amiche / "Merci, jeunes amies" /"Thank you, beloved friends". Arrigo arrives, exclaiming his joy: La brezza aleggia intorno / "La brise souffle au loin" / "The breeze hovers about...". He leaves to find his father, but Procida arrives, announcing a plan to outwit his enemies with their massacre to take place at the foot of the alter after the vows have been said. She is torn, the more so following Arrigo's return, between her love and her duty: Sorte fata! Oh, fier cimento! / "Fatal destiny! Oh, fierce conflict!". Finally, she can go no further and she tells Arrigo that they cannot be married. Both men are furious with her for her seeming betrayal. Then Montforte arrives, takes the couple's hands, joins them together, and pronounces them married as the bells begin to ring. This is the signal for the Sicilians to rush in and hurl themselves upon Montforte and the French.