Justino Díaz

This was a 1988 revival of a 1971 production that teamed Domingo (Vasco da Gama) and Verrett (Selika - both then very much in their prime) in Meyerbeer's discursive swan-song. Seventeen years on, they are more statuesque than sexy, but both give larger-than-life performances that contain moments of completely thrilling vocalism. The casting is very strong, with the exception of Justino Diaz's Nelusko, which has strong presence but not much vocal allure. As Inez, Vasco da Gama's fiancee and rival for Shirley Verrett, Ruth Ann Swneson sings with great beauty and has impressive stage presence, very much holding her own in the confrontation with Verrett in the last act. Domingo is refulgent of tone and dramatically convincing, and he and Verrett strike sparks. She really comes into her own in one of the most preposterous mad-scenes in all opera, where she is slowly poisoned by the scent of a giant tree, contriving to make this dramatically truthful and even moving.

Aging opera singer Maria Callas tries to make a comeback by performing in a production of Bizet's "Carmen."

Based on Shakespeare's play, Verdi's opera depicts the devastating effects of jealousy, "...the green-eyed monster which doth mock the meat it feeds upon". Believing Otello has promoted the fast-rising Cassio over himself, Iago plots to destroy both Cassio and Otello. Iago convinces the jealous Otello that his beautiful wife Desdemona is unfaithful, and that Cassio is her lover. Jealousy is followed by tragedy, then retribution, "Has Heaven no more thunderbolts?"

This spectacular opera film was taped in 1967 and is based on the 1966 Salzburg Festival production directed by Herbert von Karajan himself, who also conducts the fabulous Vienna Philharmonic Orchestra. The production features the three greatest exponents of their respective roles at the time: Grace Bumbry’s magnificently seductive-toned Carmen, Mirella Freni’s ineffably lovely, touching Micaëla and Jon Vickers’s thrillingly manic-depressive Don José. On its release the film was hailed by Die Presse, (Vienna) as a “unique artistic event”, while Le Monde felt that Karajan’s production brought “a whole new dimension” to the opera, “combined with a magisterial interpretation”. A classical and utterly dramatic approach to probably the world's most beloved opera – Karajan’s Carmen is as much a delicacy for opera fans as it is a perfect starter for newcomers.

A Victor Hugo play, haunting and scandalous, provided the inspiration for Verdi’s mid-career masterpiece. A vengeful but misguided court jester strives to save his daughter from a duke’s licentious clutches, but can't part with the feeling that a curse looms over all of his actions. In Rigoletto, the composer introduces several of his most iconic arias and duets—as well as an 11th-hour quartet that counts among the finest moments in opera.

In this documentary, award-winning filmmaker Susan Froemke explores the creation of the Metropolitan Opera’s storied home of the last five decades. Drawing on rarely seen archival footage, stills, and recent interviews, The Opera House looks at an important period of the Met’s history and delves into some of the untold stories of the artists, architects, and politicians who shaped the cultural life of New York City in the ’50s and ’60s. Among the notable figures in the film are famed soprano Leontyne Price, who opened the new Met in 1966 in Samuel Barber’s Antony and Cleopatra; Rudolf Bing, the Met’s imperious General Manager who engineered the move from the old house to the new one; Robert Moses, the unstoppable city planner who bulldozed an entire neighborhood to make room for Lincoln Center; and Wallace Harrison, whose quest for architectural glory was never fully realized.