Pavel Kudinov

Alessandro (HWV 21), is an opera composed by George Frideric Handel in 1726 for the Royal Academy of Music. Paolo Rolli's libretto is based on the story of Ortensio Mauro's La superbia d'Alessandro. This was the first time the famous singers Faustina Bordoni and Francesca Cuzzoni appeared together in one of Handel's operas. The original cast also included Francesco Bernardi who was known as Senesino. The story recounts Alexander the Great's journey to India and depicts him less in a heroic vein than as vainglorious as well as indecisive in matters of the heart. The work's charm and lightness of touch make it at times almost a comic work.[3]

Iolanta is a one act lyric opera, sung in Russian, by Tchaikovsky. Performed in the style of a nineteenth-century Italian melodrama, the scenes have a recitative introduction followed by a single arioso, aria, duet or chorus. Persephone is a three act melodrama, sung in French, by Stravinsky. It is a story of regeneration, symbolised in Sellars use of dancers from the Cambodian dance company, Amrita Performing Arts. Peter Sellars, one of the most innovative creators on today's stage, has linked these two productions by using the same stage setting, instantly archaic yet modern, and lit by rich colours to define the journey from darkness to light.

Amandus completes the construction of a magic organ just before a pagan attack on the monastery. The instrument’s heavenly sound pacifies the attackers, who lay down their weapons and kneel. But it won’t be long before the tones of this ‘singing devil’ resound again, this time from behind the burning walls of the monastery… In the beginning of the 20th century, Austrian composer Franz Schreker was one of the only opera composers in the German-speaking world whose success could compete with Richard Strauss. But as of 1933, Schreker’s works were banned in Germany and began to disappear from the international repertoire.

Max Emanuel Cencic excels with his celebrated and award-winning production of George Frideric Handels masterpiece Arminio at the International Handel Festival Karlsruhe. The remarkable counter-tenor Cencic, who dedicates himself to the revival and performance of the music of the 18th century, demonstrates once more that Baroque singing can be both technically brilliant and at the same time modern and emotionally engaging. His enchanting staging of Arminio is the revival of the heroic story. When premiered in 1737 at Londons Covent Garden Arminio strangely received only six performances, despite being praised as a miracle and in every respect excellent and vastly pleasing by contemporaries.

Albert and Yvette fall in love in Paris but at a bad time. It’s 1941. He is an occupying German soldier and clarinettist. She is a young French-Czech pianist. When the post-war authorities declare ‘No marriage between enemies!’ who can help the young lovers? Enter Emile: part Emcee, part guardian angel. Leonore 40/45 is an opera written by Rolf Liebermann, Swiss composer and former artistic director of the Paris Opera. The style of the opera belongs to the 1950s, rooted in the 12-tone tradition of Schoenberg and Berg but lightened by lyric interludes and ‘semiseria’ sending up.