In the early 1960s two artistic giants, conductor Herbert von Karajan and director Franco Zeffirelli, joined forces to create this milestone production of Puccini’s masterpiece at Milan’s Teatro alla Scala. Filmed in that legendary opera house in 1965, with Zeffireli himself directing for the cameras, this “Bohème” has been acclaimed universally for its unique theatrical impact and visual splendour. Starring the young Mirella Freni in her carreer-making performance. – For the first time the full dimension of opera on film.

With the opera "Le nozze di Figaro" commenced the remarkably successful cooperation between Mozart and his librettist Lorenzo da Ponte. The first night of "Figaro", presumably Mozart's most perfect musical comedy, was held in Vienna on May 1st, 1786. It is based on Beumarchais' "scandalous" comedy "La Folle Journée ou Le Mariage de Figaro" which, after its first staging in the pre-revolutionary Paris of 1784, soon became a huge success throughout Europe. For the opera, the revolutionary content of the intricate comedy of love and conspiracy against the background of noble capriciousness was actually toned down but not completely abandoned. The extensive ensemble scenes, the treatment of the orchestra and the delicately nuanced musical profiles of the characters hit the target and, looking back, proved to be pioneering for following generations of musicians.

Francesco Cilea's Adriana Lecouvreur concerns a doomed love based on a real story about an actress involved in a famous love triangle. Mirella Freni sings the title part in this production that was broadcast on television originally in 1989. Gianandrea Gavazzeni conducts the orchestra. Live from La Scala, 1989

From the world famous Arena of Verona, an international cast perform one of Puccini's best loved operas. The cruel Princess Turandot, ruler of China, will only wed a prince who can answer correctly her three riddles. Those who fail are executed. Prince Calaf, son of the exiled king of Tartary, falls in love with Turandot as soon as he sets eyes on her, and despite the protestations of his friends and family sets out to pass her test.

Here, we catch Cossotto within the period when she was delivering the meatiest and arguably most satisfying singing of her career. Her voice in 1973 remains a beautiful, distinctive, and responsive instrument, one ideal for conveying both sides of Aida's rival, outwardly fierce yet vulnerable and, ultimately, noble in spirit as well as birth. Carlo Bergonzi's Radamés signs of age-related decline on the great tenor's part are few. The voice is a little thicker and less freely produced than in previous years, and there is evidence here and there of a slight "tug" on some notes from the passagio upwards. The soprano Orianna Santunione, is a far less familiar and celebrated name seems to labor to meet demands of volume, and in the early scenes gives the impression of conserving. However, beginning with her first aria, she begins to pull it together, and somewhere along the way her diligence and responsibility transmute into something more, something quite affecting.