During World War I, in an unnamed country, a soldier named Tamino is sent by the Queen of the Night to rescue her daughter Pamina from the clutches of the supposedly evil Sarastro. But all is not as it seems.

Renee Fleming stars in Dvorak's three-act opera based on two fairy-tales which tells the story of a water-nymph called Rusalka (Fleming), who wishes she was human, after falling in love with a mortal.

The Italian Character: a film within music and about music. The Italian character is the story of one of the most renowned orchestras in the world, enriched by archive material of the last thirty years about the great conductors who have been performing on the most famous rostrum in Rome.

This superb 2006 production of the Los Angeles Opera's La Traviata stars Renée Fleming, who joins the ranks of the elite handful of sopranos whose vocal and acting talents make their portrayals memorable. Her Violetta Valéry is a vulnerable figure torn between self-indulgence and love, sacrificing personal happiness to become a victim of the social mores of mid-19th-century bourgeois France. Fleming's acting captures the complexity of the character and her vocalism is flawless. She negotiates the wild coloratura of Act One with aplomb, and is stunning in the lyric passages that pervade the opera, and touching in her scenes with her lover, Alfredo, and his father. Her singing is free of the mannerisms that have sometimes crept into her work and at the same time she brings countless personal touches to the role, phrasing and verbal emphases that shed fresh light on the character.

A stellar cast brings Puccini’s spellbinding opera to life, seizing every opportunity to thrill the audience. Luciano Pavarotti is Cavaradossi, the painter and political revolutionary in love with the beautiful and famous singer Tosca (the riveting Shirley Verrett). Rome’s diabolical chief of police, Baron Scarpia (Cornell MacNeil), wants Tosca for himself—but he underestimates the fury of a woman in love. With torture, murder, and a suicide in its final moments, Tosca packs more dramatic punches than most other operas—and this classic telecast captures them all. James Conlon conducts in a production by the incomparable Tito Gobbi, one of the great Scarpias of the 20th century.

A collection of social media snippets created entirely through volunteer work for the LA Opera during the 2010/2011 season. Director Thomas Storesund received The Presidential Volunteer Work Award by President Barack Obama for this effort.

Plácido Domingo, who just celebrated his 50th stage anniversary in Vienna - incredibly - continues to conquer the central baritone roles of Giuseppe Verdi. In this performance from LA Opera, it is the abysmal title part of the Macbeth, one of the most fascinating opera characters ever. Flanked by Ekaterina Semenschuks as Lady and by Ildebrando D'Arcangelo as Banquo. Veteran James Conlon conducts the choir and orchestra of the Los Angeles Opera. The highly acclaimed staging comes from Darko Tresnjak.

- Recorded live at Los Angeles Opera, 1 & 4 March 2007. Welcome to Mahagonny, where sin is "in" and love is always on sale. This Old West boomtown rises from the desert to become a razzle-dazzle mecca for lust, liberty, and the pursuit of pleasure. Cash is king, poverty is punishable by death, and anything worth doing is worth overdoing. Director John Doyle melds his Tony Award winning talent with the lyrics of influential playwright Bertolt Brecht and an incomparable score by Kurt Weill. The brilliant cast is led by superstars Audra McDonald, as the tart-with-a-heart `Jenny' and Patti LuPone, who portrays the town's feisty madam. Audra McDonald · Patti LuPone · Anthony Dean Griffey Robert Wörle · John Easterlin · Mel Ulrich Directed for Stage by John Doyle Chorus and Orchestra of the Los Angeles Opera James Conlon, conductor

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Documentary about opera in Hollywood.

At first glance, the title of Shostakovich’s opera seems to speak for itself: Katherina, neglected and unhappy in her marriage, commits the most heinous crime just like the Shakespearian Lady Macbeth. But Nikolai Leskov’s short novel, which portrays Katherina as a monster, was only the starting point for Shostakovich to elicit understanding for an oppressed woman whose pursuit for self-determination is suppressed by society. Through combining satiric, grotesque and tragic elements in his music, Shostakovich succeeds in striking the balance between repulsion at Katherina’s immoral acts and sympathy for her. Violence, eroticism and the paralysing boredom of Russian society in the 19th century are the founding elements of this composition. The choir and orchestra of the Maggio Musicale Fiorentino conducted by James Conlon accompany tremendous soloists such as Jeanne-Michèle Charbonnet, Vladimir Vaneev and Vsevolod Grivnov in the original language in this live recording.

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