Giancarlo Del Monaco’s atmospheric production brings to colorful life a 19th-century mining camp during the California Gold Rush. At the center of the action is the good-hearted bar owner Minnie, sung by Barbara Daniels, who takes a motherly interest in the miners. Plácido Domingo is Dick Johnson, also known as the bandit Ramerrez, who falls in love with Minnie. Sherrill Milnes sings Jack Rance, the sheriff who is not only determined to capture Ramerrez but also wants Minnie for himself. Bloodshed, a crooked poker game, a snowstorm, and a near lynching ensue before Minnie and her bandit-turned-lover can ride off to start a new life. Leonard Slatkin conducts one of Puccini’s most colorful scores.

At age 19, a young woman is jilted at the altar. This leads to a declaration that she will swear off men forever. Now 10 years later, she suddenly decides she would like to have a child. She advertises in the newspaper for potential mates, whether by traditional methods or by sperm donors, but gets nothing but losers. However, two neighborhood men vie for her attention - her gynecologist and a professional clown.

Berlioz’s epic masterpiece retells the magnificent saga of the aftermath of the Trojan War and the exploits of Aeneas. Rising tenor Bryan Hymel, in his Met debut, stars as the hero charged by the gods with the founding of the city of Rome. Susan Graham is Dido, Queen of Carthage, who becomes Aeneas’s lover, and Deborah Voigt sings Cassandra, the Trojan princess whose warnings about the impending destruction of Troy go unheeded. Francesca Zambello’s atmospheric production, featuring choreography by Doug Varone, is led by Met Principal Conductor Fabio Luisi.

James Levine leads a remarkable cast in one of Verdi’s most enduringly popular operas and brings fresh insights to this beloved score. Ileana Cotrubas is poignant and touching as Violetta, the consumptive courtesan who finds true love with Alfredo, sung with style and passion by the great Plácido Domingo. Cornell MacNeil is Germont, Alfredo’s father, who forces the two apart, setting in motion events that lead to a shattering and tragic conclusion. Colin Graham’s production features design by Tanya Moiseiwitsch and choreography by Zachary Solov.

All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.

Ghiaurov, Freni, and Bumbry were great voices in their time, and they are still effective here -- good enough musicians to put over the quite heavy vocal and expressive demands of their roles. Louis Quilico was never quite in that league, and he sounds a bit spread and woofy in places here, but he works hard and effectively to bring Rodrigo to life. Placido Domingo recorded his first Don Carlo, for EMI with Giulini, about 15 years before this production, but he looks and sounds fine here -- in the early 1980's he was doing very good Otellos and Lohengrins too, and Furlanetto, still in his 30's, brings a rich, young voice to an old part and succeeds in making the Grand Inquisitor vocally as well as expressively formidable. Levine brings both weight and energy to the score, and that reading fits well with the overall "traditional" design and production -- the Met's wardrobe budget must have been severely taxed, but everybody looks splendid.

Opera greats Luciano Pavarotti and Joan Sutherland -- one of the most acclaimed tenors and one of the most beloved sopranos of the 20th century -- take the stage at the Met for a gala evening of opera scenes with special guest Leo Nucci. Filmed in 1987, the memorable program includes scenes from the first and third acts of Donizetti's "Lucia di Lammermoor," the third act of Verdi's "La Traviata" and the third act of Verdi's "Rigoletto."

Glyndebourne's intimate opera house provides the perfect setting for Rossini's third French opera, a sparkling medieval comedy of lust and chastity.

Live from the Metropolitan Opera, 14 February 1980. This version takes place in Boston rather than Sweden.

John Dexter’s brilliant production of Britten’s searing opera stars Dwayne Croft in the title role of the handsome young sailor whose kindness and innocence cause his downfall. The great James Morris is Claggart, master-at-arms on the 18th-century warship Indomitable, who falsely accuses Billy of inciting a mutiny. Philip Langridge sings Captain Vere, the honest commander who knows that Billy is innocent but finds himself unable to save him. Steuart Bedford, Britten’s close collaborator during the last years of the composer’s life, is on the podium.