Set in a scorching Brussels, Babel Opera blends documentary and fiction during the intense rehearsals of Mozart’s Don Giovanni. As an international cast struggles to bring the opera to life, four fictional characters appear around the set. Their real-life conflicts, infidelities, and passions begin to mirror the seductions of the opera itself, completely blurring the lines between art and reality as the grand premiere approaches.

In the second part of this magnificent concert celebrating music from across Europe, Lukas Sternath, Martha Argerich, Bruce Liu and Hayato Sumino perform the finest piano concertos by Beethoven, Schumann, Tchaikovsky and Rachmaninoff.

Alexandre Tarta's production of Berlioz's opera, recorded live at the Salzburg Festival in 2000. Sylvain Cambreling conducts, with performances by Jon Villars, Russell Braun and Tigran Martirossian.

Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.

Europiano continues in Hamburg's Laeiszhalle. Superstar pianist Martha Argerich performs Beethoven's Piano Concerto No. 1 in C Major with the Hamburg Symphony Orchestra conducted by Sylvain Cambreling.

The three main soloists have voices on a scale that can compete with these flashy production values – White and Kasarova, in particular, sing at a level of intensity that would swamp anything less; the climactic seduction trio has rarely been sung so well or with such an overpoweringly polymorphous eroticism. Cambreling marshals his forces effectively, giving full rein to the work's showstoppers like the "Hungarian March" but not neglecting the subtler less kinetic Gluckian side of Berlioz's vocal writing. Recorded live at the Salzburger Festspiele, 1999.