Richard Wagner's grandson, Wolfgang Wagner, staged and directed this performance of the legendary composer's most human of musical dramas at the 1984 Bayreuth Festival. Horst Stein directs the Bayreuth Festival Chorus and Orchestra and an all-star cast that includes Hermann Prey (as Beckmesser), Bernd Weikl (as Sachs), Siegfried Jerusalem (as Walter), Graham Clark (as David) and MariAnne Haggander (as Eva).

Arabella, a talented violinist, goes undercover and joins the Vienna Philharmonic Orchestra to pursue her dream of becoming a world-class musician. She navigates the challenges of being the only woman in a male-dominated environment while trying to keep her true identity a secret. Along the way, she discovers friendship, love, and the power of following her passion.

Wolfgang Wagner's Bayreuth production of his grandfather's 'farewell to the world'has 'an unusual beauty and logic of its own ... with a double stress - on nature undefiled and on a form of religious symbolism ... There is an air of magic and mystery about the staging ... The performance was excellent ... Horst Stein conducted a beautifully proportioned Parsifal'. New York Times

The Metropolitan Opera presents a stage performance of Richard Wagner's Tannhäuser. Witness the dramatic opera about the German knight, Tannhäuser, as he struggles between his desire for love and devotion to the goddess Venus, leading to a conflict of passion and purity. Experience the enchanting music and breathtaking performances in this captivating live performance.

Theodor Guschlbauer conducts the Chorus and Orchestra of the Vienna State Opera in this lavish staging of Johann Strauss's operetta. Recorded in 1980, the production features some of the leading performers of their day, including Lucia Popp, Edita Gruberova, Bernd Weikl, Walter Berry and Brigitte Fassbaender.

Tannhäuser, a renowned singer, gets caught between a forbidden love affair with the goddess Venus and his desire for redemption. As he competes in a singing contest at Wartburg Castle, his ultimate fate becomes intertwined with themes of magic, legend, and tragic love.

Salome is a drama-music movie from 1975. It is based on the play Salome and features characters such as Salome, King Herod, and others. The movie revolves around the events of Salome's dance and the consequences that follow.

Richard Wagner: Parsifal (1993) is a filmed opera that portrays the legendary tale of Parsifal, a knight who embarks on a quest for enlightenment and redemption. With music composed by Richard Wagner, the opera explores themes of faith, transformation, and the power of compassion. This visually stunning performance captures the essence of the mythical world in which Parsifal's journey unfolds.

Peter Konwitschny's new production on the première stage in Munich gives it a new, optimistic interpretation. At the opening of the Munich Opera Festival 1998, Tristan und Isolde was staged in what is now the ninth new production at the Bavarian State Opera since its world première. Director Peter Konwitschny worked together with stage and costume designer Johannes Leiacker a team already well known in Munich for its much-respected Parsifal. Zubin Mehta conducted, shortly before being called to be General Music Director at the Bavarian State Opera. The title parts were interpreted by the American tenor Jon Frederic West, widely known for his Wagner-roles and Waltraud Meier, one of the greatest Isoldes of our time.

David Alden's production of Wagner's grand romantic opera was recorded at the National Theatre in Munich, with Bayerische Staatsoper, in September 1994. Shot over three days by leading opera director Brian Large, this recording benefits from the ideal technical conditions made possible by a closed session. Alden, one of the most iconoclastic interpreters of classical opera, stirs up the visionary, erotic, and archetypal elements in Wagner's work. The cold, forbidding aspect of the stylized and predominantly monochrome sets and costumes by Roni Toren and Buki Shiff manifests the strait-jacket of tradition from which Tannhäuser seeks to free himself in this powerful opera.

The nearest Wagner ever got to religion was worshiping himself. Using opulent music he delivers his audience to an easy, pseudo-mystical experience. In this, one of his earlier operas, he is already showing signs of the mastery of the superlative that later would blossom fully together with his egomania.