In a magical world, a brave prince sets out to rescue a beautiful princess from the clutches of an evil queen with the help of a mysterious flute and a magical bird. Together they embark on a perilous journey filled with music, romance, and fantastical creatures.

La Clemenza di Tito is an Italian opera that tells the story of Titus, a Roman Emperor. Fueled by jealousy and seeking revenge, various characters conspire against each other, resulting in a dramatic and emotional storyline.

Servants Figaro and Susanna are filled with excitement on their wedding day, but there’s a hitch: their employer, the Count Almaviva, has dishonourable intentions of his own towards the bride-to-be. With more twists than a page boy’s stockings, the story of Mozart’s comic opera will surprise and delight you at every turn. Come for the music and stay for the cross-dressing hilarity, all unfolding over the course of one crazy, topsy-turvy day in the Almaviva household. Antonio Pappano conducts a truly international cast in David McVicar’s timeless production.

The Belgian dancer and choreographer Sidi Larbi Cherkaoui interprets Glucks late Baroque opera Alceste as an impressive symbiosis between dance and music. The opera can be experienced here in all its existential power. (SZ) It is here performed in the revised Paris version from 1776 where Gluck has revalued especially the ballet music. Cherkaoui director of the Royal Ballet of Flanders has worked with top artists across disciplines like superstar Beyoncé. The superb dancers of the Belgian Compagnie Eastman, Antwerp perform Glucks score physically, creating a fine and stringent aesthetics of beautiful images (Opernwelt). Dorothea Röschmann with her inimitable charisma (Financial Times) and Charles Castronovo deliver a brilliant performance in the roles of the self-sacrificing royal couple. Musically impressive.

Arthaus presents a truly new way of looking at La clemenza di Tito with this famous and star-studded production from the Salzburg Festival 2003. Here Nikolaus Harnoncourt, renowned for his analytical approach to the search for the core of the music, interprets Mozart’s last opera. Martin Kušej, who is acclaimed for his theatre productions directs the production. Nikolaus Harnoncourt identifies with Mozart’s score as both an extremely knowledgeable musician and a conductor who invariably plays an active part in helping to shape the drama. Together with the Vienna Philharmonic, he savours the miracles of Mozart’s late work, bringing out its instrumental colours and effects and at the same time stimulating his singers while proving a solicitous accompanist.

Le nozze di Figaro is a comedic opera set in 18th century Seville, Spain. Count Almaviva plans to exercise his right to sleep with his servant Figaro's bride, Susanna, on their wedding night. However, Susanna and Figaro conspire with the Countess to expose his infidelity and teach him a lesson. The opera explores themes of class conflict, sexual harassment, and the power dynamics between the aristocracy and their servants.

This performance of Mozart's two-act opera Zauberflote, recorded at the Opera National de Paris in 2001, was directed especially for TV and video. Some of the vocalists featured in the leading roles include Piotr Beczala, Wolfgang Schone, Dorothea Roschmann, Detlef Roth, and others.

Rodelinda is a baroque opera depicting the story of a queen and her rival in a live performance.

Mozart: Le Nozze di Figaro is a comedic opera that tells the story of love, marriage, and deception. The plot revolves around the wedding day of Figaro and Susanna, but things quickly become complicated when the Countess suspects her husband of infidelity. The opera is filled with mistaken identities, clever disguises, and hilarious misunderstandings.

“Nothing is harder to put on stage than lightness. And humor is the sharpest weapon of the desperate. That is why it is an obligation, indeed a must, to enjoy this Figaro by Jürgen Flimm at the Staatsoper to the fullest.“ (ARD Radio) This production of “Le nozze di Figaro” is directed by the former artistic director of the Staatsoper Berlin, Jürgen Flimm, who characterizes it as follows: “Figaro is by far the best work ever devised for the stage; it combines everything that moves the human heart and mind – forlorn hope, pleasantry, satire, profound significance, also much ado about nothing and vain amours.”

Don Giovanni is a classic opera composed by Mozart, filled with drama, love, and betrayal. This modern production brings the timeless story to life, captivating audiences with its stunning performances and powerful music. Follow the charming yet villainous Don Giovanni as he seduces and manipulates those around him, ultimately leading to his downfall.

The Marriage of Figaro is one of the most emblematic operas in the repertoire. Brahms spoke of it as a “miracle” and the Countess' complaint still resonates today as one of the most heartbreaking musical pages. It was by resuming Beaumarchais' comedy, which caused a scandal in Parisian society, that Mozart and his librettist Da Ponte began their first collaboration. The play was banned by Joseph II in 1785 at the Vienna Theater. Is it because it exposed too much to the forefront the contradictions of an already faltering regime, ready to collapse with the French Revolution? Netia Jones preserves the very essence of Beaumarchais' play by questioning human relationships with humor but not without mischief, in a production which confuses reality and fiction to the point of asking, like the Count: "Are we playing a comedy?" »

This recording features the opening concert of the Salzburg Festival in 2010, in which the Festival celebrated its 90th anniversary and the 50th anniversary of the Great Festival Hall. Daniel Barenboim conducts the Vienna Philharmonic and Chorus State Opera Vienna with Dorothea Roeschmann, Franz Josef Selig, and Rene Pape in works by Beethoven, Boulez, and Bruckner.

Fierrabras of 1823 is the last of Franz Schubert’s stage works. Rarely performed to this day, this heroic-romantic opera has now been staged for the first time ever at the Salzburg Festival by famous director Peter Stein. Based on an old French 12th-century epic, the plot depicts the military conflict between Christians and Moors at the time of Charlemagne – as a backdrop to stories of love and friendship that prove to be stronger than war and hatred of otherness. The strong cast includes the “marvellously expressive miracle Dorothea Röschmann” (Die Zeit) and “Michael Schade, who exudes his exceptional tenor in Fierrabras’s heroic arias” (Der neue Merker). Under the energetic baton of lngo Metzmacher, the Vienna Philharmonic unfold “the melos, the poetry, the sweetness and the dramatic force of Schubert’s highly refined and atmospheric sound worlds” (Kleine Zeitung) in highly romantic fashion.

When Joseph Haydn completed his fourth and final oratorio at the beginning of 1801 the 69-year-old composer was famous throughout Europe. Born in 1732 as the son of a humble wheelwright, Haydn grew up in a rural, peasant environment. That such a child should make his way eventually to the position of court composer was an extremely rare occurrence. Even in his days at royal courts, however, Haydn still felt a close and intimate attachment to Nature and to life in the countryside. When Baron Gottfried van Swieten, then, presented to Hadyn a libretto on the theme of The Seasons, he found in the old composer a worthy partner in his own veneration for Nature.

Dorothea Roeschmann, Katharina Kammerloher, Hanno Mueller-Brachmann, Werner Guera, Daniela Bruera, and Roman Trekel star in this 2002 Deutsche Staatsoper production of the Mozart opera conducted by Daniel Barenboim.