The scheming Count Almaviva (Erwin Schrott, left) and Basilio the music master (Benjamin Bruns) prop up a swooning Susanna (Slyvia Schwartz), the object of the Count's nefarious affections.
Michael Pohn/Wiener Staatsoperhide caption
Mozart's premier creative partnership with Lorenzo Da Ponte produced a masterpiece for the ages, and one of the only successful sequels to an existing plot. This comic opera continues where playwrite Beaumarchais' The Barber Of Seville leaves off.
The tortured relationship between Carmen (mezzo-soprano Beatrice Uria-Monzon) and Don Jose (tenor Roberto Alagna) is at the center of one of opera's biggest blockbusters.
A. Bofil/Liceu Theatre Barcelonahide caption
Execution, extortion, and exploitation. No, it's not an episode of Showtime's Dexter. It's Puccini's operatic thriller Tosca, which takes a surprisingly realistic approach to the passage of dramatic time with scenes of physical and psychological torture.
Though Pelléas (Yann Beuron) and Mélisande (Marta Márquez) do not explicitly discuss their love for each other until late in the opera, it smolders throughout the first three acts.
Hans Joerg Michelhide caption
Can opera be passionate without shrieking mad scenes and overstuffed choruses? The answer is yes, and Claude Debussy's subtle, dreamy psychological thriller proves it, in a production from German Opera On Rhein.
Even the few light-hearted moments in Berg's opera are surrounded by darkness. The disturbed Wozzeck (Georg Nigl) has horrific visions of knives and blood, which turn out to be prophetic.
Damir Yusupov/Bolshoi Theatrehide caption