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Homage to the figure of the great Russian actor, poet and songwriter harshly opposed by Soviet authority in the 1960s , Vladimir Vysotsky. Accompanied by Filippo Del Corno's orchestrations, the Sentieri Selvaggi ensemble directed by Carlo Boccadoro features Eugenio Finardi in twelve songs.

Among the ruins of a magical place in the middle of the Tuscan countryside, as if arriving from another planet, two giant amplifiers, sixteen musicians, and their instruments touch down. Despite the Abbey’s lack of a roof, which would allow the sound an easy escape into the sky, Lucio Corsi and his companions manage to trap the music in an original and evocative film.

Olympian gods and nymphs are celebrating Aurora's birth in the Vale of Tempe, crossed by the river Peneo. They praise her features in verse and song, comparing them to rivers and flowers. The text is anonymous and hints at a regal birth, probably Maria Theresa of Austria's in 1717.

The show that Cristicchi has constructed recovers the folk tradition of the Tuscan mining village of Santa Fiora, recruiting a vigorous chorus from among the miners and recounting their now obsolete daily life, white deaths, and exploitation. It is the story of a thankless and strenuous life, but with the joyful and supportive atmosphere of an evening among friends in a tavern. The book contine the commented lyrics of the songs, direct testimonies of the miners and a photo insert

A short celebratory film, the only moving images that have ever portrayed the celebrated composer. Giacomo Puccini enjoys his residence in Torre del Lago: he walks in the garden, pinning a fresh rose in his buttonhole. He plays the piano and composes, whizzes by in a motorboat, receives the mail and chats with the villagers, and finally goes duck hunting.

In the neon-lit bars of southern Italy, Lyuba — a Russian migrant sex worker dreaming of Italo-Disco stardom — reinvents herself as Regina di Prosecco, her dazzling alter ego, as she finds herself trapped in a wicked game where sex, music, and violence intertwine in a surrealistic nightmare not everyone will escape.

“Foolish indeed is he who marries in old age.” Thus ends Don Pasquale: with a wise dictum not lacking in irony that sums up the disappointments of its hero, a rich bachelor keen to marry who is deceived by his nephew Ernesto and his young bride-to-be Norina. First performed in Paris in 1843, at the turning point of several eras, Don Pasquale, a composite and varied work, is the apotheosis of opera buffa. Performed for the first time at the Paris Opera, the production has been entrusted to the Italian director, Damiano Michieletto, who transports us directly to the sincerity and dramatic splendour at the heart of an apparently light‑hearted work.

Prolific and popular since the 1970s, the band members of the Chieftains -- Derek Bell, Kevin Conneff, Martin Fay, Sean Keane, Matt Molloy, and Paddy Moloney -- talk about what Irish music means to them, what inspired them in the past, and what continues to motivate them.

The opera Turandot by Giacomo Puccini from the Arena di Verona (2024), with desings by late Franco Zeffirelli. Turandot is sung by Ecaterina Semenchuk.

Feature documentary, completed but unreleased.

Singer-songwriter Vinicio Capossela's journey through Irpinia, telling stories related to music and tradition

"Giovanna d'Arco; ossia, la pulzella d'Orléans" is an operatic dramma lirico with a prologue and three acts by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The opera partly reflects the story of Joan of Arc and is based on a play by Friedrich von Schiller, although claimed by the librettist to be "an entirely original Italian drama." If the thought of Anna Netrebko strutting her stuff in a suit of armour and tin hat sets your factor tingling then this is a must. It's an inconsistent opera but has some quite wonderful music along the way. The rest of the cast is good and the production won't offend either. Get it for Ms Netrebko's incredible performance alone.

Teatro alla Scala presents a new production of Tchaikovsky’s masterpiece of unrequited love, drawn from Pushkin’s novel. Acclaimed soprano Aida Garifullina stars as Tatyana, the naïve young girl who grows into a sophisticated beauty. Baritone Alexey Markov sings the title role of the nobleman who lives to regret his blasé rejection of Tatyana’s love and his careless incitement of a fatal duel with his best friend Lensky (Dmitry Korchak). The tender music is entrusted to the exciting Timur Zangiev, and staging is in the hands of prolific stage and film director Mario Martone, now in his tenth La Scala production.

From Palazzo Barberini in Rome, flutist Marzio Conti and pianist Gloria Belli will perform: “Cantabile et presto” by George Enescu; “Fantaisie, Op. 79” by Gabriel Fauré; and “Suite Paysanne Hongroise” by Béla Bartók.

A procession of Disney characters are followed into a TV broadcasting Station located inside of a sequoia tree.

In order to encourage the young maestro Vernieri not to break down after the first failures, the director of the theater "La Scala" in Milan tells two significant episodes concerning the theater.

A man escapes from prison but he is seriously wounded and eventually becomes paralyzed. He receives help from a fisherman and his family.

In this short directed by Pietro Francisci, later known for hit swords-and-sandals titles such as 1958’s “Hercules” starring Steve Reeves, Lollobrigida appears to sing (she may have been dubbed) Italian folk song “Stornellata Romana.”

In Benoît Jacquot’s production, Manet’s Olympia dominates the stage of the Opéra Bastille. In 1863, the painting caused a scandal: the prostitute awaits her client, her expression proud, her demeanour assured. Is this Violetta? Like Olympia, Verdi’s most celebrated heroine surrenders to the spectator just as she surrenders to love, going so far as to die on stage, a woman’s ultimate sacrifice for her lover. Or might it be the spectator who strips her bare and intrudes upon her privacy, in the image of this milieu of social voyeurism? Whatever the case, these two women regard us with defiance and subjugate those who cannot help but look at them.

The production bears the imprint of the conductor, Marko Letonja, and the director, Tobias Richter, whose understanding is ideal: both breathe a troupe spirit - specific to comedy - into this heterogeneous cast, which brings together young and old. Both give as much importance to recitatives as to arias and ensembles.

Five years of work, a one-hour movie, two zines with more than a hundred coloured pages. Hand screen-printed cover, 350 numbered copies. These are the numbers of URAGANO NEGLI OCCHI, a true story (self)built in the sweaty and smoky corners of the illegal Milan of occupations and hardcore punk concerts. Dozens of voices, interviews, flyers, illustrations and photographs describe a heterogeneous community of individuals, squats and collectives that in recent years has experienced an explosion of vitality, moving with enthusiasm and determination in the contradictions of the metropolitan city of Milan, affirming an unprecedented approach to Do It Yourself practices. An entirely self-produced narrative and visual project, conceived, developed and finalized in our spare time, with a lot of unexpected events in between.

The story of Don Pasquale revolves around a classic comedic premise: a young couple in love schemes to thwart the inappropriate plans of a pompous old man, who wants to marry the girl himself. What makes the opera notable within this familiar genre is its emphasis on genuine human emotion. Donizetti’s score is graceful and effervescent, as one would expect from this master of melody, but adds an additional level of sophistication to match the comic (yet insightful) proceedings. Recorded on February 28th 2015, at the Opéra de Vichy.

A wealthy and jealous merchant tries to lure a young girl away from her boyfriend by offering to pay to stage small singing concerts for her.

From the Auditorium Parco della Musica – Sala Santa Cecilia, Antonio Pappano conducts the Orchestra and Choir of the Accademia Nazionale di Santa Cecilia. Sciarrino: ‘La nuova Euridice secondo Rilke’ – Bach: ‘Magnificat’. Sopranos Barbara Hannigan and Amanda Forsythe.

This documentary explores Life and Art of Queen bassist John Deacon.

For his first opera production, Dario Fo, the theatre director known for his brilliant wit, chose to stage Rossini's Il Barbiere di Siviglia sung in Italian for the Netherlands Opera. First mounted in 1987, it was a huge success and a live recording of its revival in May 1992, the 200th anniversary of Rossini's birth, has been made. Fo has said that Rossini is the musician of eating and love. He composes music rich in herbs and aromas, in which you find olives, tomatoes, fish, grapes, roses and rosemary, sheets and tablecloths, dry wine and the laughter of girls. His Barber is a joyful carnival. During the overture he fills the stage with carnival revelers and immediately the commedia dell' arte origins of opera buffa are restored. Visual theatrics abound, never at the expense of the music, but highlighting it, engaging the eye as well as the ear. Fo addresses the heart more than the intellect and Rossini's comedy comes up dazzling and vital.

Demetrio Stratos from pop charts to extreme radical voice experiments.

Steve Jansen's live performance in Tokyo Feb 29th 2008 - filmed in high definition.

Rai Radio3 celebrates Giacomo Puccini with some of the most beautiful arias from his entire operatic oeuvre, performed by leading figures from the international opera scene, alongside the top vocalists from the third edition of the Voci in Barcaccia competition.

An American Dissident: un tributo a Frank Zappa is an Italian documentary that aired on the Videomusic channel on January 7, 1994. It includes footage from Zappa's Universe, Video From Hell, Does Humor Belong In Music?, Baby Snakes, The True Story Of 200 Motels, The Late Show, Zappa's May 17, 1988 show at Palacio de Deportes in Barcelona, Spain, The Dub Room Special, various other interviews and performances.