Étienne Dupuis

Production of the Vienna State Opera, October 2024. Inspired by a visit to the Kyoto Costume Institute in Japan, director Kirill Serebrennikov brings the plot of Don Carlo into a contemporary context. He was also inspired by this institute for his stage design - after all, original objects from all eras and cultures are kept there and prepared and stored accordingly to protect them from decay.

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For the first time in company history, the Met presents the original five-act French version of Verdi’s epic opera of doomed love among royalty, set against the backdrop of the Spanish Inquisition. Patrick Furrer leads a world-beating cast of opera’s leading lights in this March 26 performance, including tenor Matthew Polenzani in the title role, soprano Sonya Yoncheva as Élisabeth de Valois, and mezzo-soprano Elīna Garanča as Eboli. Bass Günther Groissböck and bass-baritone John Relyea are Philippe II and the Grand Inquisitor, and baritone Étienne Dupuis rounds out the all-star principal cast as Rodrigue. Verdi’s masterpiece receives a monumental new staging by David McVicar that marks his 11th Met production, placing him among the most prolific and popular directors in recent Met memory. This live cinema transmission is part of the Met’s award-winning Live in HD series, bringing opera to movie theaters across the globe.

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A colorful and comedic staging of the classic opera buffa by the Vienna State Opera.

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Méphistophélès, less an intellectual "principle of negation" than a devilishly attractive magician, draws his attention to Marguerite - and Faust is delighted. A deal is quickly struck: the devil serves Faust on earth, and after Faust's death it is to be the other way around. Marguerite is also not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains an episode, as Faust is drawn to new attractions, while Marguerite remains pregnant, only to see her unfaithful lover kill her brother.

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In its most ambitious effort yet to bring the joy and artistry of opera to audiences everywhere during the Met’s closure, the company presented an unprecedented virtual At-Home Gala, featuring more than 40 leading artists performing in a live stream from their homes all around the world.

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What is this flame that compels Don Giovanni to seduce, subjugate and conquer women one after the other, with the fervour and cold indifference of a predator securing his prey; to pursue through his conquests some obscure and ever‑elusive objective? For his second collaboration with Da Ponte, Mozart was to brand the history of opera with a hot iron and forever haunt European culture. In this Libertine Punished, Kierkegaard invites us to hear “the whisperings of temptation, the whirlwind of seduction, the silence of the moment”. The Mozart-Da Ponte cycle continues with a Don Giovanni entrusted to director Ivo Van Hove. In the wake of Boris Godunov, the director, accustomed to examining the political meaning of works, presents his second production for the Paris Opera.

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Each day, Jean-Philippe Wauthier welcomes guests on the show in warm, friendly setting. His interviews focus on their newsworthy achievements but also, and most importantly, on their passions, interests and opinions.

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A village somewhere in the Italian countryside, a wayside inn on a road crossed by the occasional dog. Nothing more. Laurent Pelly’s production presents a deserted landscape in which the turbulent arrival of Doctor Dulcamara causes a sensation. And with good reason! He is said to be the inventor of a mysterious love potion… In opera, love philtres often provoke terrible tragedies. They also provide the pretext for this gentle comedy in which Sergeant Belcore and the timid Nemorino vie with each other for beautiful Adina’s heart. The stage is set! Bring on the music, which, if we are to believe Donizetti, was composed in a fortnight!

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In order to fulfil the oracle’s prediction, Iphigénie must kill any stranger landing on the shores of Tauride. Alas, it is Oreste, Iphigénie’s own brother, who appears, having murdered their mother Clytemnestra in order to avenge the death of their father Agamemnon: such is the accursed lineage of the Atrides, condemned for generations to inflict death after death… Will this chain of hereditary bloodletting be perpetuated by Iphigénie? In Krzysztof Warlikowski’s stunning first production for the Paris Opera, the characters in the twilight of their existence are still haunted by their past.

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