A 1998 production staring Anna Netrebko, Larissa Diadkova, Nikolai Gassiev, Aleksander Gergalov in this Kirov Opera & Ballet production of the Prokofiev opera, with Valery Gergiev conducting.

The support group for opera addicts is in session, and its participants perform Prokofiev's Betrothal in a Monastery. Rarely performed outside Russia, and consigned to oblivion by Andrei Zhdanov's anti-formalist policies after the Second World War, the work is transformed by Dmitri Tcherniakov's extravagant staging. Under the baton of Daniel Barenboim, an all-star cast featuring Aida Garifullina and Violeta Urmana bring the characters to life on stage at Berlin's Staatsoper Unter den Linden.

A story of murder, greed and sibling rivalry in music and love. Classic good v evil.

A general and his stepdaughter are both heavily in debt. When the family's tutor, in love with the girl, gets lucky at the gambling table, he tries to rescue her from her desperate situation, but she outright rejects him. Prokofiev's first full-length opera The Gambler, based on Dostoyevsky's partly autobiographical novella ironically written to settle gambling debts, is rarely performed today. This 2020 production brings together director Vasily Barkhatov and conductor Modestas Pitrenas and stars the winner of the 2019 International Opera Award, Asmik Grigorian, in the role of Polina.

Masaki, an ordinary office worker, has worries that he cannot tell anyone about.

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Period literary adaptation about a hunter who tries to provide meat to a mountain monastery and his love for a blonde peasant .

One of music's most sought-after conductors guides you through an outstanding concert of works. Internationally acclaimed as an inspired interpreter of Russian music, Valery Gergiev draws exceptional performances from the orchestra to produce a colorful, vibrant and virtuoso evening of music. Acclaimed Classical Works by Prokofiev (Symphonie Classique, Op. 25), Schnittke (Viola Concerto) and Stravinsky (Firebird). Filmed Live at the 2000 Salzburg Festival

L'Opéra National de Paris' production of L'Amour des trois oranges must certainly be one of the most elaborate operatic presentations. It has a cast of gazillions, characters who fly, jugglers, fire-eaters, remarkably elaborate costumes, amazingly realistic props (those five-foot oranges are convincingly juicy and edible looking), a huge set, fireworks, and so on. In fact, at times, it looks more like a Cirque de Soleil show than something you'd see in an opera house. Director Gilbert Deflo's conception and William Orlandi's costumes and sets are rooted in commedia dell'arte, but the production is thoroughly eclectic, with allusions to a wonderfully weird assortment of styles and periods.