Live from Munich June 2014. Guillaume Tell , in a new production by 30-year-old Wunderkind stage director Antú Romero Nunes, opens this year’s Munich Opera Festival with an orgy of fabulous singing.

New production. Recorded live at Royal Opera House, July, 05, 2015.

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The hero of this admirably complete August 2013 Guillaume Tell from Pesaro is homegrown maestro Michele Mariotti. The inimitable overture is (mercifully) unstaged and terrifically played, with splendid cello and flute solos: the fine standard never flags. Rossini’s extraordinary 1829 score audibly presages Meyerbeer, Berlioz, Glinka, Verdi and Wagner, among many others. Graham Vick’s direction privileges class conflict, with a clenched fist on the red-and-white forecurtain. The Edwardian costumes place Austrians in white evening garb; the black-clad Swiss polish the floor while the rulers savor a filming (much of that to follow) — the fisherman Ruodi, in a boat with a blonde and fake scenery, with Tell and his family providing tech support. Vick deploys geographical and historical kitsch liberally but not (always) pointlessly. Ron Howell’s pretentious, mannered choreography, however, beggars belief.

On the day of his dismissal, Guillaume meets Tom his substitute...

Renowned for his precision and corrosive humor, Guillaume Wagner boldly tackles subjects such as homophobia, the evolution of our collective rituals and superficiality. Without falling into cynicism, he skillfully laughs at our individual and collective failings, without forgetting to include himself in the process. Winner of three prestigious awards for emerging artists, he has won over an already loyal audience that has been eagerly awaiting this very first show. As he says himself, Cinglant is a show for everyone, but not for everyone.

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A Puppetoon by George Pal.

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In England, two young friends, confronted with the outbreak of World War I, enlist together to serve in the same company on the battle-field.