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Christianshavn 1894 - Headstrong Juliane fights alongside her husband Otto for love and family in strike-ridden Christianshavn. The couple has been married for five years and has two children together. Trade union politics are taking up more and more of Otto's life, and Juliane cannot even get him to tone it down at family gatherings, so Juliane has her hands full keeping track of the home and the children. The family argues about big and small things, from the sisters' disagreement about women's liberation to Otto's political involvement.

A dramatization of a novella by American writer Henry James. This subtle, psychologically profound story is narrated by young literary scholar Henry Jones, who, while searching for documents related to the romantic poet Jeffrey Aspern, finds himself in Venice at the end of the 19th century. Juliana Bordereau, whom Aspern sang about in his work and who owns much of his correspondence, still lives there. However, Juliana refuses to show it to Jones because these letters are the only link connecting her to life. Jones therefore decides to resort to trickery. He moves in with Juliana under a false name as a lodger and, by pretending to be in love, wins over her niece Tina, who is ultimately willing to help him. However, it soon becomes clear that such manipulation of people, even if motivated by a noble goal, does not pay off.

Acclaimed theater director Erik Werner is setting up a stage play dramatizing memories from his marriage to his wife Juliane who has been diagnosed with Alzheimer's disease. During the process Erik discovers that he and Juliane have had vastly different experiences of their shared life together. Experiences that will make Erik see his marriage in a new light.

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France, 1792. Chenier is an idealistic poet, in love with the aristocratic Maddalena. While Chenier supports such notions as "liberte, fraternite egalite," his sympathies do not extend to the current Reign of Terror. Likewise, the Revolutionary Tribunal has no need for poets or their girlfriends, especially those judged to be an Enemy of the State. Heads will roll.

Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.

Andrea Chenier is a poet during the French Revolution. He and Maddalena are in love. Gerard, former servant in Maddalena's house, denounces them to the Tribunal, but recants it too late. The lovers go to the guillotine together.

Live from ROH 1985. Giordano's Andrea Chenier is one of the greatest of verismo operas, full of heart-stopping big tunes and powerful emotional situations. If it is not as well-known as it should be, it is because in summary it sounds a little too like Puccini's Tosca: there is a tussle between political opponents over a woman, an attempt to save a condemned man, a tenor aria about writing poetry on the eve of execution. The difference is that Gerard (Giorgio Zancanaro) is not a villain like Scarpia, he is an idealist whom the French Revolution has betrayed as much as it has his rival the poet Chenier (Placido Domingo). His temptation to abuse his power to seduce the virtuous Maddalena (Anna Tomowa-Sintow) is a momentary one, though its consequences are terrible. There is a streak of post-Wagnerian decadence in much of this--Maddalena is at least as much in love with death as she is with Chenier, and the final love duet has a deeply sinister aspect. -- From Amazon.co.uk