The first revival of David Bösch’s new production for The Royal Opera, with two casts including Maria Agresta, Lianna Haroutounian and Anita Rachvelishvili.

Passions run high as Manrico and the Count di Luna compete for the affections of Leonora. Little do they know, Manrico’s mother Azucena has been keeping a terrible secret for decades. Soon a curse from the past will rise up from the ashes with devastating implications for them all. Starring Rachel Willis-Sørensen, Yusif Eyvazov, Gregory Kunde, Ludovic Tézier and Jamie Barton, Adele Thomas’s energetic staging sets Verdi’s tale in a Hieronymus Bosch-inspired universe of medieval superstition. On the podium, Antonio Pappano conducts Verdi’s dramatic score, featuring the famous Anvil chorus.

对比是贾科莫·普契尼歌剧三联剧《三联剧》（Il trittico）的精髓所在。构成这部三部曲的独幕剧——《外套》（Il tabarro）、《修女安杰丽卡》（Suor Angelica）和《贾尼·斯基基》（Gianni Schicchi），涵盖了从残酷的情节剧到鼓舞人心的喜剧等不同类型。虽然每一部歌剧都能独立成篇，但三部作品合在一起营造出一种完整事件的感觉，充满了丰富的情感层次和多样的音乐形式。《三联剧》首演于……

Verdi’s IL TROVATORE again storms the Met stage in a star-studded, anvil-wielding cast , including Sondra Radvanovsky, Dolora Zajick and Dmitri Hvorostovsky. Marcelo Álvarez sings Manrico, the troubadour of the title. The story is well-known already: The gypsy Azucena has harbored a grudge for thirty years, but she is about to have revenge at last. Meanwhile, her son Manrico is in love with Leonora, but so is his arch-enemy, the Count Di Luna. A pot-boiler, where every tune is a hit.

Verdi’s life-long love affair with Shakespeare’s works began with Macbeth, a play he considered to be ‘one of the greatest creations of man’. With his librettist, Francesco Maria Piave, Verdi set out to create ‘something out of the ordinary’. Their success is borne out in every bar of a score that sees Verdi at his most theatrical: it bristles with demonic energy.

This ever-popular opera is given a fresh point of view in Barrie Kosky’s highly physical production, originally created for Frankfurt Opera. The Australian director is one of the world’s most sought-after opera directors, whose Royal Opera debut with Shostakovich’s The Nose in 2016 was greeted with delight. For Carmen he has devised a far-from-traditional version, incorporating music written by Bizet for the score but not usually heard, and giving a new voice to the opera’s endlessly fascinating central character.

Beethoven’s only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, Jonas Kaufmann plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as ‘Fidelio’) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout and includes the famous Act I Quartet, the Prisoners’ Chorus and Florestan’s impassioned Act II cry in the darkness and vision of hope. Tobias Kratzer’s new staging brings together the dark reality of the French Revolutionary ‘Terror’ and our own time to illuminate Fidelio’s inspiring message of shared humanity.

In the court of Princess Turandot, suitors who fail to solve her riddles are brutally killed. But when a mysterious Prince answers correctly, suddenly he holds all the power – and a glorious secret. When life hangs in the balance, can love conquer all?

Rome in 1800 is in political chaos. Cesare Angelotti, a former consul of the short-lived Roman Republic, has escaped imprisonment, and seeks refuge in the church of Sant'Andrea della Valle. The painter and republican sympathizer Mario Cavaradossi promises to hide him at his country villa. Baron Scarpia, Rome's tyrannical Chief of Police, suspects that Cavaradossi has helped Angelotti to escape. He persuades the painter's lover, opera singer Floria Tosca, whom he himself desires, that Cavaradossi has betrayed her. She leaves to confront Cavaradossi at his villa and Scarpia orders his men to follow her, in the hope they'll find Angelotti. Scarpia arrests Cavaradossi, and tortures him in Tosca's presence until she reveals Angelotti's hiding place. Scarpia subsequently condemns Cavaradossi to death. Alone with Tosca, Scarpia tells her that he will save Cavaradossi - but only if Tosca spends the night with him. Will Tosca yield to the man she hates to save the man she loves?

Disillusioned with life, the aged philosopher Faust calls upon Satan to help him. The devil Méphistophélès appears and strikes a bargain with the philosopher: he will give him youth and the love of the beautiful Marguerite, if Faust hands over his soul. Faust agrees, and Méphistophélès arranges matters so that Marguerite loses interest in her suitor Siébel and becomes infatuated with Faust. Faust initially seems to love Marguerite in return, but soon abandons her. Her brother Valentin returns from the war and is furious to find his sister pregnant. Will Faust repent his destructive actions, and can his soul, and Marguerite's, be saved?