When you are alone in a strange city, your friends become your family. This sitcom is about five friends learning about the real world in their dreamland Zurich.

The Galilean Princess Salome is one of the mythical female figures in Western cultural history. Her erotic dance in front of her stepfather Herod is already mentioned in the gospels of the Bible, for whom she has the severed head of John the Baptist brought on a bowl in return.

Live performance Zürich, May and July 2006. Modern dress performance which generated mixed reactions.

Ariadne auf Naxos is one of many beautifully crafted operas created by Richard Strauss and his librettist Hugo von Hofmannsthal. In the compelling production from the Zurich Opera, recorded on this DVD, Christoph von Dohnányi leads a particularly strong cast of singer-actors in a thrilling interpretation of the work.

Live 2001 production from the Zurich Opera House of the classic Mozart/Da Ponte opera, with Nikolaus Harnoncourt conducting and directed for television and video by Brian Large.

In 2004, Status Quo was one of a number of major artists to play a special show to mark the opening of the recently renovated Zürich Airport, Switzerland. The show was performed inside of an aircraft hangar in front of a crowd of over 10,000.

When a wealthy Turkish aristocrat arrives in a humble Italian town, the married women roll their eyes in delight, their rival lovers lose out, and the husbands rage with jealousy. These may be silly clichés, but they are the subject of IL TURCO IN ITALIA and the composer plays with them – quite deliberately. He knows that he is putting archetypes of Italian comedy on stage with figures such as the exotic lady-killer Selim, the young woman Fiorilla, who is chained to the stove at home, but adventurous, and her husband Geronio, who is ridiculous because he is much too old – and relishes the ironic exaggeration. Franz Welser-Most conducts the Zurich Opera House Chorus and Orchestra in this performance of Rossini's opera buffa.

A production of Mozart's opera recorded live at Zurich Opera House in 2000. Cecilia Bartoli leads an all-star cast including Roberto Saccà, Liliana Nikiteanu, and Agnes Baltsa. The conductor is Nikolaus Harnoncourt. Filmed live at the Zurich Opera House in February 2000 on a set which visualises the subtitle "The School for Lovers", the plot revolves around two army officers arguing about the fidelity of their brides, then setting out to test their chastity. Despite the often playful humour, this is not only psychologically telling music-making, but reveals Mozart exploring the structure of opera, discarding convention to mix large ensemble sections with arias for as many different combinations of singers as possible. With Liliana Nikiteanu attractively contrasted with Bartoli, and thoroughly convincing performances by Roberto Sacca (Ferrando) and Oliver Widmer (Guilelmo), this Così has a freshness and flow which, coupled with the timeless romantic themes, feels very contemporary.

When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.

After many years abroad, lawyer Thomas Borchert makes a surprise return to his hometown of Zurich. He wants to gain some distance in a trailer on his family's once stately estate, and escape the clutches of the German authorities. His former employer, the FonSonic Group, has fired him without notice due to a bribery scandal in South America. Two of Borchert's colleagues were also involved in the company's dirty dealings. But since one committed suicide and the other went into hiding, Borchert is to be branded the sole scapegoat. Although he is prepared to take responsibility for his misdeeds, he also tries to put a stop to FonSonic's activities. To do so, he wants to find evidence at a Swiss bank. But soon Borchert finds himself in new trouble.