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From the first reading around the table through the first contact with the performance space, rehearsals and lighting to opening night, the entire creative process unfurls in front of our eyes. The film shows us the evolving and ongoing dialogue between Greggory and Chéreau, a dialogue full of crises and magical moments of harmony and insight via which the truth, intensity, complexity, mystery and depth of Koltès’ text gradually emerge to form an implicit bond between these two men. 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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.",[11,268],0.265,"\u002Fvh0OHIDp2onTFYvqQom5wYl8Krt.jpg","2025-09-21","Der Rosenkavalier",{"id":302,"adult":6,"title":303,"video":6,"overview":304,"softcore":6,"genre_ids":305,"popularity":306,"vote_count":307,"poster_path":308,"release_date":309,"vote_average":310,"backdrop_path":311,"original_title":303,"original_language":239},21193,"Carmen","In the early 19th century, in Seville and the surrounding area, Carmen seduces the sergeant Don José, who deserts the army to be with her. 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Or have the confusions to which the main characters subject one another ensured that in spite of the heartfelt love duets and superficially fleetfooted comedy nothing will work any longer and that a sense of emotional erosion has replaced true feelings? Così fan tutte is a timeless work full of questions that affect us all. The Academy Award-winning director Michael Haneke once said that he was merely being precise and did not want to distort reality. In only his second opera production after Don Giovanni in 2006, he presents what ARTE described as a “disillusioned vision of love in an ice-cold, realistic interpretation”.",[11,203],1.1932,"\u002FippqaLWr6HOEa9bhlgJcTsvzj6R.jpg","2013-06-21",6.8,"\u002FgVSX8lhWstcisE9xfk84coE3nbi.jpg",17696,353915,"A unique merger of two one-act operas","https:\u002F\u002Fwww.operadeparis.fr\u002Fen\u002Fseason-17-18\u002Fopera\u002Fle-chateau-de-barbe-bleue-la-voix-humaine","Running through Bartók’s disenchanted tale, whose haunting music was initially condemned as unplayable, and the expression of despair in Poulenc’s monologue, the director Krzysztof Warlikowski perceives a shared dramatic thread, a shared feminine consciousness and a shared sense of imprisonment and suffocation: for the woman who penetrates the confines of Bluebeard’s castle and Elle, the woman who clings to a telephone conversation with a man as the only thing worth living for, are condemned to share the same fate. And this man she speaks to, does he really exist? Unless the director has interpreted Cocteau’s words to the letter and the telephone has become a “terrifying weapon that leaves no trace, makes no noise”…",0.2739,"\u002F9xz8Ka9JZqFynUKNvh8rYuvtTtt.jpg","2018-06-01","\u002FarwiSTfIc6SMDqy33PKUpRuKKbh.jpg",[363],"US","Poulenc: La Voix Humaine \u002F Bartók: Le Château de Barbe-Bleue",{"results":366},{},[368,371],{"name":369,"iso_639_1":239,"english_name":370},"Français","French",{"name":372,"iso_639_1":373,"english_name":374},"Magyar","hu","Hungarian",[376,380,385],{"id":377,"name":378,"logo_path":45,"origin_country":379},79568,"Arthaus Musik","DE",{"id":381,"name":382,"logo_path":383,"origin_country":384},15355,"Opéra National de Paris","\u002FbGLlMG6AcL7HcpeOUuFX5XbYJQN.png","FR",{"id":386,"name":387,"logo_path":45,"origin_country":326},15789,"Telmondis",[389,391],{"name":390,"iso_3166_1":384},"France",{"name":392,"iso_3166_1":379},"Germany",45,"A music story that tends to land well.",[]]