Movies Like La Cenerentola

The Marriage of Figaro

1993

This is a good video of "Figaro", but there are a couple of better ones available. The Bohm and the Pappano are better still due to the female members of the casts. The reason for buying this one is the "Figaro", Bryn Terfel. No one can top him today in that role. John Eliot Gardiner also stands out. Many of us have voiced their opinion that If the Metropolitan Opera would release it's 1998 version, that would be the one to get.

Berlioz: La Damnation de Faust

2008

Radiant mezzo-soprano Susan Graham and dashing Italian tenor Marcello Giordani are unlucky lovers in La Damnation de Faust, Hector Berlioz’s classic take on dancing with the devil.

Rossini: La Cenerentola

2001

La Cenerentola, ossia La bontà in trionfo (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817.---- IMDB id refers to Great Performances: Season 24, Episode 12 La Cenerentola (3 Apr. 1996) from Houston Grand Opera so release date is misleading.

Les Misérables: 25th Anniversary in Concert

2010

This concert, recorded to celebrate the 25th anniversary of the landmark musical Les Miserables, gathers the casts of the show's 2010 original production at the Queen's Theatre, the 1985 original production by the London company, and the 2010 production at the Barbican together for one performance. Together with talents like Michael Ball, Hadley Fraser, and John Owen-Jones, the performers present the play's musical numbers in a semi-theatrical style, fully costumed and with all the emotion of the musical's heyday.

Taylor Swift: Reputation Stadium Tour

2018

Taylor Swift takes the stage in Dallas for the Reputation Stadium Tour and celebrates a monumental night of music, memories and visual magic.

Confession of the Vanished

2015

The film follows the staging of the opera Olimpiade while at the same time exploring the dramatic life of its composer Josef Mysliveček, a friend and teacher of W. A. Mozart.

Madama Butterfly - Teatro alla Scala

2016

Pavarotti, Birth of a Pop Star

2017

Although he is unanimously credited with having democratised opera, making it accessible to the greatest number, focus is rarely put on the strategy he devised and implemented in order to carry out his actions, nor what his actions reveal of the man and artist, and of the resulting metamorphosis from opera singer to pop artist. Through this angle, this film sets out to pay tribute to the man who summed up his credo, obsession and life’s work, in the following way: “They led the public to believe that classical music belonged to a restricted elite. I was the way to prove to the world that was wrong.

The Met — Il Trovatore

2015

Soprano Anna Netrebko appears in her highly anticipated Met role debut as Leonora, the tortured heroine who sacrifices her own life for the love of the Gypsy troubadour. Dmitri Hvorostovsky sings Count di Luna, Yonghoon Lee is Manrico in his Met role debut as the title character, Dolora Zajick sings her signature role of the gypsy Azucena, and Štefan Kocán is Ferrando. Marco Armiliato conducts Sir David McVicar’s Goya-inspired production.

A Night at the Opera

1935

The Marx Brothers take on high society and the opera world to bring two lovers together. A sly business manager and two wacky friends of two opera singers help them achieve success while humiliating their stuffy and snobbish enemies.

La Traviata

2001

La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]

Let It Shine

2012

A young teenage rapper must use his musical talent to help his friend out and win the girl of his dreams by going through several events of betrayal, trust and agreement while his religious parents have strictly dislike his interests.

Star!

1968

Gertrude Lawrence rises to stage stardom at the cost of happiness.

Honey: Rise Up and Dance

2018

Street dancer Skyler comes out of the shadow of her trained dancer sister, Tosha, & joins a dance competition with the Honey dance studio; the prize is a college scholarship.

Looking for Richard

1996

Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III."

Silk Stockings

1957

After three bumbling Soviet agents fail in their mission to retrieve a straying Soviet composer from Paris, the beautiful, ultra-serious Ninotchka is sent to complete their mission and to retrieve them. She starts out condemning the decadent West, but gradually falls under its spell—with the help of an American movie producer. A remake of Ninotchka (1939).

Battle of the Year

2013

A down-on-his-luck coach is hired to prepare a team of the best American dancers for an international tournament that attracts all the best crews from around the world, but the Americans haven't won in fifteen years.

Così fan tutte

2013

Who loves whom in Così fan tutte, Mozart’s and Da Ponte’s cruelly comic reflection on desire, fidelity and betrayal? 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”.