Rodney Milnes takes a brief sideways look at this season's works from the New York Metropolitan Opera.
Presented by Rodney Miles.
Rodney Miles continues his series taking a sideways glance at this season's Met operas.
Rodney Milnes continues his series taking a sideways glance at this season's Met operas.
Presented by Rodney Milnes.
Rodney Milnes takes a sideways glance at tonight's opera: Beethoven's Fidelio.
Rodney Milnes takes a sideways glance at tonight's opera.
In the first of this season's reflections on the Met broadcasts, opera critic Rodney Miles asks is La Juive the only successful French Grand Opera written by a Frenchman?
Tenor Philip Langridge reflects on Schoenberg's inspired writing for the roles of Moses and Aron and how it mirrors their respective characters.
Although a dismal failure at its first performance, Benvenuto Cellini remains one of Berlioz's most vital and forward-looking scores.
Conductors Roger Norrington and John Eliot Gardiner reflect.
Puccini scholar Alexandra Wilson asks if the gloriously sensuous love music of Madama Butterfly was a heartfelt response to intense passion, or an insincere creation written by and for a notorious womaniser.
Nicholas Payne reflects on the diffuseness and stylistic contrasts that make Boris Godunov one of the most influential operas of the 19th century.
Critic and writer Hilary Finch examines the influence of Shakespeare on Verdi's Rigoletto.
Rodney Milnes argues that, far from being an overblown and romantic interpretation of Pushkin's detached novella, Tchaikovsky's score perfectly charts the disorientation of Herman's mind and the disintegration of his world.
Director of Opera-Europe Nicholas Payne talks about the many sides of Stravinsky's Russian character.
With Richard Langham Smith. Is Rossini's opera a humourous portrait of a randy Sultan or does it suggest wider issues about the conflict of Christian and Muslim culture?
By creating an art work about a courtesan, Verdi was bound to upset so-called 'decent' society. Alexandra Wilson looks at the double standards of his day.
At the masked ball in Don Giovanni, Mozart prefigures Charles Ives by combining three different dances, for three different classes of society, all at once. Hilary Finch reflects on the wider implications of this moment of musical chaos.
What Will the Giants Be Like? Elaine Padmore muses on the expectation of concert-goer to the Ring.
Rodney Milnes reflects on the way Strauss created a work of genius from Oscar Wilde's flawed play.
Hilary Finch focuses on the great chorus Va pensiero, a musical microcosm of Verdi's views on politics and human freedom.
Rodney Milnes suggests that Siegfried is the most brilliantly structured and perfectly proportioned of all Wagner's operas.
As another Ring Cycle reaches its end, Elaine Padmore ponders whether Siegfried's death is an end or a beginning.
|A View From The Bridge||20021228|
Rodney Milnes takes a sideways glance at tonight's opera: William Bolcom's.
Rodney Milnes casts a sideways glance at Puccini's `La boheme'.
Rodney Milnes casts a sideways glance at Mozart's `Magic Flute'.