Opera Snaps

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Episodes

TitleFirst
Broadcast
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20001209

Rodney Milnes takes a brief sideways look at this season's works from the New York Metropolitan Opera.

20011208

Presented by Rodney Miles.

20011215

Rodney Miles continues his series taking a sideways glance at this season's Met operas.

20011229

Rodney Milnes continues his series taking a sideways glance at this season's Met operas.

20020105
20020112
20020126

Presented by Rodney Milnes.

20020202
20020209
20020216
20020223
20020302
20020309
20020316
20020323
20020330
20020406
20020413
20020420
20021207

Rodney Milnes takes a sideways glance at tonight's opera: Beethoven's Fidelio.

20030201

Rodney Milnes takes a sideways glance at tonight's opera.

20030222
20030301
20031213

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?

20031220

Tenor Philip Langridge reflects on Schoenberg's inspired writing for the roles of Moses and Aron and how it mirrors their respective characters.

20031227

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.

20040124

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.

20040131

Nicholas Payne reflects on the diffuseness and stylistic contrasts that make Boris Godunov one of the most influential operas of the 19th century.

20040207

Critic and writer Hilary Finch examines the influence of Shakespeare on Verdi's Rigoletto.

20040214

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.

20040221

Director of Opera-Europe Nicholas Payne talks about the many sides of Stravinsky's Russian character.

20040228

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?

20040306

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.

20040313

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.

20040320

What Will the Giants Be Like? Elaine Padmore muses on the expectation of concert-goer to the Ring.

20040327

Rodney Milnes reflects on the way Strauss created a work of genius from Oscar Wilde's flawed play.

20040410

Hilary Finch focuses on the great chorus Va pensiero, a musical microcosm of Verdi's views on politics and human freedom.

20040417

Rodney Milnes suggests that Siegfried is the most brilliantly structured and perfectly proportioned of all Wagner's operas.

20040424

As another Ring Cycle reaches its end, Elaine Padmore ponders whether Siegfried's death is an end or a beginning.

A View From The Bridge20021228

Rodney Milnes takes a sideways glance at tonight's opera: William Bolcom's.

La Boheme20010317

Rodney Milnes casts a sideways glance at Puccini's `La boheme'.

Magic Flute20010310

Rodney Milnes casts a sideways glance at Mozart's `Magic Flute'.