The Marriag

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.

Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.

Charming, light-hearted and fizzing with subversive wit, Neil Armfield's sparkling production of the marriage of Figaro captures Mozart's most popular Opera. In this classic performance, recorded live at the Sydney Opera House, Patrick Summers conducts a energetic fresh-voiced cast, headed up by baritone Teddy Tahu Rhodes and Taryn Fiebig who make a vivacious, appealing pairing as Figaro and Susanna, while Peter Coleman-Wright triumps as the lascivious Count Almaviva.

Suffering from a serious illness, Mariamu and those around her find themselves in conflict with their traditional values.

Composed in 1786, Mozart's classic opera has all the ingredients of a modern rom com: love, revenge and deception. Watch courtship turn to chaos for two servants, Figaro and Susanna, as their plans to wed are thwarted by the lecherous Count Almaviva. Lose yourself in Mozart's timeless melodies and witty libretto as the talented cast lead us through a myriad of mistaken identities, mishaps and misunderstandings.

Made in 1957, this zany movie is like a lighthearted recap of Un Chien Andalou. Adam is a vegetarian, and sits there sucking grapes or watching television, but Eve is a flesh-eater and, with amiable ferocity, is determined to overcome the stout defence of his sexual innocence which he wages with every gimmick and gadget he can lay his hands on, including such unusual weapons as egg-whisks, broomsticks, and wheelbarrows. What it says about modern marriage has been said, in Hollywood movies, by Jerry Lewis and others, in more circumspect terms, but the very intensity of derision is quite enough to vex our dear censor and elevate this movie to the spiritual heights of the underground.

A documentary that focuses on the making of Rainer Werner Fassbinder's "The Marriage of Maria Braun".

Perhaps no opera is as closely and affectionately associated with a single opera house as Le Nozze di Figaro is with Glyndebourne. Michael Grandage's staging is no less than the seventh in the festival's history, and sets the opera in the sleazy Sixties. Directed by Robin Ticciati, the production was lauded for its "ideal pacing" and youthful cast (which includes "no weak link" and "looks gorgeous"—The Sunday Times), and continues Glyndebourne's rewarding explorations of Mozart and Da Ponte's "day of madness".

Diana Damrau, Ildebrando D'Arcangelo, Pietro Spagnoli, Marcella Orsatti Talamanca, and Monica Bacelli star in this La Scala production of the Mozart opera conducted by Gerard Korsten and directed by Giorgio Strehler.

The untold, emotional story of how philanthropic activists made history by changing hearts and minds to help advance marriage equality in the United States.

Although marriage is the farthest thing from her mind, Renko meets a special person on her twentieth birthday and starts to seriously think about marriage. In this light comedy, these feelings inside her clash with those of her friends and family members, but they all add to the growing experience of her first true love.

When "Maha" gave birth to "Samir's" first child, she strand further away from "Samir" who is known to be a playboy. Which angers him. Samir meets well-known actress "Sharifa Hamdi", who tries to convince him to divorce "Maha" and marry her.

The film hinges on the love triangle between a young aristocratic lady on the run (Cleonie, played by Hazel Terry), the murderous Varennes, Citizen-Deputy of the Revolution who saves her by disguising her as his nephew (Nils Asther) and finally the Marquis of Corbal of the film's title, played by Hugh Sinclair.

Fig is a knockabout Aussie bloke who loves his lady, his two kids and his Harley, though not necessarily in that order. All in all life is pretty sweet, but when lady Sheree puts the hard word on him to get hitched, everything goes pear-shaped.

THE GAY MARRIAGE THING is not some historical commentary on gay rights in the United States. It is instead a small story with big implications. By focusing on one suburban couple and the multitude of events that directly affect that couple's otherwise average life, THE GAY MARRIAGE THING strives to show a different side of this issue than documentaries or television newscasts have thus far. This tale is cinematic in its storytelling, rather than journalistic in its reporting. There are plenty of other worthy documentaries where "experts" abound. But this film is about the biggest experts of all, real people. With protesters and their colorful signs serving as a Greek chorus, and an array of opinions from church, state, and everyone in between, this is the film that family members can finally watch together. THE GAY MARRIAGE THING is the documentary that opens dialogue, fully expecting the audience to continue it.

An emotional documentary about the relationship between Kurt and his husband Toon as well as the history of gay rights in Germany and Austria.

Suzanne Beulemans's fiancé, Séraphin Meulenmeester, once tells her that he has... a mistress and a... son! The bad news falls rather well though given that Suzanne has developed a fondness for Albert Delpierre, a young Frenchman who has come to Brussels to study the brewing methods of her father. She decides to break up amicably but Séraphin does not dare admit it to his father, who becomes angry with the Beulemanses. Suzanne's uncle, a vicar, tries to settle the whole thing but the coronation of King Albert I gives rise to renewed resentment. Suzanne finally finds the way to solve the problem: she takes Meulenmeester apart, reminds him of his own misconduct when he was a young man, asks him to forgive Séraphin while her own father accepts Albert as his son-in-law.

The tailors Moïse and Salomon Lévy decide to marry Mina, Salomon's daughter to a good match, to save themselves from the competition that Cohen makes for them. Mina will eventually succeed in marrying Pierre, from a marriage of love, without this harming the family business.

Gábor, an ex-lord-lieutenant, now a widower lives a secluded life in his mansion. The commander in the house is Aunt Lili, a relative, whose main concern is to marry off the elder girl, the beautiful Mara

A count has designs on his personal valet's fiancée and is determined to stop their wedding taking place. Meanwhile, the countess tries to regain her husband's love by any means necessary. Mozart's great comic opera is a tale of intrigue, misunderstanding and forgiveness. Director Lydia Steier teases out the touching melancholy of the characters with the mixture of opulence and black humour. Oper! magazine’s ‘Opera house of the year’ in 2020, Staatsoper Hannover is on an artistic high and happy to share this production worldwide via OperaVision.