The Marriage Of

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.

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.

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.

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

The death of Mrs. Maengkom causes some change in her family. Willy Maengkom, the father of four children, has to learn to manage the household. He becomes extremely busy because his oldest daughter, Elsa, has to be hospitalized after the death of her mother, who slipped on a bathroom brush that Elsa left. After she recovers, Elsa feels the responsibility to replace her mother. Taking care of her father and her three siblings changes her. She is not the lively and active teen in church and school anymore, and starts behaving like a housewife.

The story of a young girl forced to marry an old Aga. Directed by Fuat Uzkinay and Sigmund Weinberg, it was the third film in Turkish history and had to be postponed until the end of WWI in 1918.

Richard Eyre’s elegant production, which opened the Met’s 2014–15 season, sets the action of Mozart’s timeless social comedy in a manor house in 1930s Seville. Ildar Abdrazakov leads the cast as the resourceful Figaro set on outwitting his master, the philandering Count Almaviva, played by Peter Mattei. Marlis Petersen sings Susanna, the object of the Count’s affection and Figaro’s bride-to-be, Amanda Majeski is the Countess, and Isabel Leonard gives a standout performance as the pageboy Cherubino. Music Director James Levine on the podium brings out all the humor, drama, and humanity of Mozart’s score.

This story follows the sweet and “overprotective” newly-wed life between Someya Yukito, a young master of an established inn in Asakusa, and Tsuruoka Io, a pure-hearted female apprentice training to be a chef. Tsuruoka was in the depths of despair until she found solace in the sweet konpeito candy given to her by Someya. Since then, she has earnestly cherished her feelings while training as a chef. Yukito’s affectionate words and actions reserved only Tsuruoka, along with his excessively cute jealousy, create an irresistibly heart-fluttering devotion with a charming gap that’s impossible to resist!

Ayaka (Masami Ichikawa) is a full-time housewife in her fifth year of marriage. Her husband, Shingo, was busy working at a publishing company and lived a rustic life and a sexless couple life. At one point, Shingo's women's magazine featured "Open Marriage," a new marriage style for married couples. "Open marriage", which was advocated in the 1970s, was that if there was mutual agreement, we could freely have a relationship with other opposite sex. Shingo, who was requested by the editor-in-chief for an experience report, managed to persuade Ayaka ... After that, the two who found each other's sexual partners, with the excitement born from jealousy, disappeared from sexlessness and began to demand each other's bodies violently.