Patria I is a medium-length film by Juan Ibarlucía and Magela Crosignani that reimagines the form of the Baroque oratorio within the post-industrial landscape of Argentina in 2026. Drawing on a south american reinterpretation of the myth of Cain, and employing music, poetry, performance, and installation art, the work takes the audience on a powerful sonic and emotional journey that spans an extraordinary range of human experience—from extreme violence to compassion and tenderness.

The pain of unrequited love is portrayed unforgettably by two of today’s greatest stars. Renée Fleming is musically and dramatically radiant as the shy Tatiana, who falls in love with the worldly Onegin, played with devastating charisma by Dmitri Hvorostovsky. Their mesmerizing vocalism and chemistry explode in one of opera’s most heartbreaking final scenes. With Valery Gergiev on the podium conducting Tchaikovsky’s passionate score, this performance is one for the ages.

In search of an opera for his theatre, an impresario finds himself grappling with a group of egotists and jealous individuals. Based on a score by Florian Leopold Gassmann, this caustic satire of the 18th-century opera world is directed by Laurent Pelly. Starring Julie Fuchs as the prima donna.

Recording of a concert from the St. Wenceslas Music Festival. The program of the St. Wenceslas Music Festival offered listeners a treat of spiritual music, the oratorio La Resurrezione (The Resurrection) by German composer George Frideric Handel. The work is one of Handel's early oratorios. When Handel failed to conquer the opera stronghold of the time – Venice, Italy – he returned to Rome and composed the oratorio to a libretto by Sigismondo Capace. It premiered during Easter in 1708. In this musical documentary, we will take you to the orchestra rehearsals with soloists and then to St. Wenceslas Church in Opava, where the oratorio was performed by the top Czech musical ensemble Collegium 1704, which focuses on Baroque music in its original interpretation. This time, in addition to other great soloists, it invited Martina Janková, a native of Orlová and star of the opera scene in Zurich, to collaborate.

An oratorio about the conflict between earthly and heavenly love, with which the Italian composer applied for the position of Kapellmeister at the Viennese court, will be performed in a period style. Recording of the concert from the 2010 St. Wenceslas Music Festival at St. Wenceslas Church in Ostrava. Antonio Caldara was one of the most important composers of oratorios. The main character, Magdalene, is a popular figure in works of art with religious themes. She was identified with the sinner in Luke's Gospel, who after her conversion became one of Jesus' closest companions. In the first part, Mary Magdalene decides whether to choose the path of worldly pleasures or to repent and devote her life to God. In the second part of the oratorio, we find ourselves in the house of the Pharisee, who doubts the sincerity of Magdalene's repentance...

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A stage adaptation of the famous oratorio Messiah performed by the South Bohemian Theater, directed by Tomáš Ondřej Pilař and conducted by David Švec on the stage in front of the Revolving Auditorium in Český Krumlov... Director Tomáš Ondřej Pilař likens the oratorio Messiah to a large, luxurious box of chocolates containing the best of Baroque music. However, the path to the creation of this work was neither straightforward nor obvious. Georg Friedrich Händel was born in what is now Germany, in Halle an der Saale, on February 23, 1685. He was born into a Europe that adored opera, specifically Italian opera. What did Italian Baroque opera look like? At that time, it was a series of arias whose main purpose was to showcase the vocal abilities of the individual performers. To showcase how loud, how high, how fast they could sing, how they could change emotions during a single performance.

Finding shelter in an abandoned mansion, a group faces the challenges of coexistence. Free from traditional power structures, the black women experience power, love, and the possibility of dreaming about the future, while the white women resist learning to help with household chores, take care of themselves, and face their mistakes. When an old threat resurfaces, however, they all must band together to survive.

A scientist in a surrealist society kidnaps children to steal their dreams, hoping that they slow his aging process.

When petty criminal Luke Jackson is sentenced to two years in a Florida prison farm, he doesn't play by the rules of either the sadistic warden or the yard's resident heavy, Dragline, who ends up admiring the new guy's unbreakable will. Luke's bravado, even in the face of repeated stints in the prison's dreaded solitary confinement cell, "the box," make him a rebel hero to his fellow convicts and a thorn in the side of the prison officers.

Der Stolz der Firma, meaning The Pride of the Business, is a classic German silent film from 1914. The film tells the story of a shrewd apprentice and is filmed in the comical style of director Lubitsch. This is one of the few Lubitsch films from World War I that wasn’t lost.

The rise and inevitable fall of an amoral but naive young woman whose insouciant eroticism inspires lust and violence in those around her.