Act I

A violent storm has driven Daland’s ship several miles from his home on the Norwegian coast. Sending his crew off to rest, he leaves the watch in charge of a young steersman, who falls asleep as he sings a ballad about his girl (“Mit Gewitter und Sturm”). A ghostly schooner drops anchor next to Daland’s ship. Its captain steps ashore and, with increasing despair, reflects on his fate (“Die Frist ist um”): Once every seven years he may leave his ship to find a wife. If she is faithful, she will redeem him from his deathless wandering. If not, he is condemned to sail the ocean until Judgment Day. When Daland discovers the phantom ship, the stranger, who introduces himself as “a Dutchman,” tells him of his plight and offers gold and jewels for a night’s lodging. When he learns that Daland has a daughter, the Dutchman asks for her hand in marriage. Happy to have found a rich son-in-law, Daland agrees and sets sail for home.

Act II

Daland’s young daughter, Senta, is captivated by the portrait of a pale man in black—the Flying Dutchman—while her friends sit spinning under the watchful eye of Mary, Senta’s nurse. The girls tease Senta about her suitor, Erik, who is not a sailor but a hunter. When the superstitious Mary refuses to sing a ballad about the Dutchman, Senta sings it herself (“Traft ihr das Schiff im Meere an”). The song reveals that the Dutchman’s curse was put on him for a blasphemous oath. To Mary and the girls’ horror, Senta suddenly declares that she will be the one to save him. Erik enters with news of the sailors’ return, and Mary and the others hurry off. Erik reminds Senta of her father’s intention to find her a husband and asks her to plead his cause, but she remains distant (“Mein Herz, voll Treue bis zum Sterben”). Realizing how much the Dutchman’s picture means to her, he tells her of a frightening dream in which he saw her passionately embrace the Dutchman and sail away on his ship. Senta exclaims that this is what she must do, and the despairing Erik rushes away. A moment later, the Dutchman enters. Senta stands transfixed. Daland quickly follows and asks his daughter to welcome the stranger, whom he has brought to be her husband (“Mögst du, mein Kind”). After he has left, the Dutchman, who is equally moved by the meeting, asks Senta if she will accept him as her husband (Duet: “Wie aus der Ferne”). Unaware that she realizes who he is, he warns her of making a rash decision, but she ecstatically vows to be faithful to him unto death. Daland returns and is overjoyed to learn that his daughter has accepted the suitor.

Act III

At the harbor, the villagers celebrate the sailors’ return with singing and dancing (Chorus: “Steuermann, lass die Wacht!”). Perplexed by the strange silence aboard the Dutchman’s ship, they call out to the crew, inviting them to join the festivities. Suddenly the ghostly sailors appear, mocking their captain’s quest in hollow chanting. The villagers run away in terror. Quiet returns and Senta enters, followed by the distressed Erik. He pleads with her not to marry the Dutchman, insisting that she has already pledged her love to him (“Willst jenes Tag’s”). The Dutchman, who has overheard them, loses all hope of salvation and goes toward his ship. Senta tries to stop him but he explains that since she has not yet proclaimed her vows before God, she will escape eternal damnation—the fate of those who betray him. His crew prepares to cast off and he declares that he is the Flying Dutchman of legend. Senta ecstatically replies that she knows who he is. As the ship pulls away, she throws herself into the sea, crying that she is faithful unto death.

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A Streetcar Named Desire is an opera composed by André Previn with a libretto by Philip Littell in 1995.

It is based on the play by Tennessee Williams.

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Act I

There is a prediction made by three witches to Macbeth and Banquo that Macbeth will become the next King of Scotland as well as Thane of Cawdor and that Banquo, son of the current King, will become the father to future kings. Macbeth becomes Thane of Cawdor. His wife, Lady Macbeth, having read a letter about the witches prophesy, questions her husband’s will to take the throne. She encourages her husband to kill King Duncan in his sleep. Macduff and Banquo arrive to find a murdered King Duncan.

Act II

Macbeth is now king of Scotland. Remembering the prophesy of the witches, Macbeth decides that Banquo and his children must be put to death. Banquo is killed. Banquo’s son, Fleance, escapes murder. During a banquet, Banquo’s ghost appears, which scares Macbeth. (though only he can see the ghost) Lady Macbeth tries to distract the guests. Macduff decides to leave Scotland for England.

Act III

Macbeth returns to the witches, who tell him that no man “born of woman” will ever harm him. Warning him about Mcduff, another ghost tells Macbeth that no harm will come to him until Birnam Wood moves toward him. Macbeth sees a vision of eight kings pass before his eyes, which frightens him. The last of the eight kings is the ghost of Banquo. Macbeth plans to kill Banquo’s son, Macduff’s wife and Macduff’s children.

Act IV

Macduff is planning revenge, having heard news that his family has been killed. Lady Macbeth is sleepwalking. As she sleepwalks, she imagines blood on her hands. She remembers the murders that they have committed. Macbeth sees Birnam Wood approaching, but also remembers that no man “born of woman” can hurt him. Macduff tells Macbeth that he was “ripped” from his mother’s womb in an “untimely” fashion at birth and then kills Macbeth.

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The ballet of Dostoyevsky's The Brothers Karamazov.

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The Hungarian State Opera House is one the most splendid examples of the Neorenaissance architecture.

The Hungarian State Opera House was built by Mikls Ybl from 1875 to 1884 and it is a richly-decorated building. It is considered as one of the masterpieces of Ybl.

Its neo-renaissaince building, with elements of Baroque, beautifully ornamented with paintings and sculptures by Bertalan Szkely, Mr Than and Kroly Lotz, is counted amongst the most beautiful opera houses in the world.

The Austrian composer Gustav Mahler was director in Budapest from 1888 to 1891.

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The Symphony No. 2 by Gustav Mahler, known as the Resurrection, was written between 1888 and 1894, and first performed in 1895.

Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime

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The ballet by Gyula Harangozó Jr. and Tibor Kocsák remains faithful to the finest traditions of the Brothers Grimm.

Act 1: Scene 1

The wicked stepmother forces Snow White to work. The servants gladly assist her. When the cleaning is finished the huntsman gives Snow White a white dove as a present. At the sinister arrival of the stepmother everyone disappears. The Prince arrives and instantly falls in love with Snow White. With great difficulty the young couple manage to stay together. Her heart full of fearsome hatred, the wicked stepmother is spying on their close liaison.

Scene 2

The vain Queen comes into the room in a rage. Her poison evaporates as she sets about her beauty treatment. She gets changed and stands in front of the magic mirror. The spirit of the mirror informs her that Snow White is the fairest in all the world. The stepmother flies into a hideous rage. She calls for the huntsman and orders him to kill Snow White.

Scene 3

On the pretext of collecting butterflies, the hunter tricks Snow White into going into the forest. He tries to carry out the Queen's order, but he has not got the heart to do so. Finally he runs away, leaving Snow White alone.

Scene 4

While Snow White is wandering in the forest, the dwarfs set off for the mine, where they dig for precious stones.

Scene 5

Snow White arrives at the dwarfs' house, which is empty. She is hungry and so she eats and drinks, and then she lies down to sleep under a large blanket - across the seven beds. The dwarfs arrive home singing. They are astonished to discover that someone has been in their house. When Snow White moves in the bed they become terrified, but after the first scare they soon make friends with her and take her to their hearts.

Act 2: Scene 1

The stepmother is once again standing in front of the magic mirror. The spirit of the mirror shows her that Snow White is living happily in the dwarfs' house. The wicked Queen flies into a hideous rage and enlists the assistance of some monsters in brewing a magic potion. When she drinks it, the stepmother turns into an old woman selling apples. She poisons the most attractive red apple and goes out.

Scene 2

The dwarfs set off for work, leaving Snow White alone. A short time later the old woman arrives. She asks for some water and, as a token of her gratitude, gives the most attractive apple to the girl as a present. Snow White takes a bite of the apple, collapses and dies. At the end of the old woman's victory dance the dwarfs arrive home, thirsting for revenge. They set off after the treacherous murderer who, as she flees, falls into an abyss.

Scene 3

Led by the huntsman, the Prince and his entourage search for Snow White. In the distance they hear the mournful singing of the dwarfs. The mourners arrive, bearing Snow White's coffin on their shoulders. The Prince wishes to bid farewell to his beloved. When he kisses her, Snow White comes to life. The lovers pledge eternal faithfulness to each other. A celebration begins. At the end the big Snow White book appears, on the first page of which the wicked stepmother is flaunting herself. Dopey finishes the story: he slams the cover of the book shut on the heartless witch.

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Il trovatore (The Troubadour) an opera in four acts by Giuseppe Verdi.

Marcelo Álvarez stars as the heroic troubadour of the title, with Dmitri Hvorostovsky as his powerful rival and Sondra Radvanovsky as the noble Leonora.

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Act 1

The goddess Venere is very proud of Alba. She has promised the people of Alba that her son, Ascanio, will rule over them and marry Silvia, the daughter of the priest Aceste, and a nymph to whom he is betrothed. Venere tells Ascanio to enter Alba incognito, that he should also introduce himself to Silvia but under a false identity, to test her virtue and character. Ascanio does not see why his identity should be kept in secret, but follows his mother's advice. He pretends to be a foreigner from another land admiring the place and the people. He meets the shepherd Fauno and Silvia. He mentions to Silvia that Ascanio will be her husband. Silvia confesses to her dreams, that in it, she is in love with a young man. Aceste, the priest suspects that the vision is of Ascanio, also reassures her that the young man in her dreams can only be Ascanio. Venere tells her son to hold on revealing his identity and keep his secret a little longer.

Act 2

Silvia awaits Ascanio. She sees the man in her vision, but does not know if he is her fiancé or not. Ascanio finds Silvia among the shepherds and tries to have a conversation with her. In turn Sillvia also recognizes him from her dreams. Aceste invites Ascanio to the wedding. But Fauno intervenes and suggests to Ascanio to talk like a foreigner and still remain incognito, pretending he's not Ascanio. Hearing Ascanio talk disappoints Silvia. She now concludes that he is not her fiancé after all. She runs away saying that she will never marry anyone else. She was consoled by Aceste, telling her to be patient and that her woes are soon about to end. Meanwhile, Ascanio himself is impatient to tell Silvia the truth.

Venere is called in earnest by magnificent chorus. Ascanio and Silvia join the singing the goddess Venere descends on her chariot surrounded by clouds. She joins the two lovers and tells them how she had planned her son to discover the virtue of his fiancée. Aceste officiates the oath of faithfulness and loyalty to Venere, who retires afterwards. Silvia decides to honor her commitment to Ascanio. He realizes how lucky he is. Venere reveals Ascanio's identity and blesses the lovers.

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La Fille Mal Gardée (The Girl in the Garden) is a Comic Ballet in 2 Acts and inspired by Choffart's engraving of Pierre Antoine Baudouin's 1789 painting Le Reprimande/Une Jeune Fille Querrillée Pa sa Mere.

The ballet was first presented under the title Le Ballet de la Paille ou Il n'est Qu'un Pas du Mal au Bien (The Ballet of Straw or There Is Only One Step From Bad to Good) by the Ballet of the Grand Théâtre, Bordeaux, France on 1 July 1789.

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Norma is an opera in two acts by Vincenzo Bellini, with libretto by Felice Romani. It was composed in 1831 and premiered on 26 December 1831 at La Scala, in Milan.

ACT I
Deep in a forest, the Druids gather at the altar of their god, Irminsul, where their priest, Oroveso, leads them in a prayer for revenge against the conquering Romans. When they have left, the Roman procounsul, Polline, confesses to his aide that he no longer loves the high priestess Norma, Oroveso's daughter, but has fallen in love with a young novice priestess, Adalgisa. They leave as the Druids assemble and Norma prays to the moon goddess for peace. After the Druids disperse, Adalgisa arrives to pray for strength to resist Pollione, but when he appears he persuades her to flee with him to Rome the next day.

In her hidden retreat, Norma tells her confidante, Clotilde, that she fears Pollione may desert her and her two children for a woman whose identity she does not know. The children are led away as Adalgisa enters to confess she has a lover. Recalling her own weakness, Norma is about to absolve Adalgisa from her vows, but this kindness turns to fury when Pollione appears and Norma learns he is Adalgisa's suitor. Though Pollione would still flee with her, Adalgisa vows she would now rather die than steal him from Norma.

ACT II.
That night, dagger in hand, Norma tries to bring herself to murder her children in their sleep to keep them from Pollione. But she cannot, instead summoning Adalgisa to take them to him. The girl refuses, pleading with the despairing mother to pity her children. Norma embraces Adalgisa, overcome by her offer to go to Pollione and plead for Norma.

The Druids assemble at their altar to hear Oroveso's announcement that Pollione is being replaced by a crueler commander. He rages at Rome's hateful bondage but counsels submission for the moment, so as to make the eventual revolt more certain of success.

At the temple, Norma is stunned to hear from Clotilde that Adalgisa's entreaties to Pollione have been in vain, and in a fury she urges the people to wage war on their conquerors. Oroveso demands a sacrificial victim, and just then Pollione is dragged in, having profaned the sanctuary. Alone with him, Norma promises him his freedom if he will renounce Adalgisa and return to her. When he refuses, Norma calls in the Druids and confesses her guilt. Moved by her nobility, Pollione insists on sharing her fate. After begging Orveso to watch over her children, Norma leads her lover to the pyre while the crowd prays.

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In the heavens, angels and cherubim sing the praises of God. The fallen angel Mefistofele politely but sardonically greets the Almighty from a distance, remarking that human beings, the lords of the earth, seem to him so feeble that he scarcely has the heart to tempt them.

The mystic choir asks, "Do you know Faust?" Mefistofele replies that he does indeed know that strange madman, whose thirst for knowledge leads him past man's usual capacities.

The mystic choir accepts his wager that he can lead Faust to damnation. Mefistofele remarks that he likes to visit with God, the "Old Man," occasionally and have Him speak so humanly with the devil.

The cherubim, who remind Mefistofele of a swarm of bees, start singing more songs of praise, and he retires. The chorus, augmented by the voices of earthly penitents and celestial phalanxes, swells in glorifying the Eternal One.

Conductors: János Kovács and Géza Köteles

Director: Balázs Kovalik

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The Hungarian State Opera House is one the most splendid examples of the Neorenaissance architecture.

The Hungarian State Opera House was built by Mikls Ybl from 1875 to 1884 and it is a richly-decorated building. It is considered as one of the masterpieces of Ybl.

Its neo-renaissaince building, with elements of Baroque, beautifully ornamented with paintings and sculptures by Bertalan Szkely, Mr Than and Kroly Lotz, is counted amongst the most beautiful opera houses in the world.

The Austrian composer Gustav Mahler was director in Budapest from 1888 to 1891.

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Rosenkavalier, Der, an opera by R. Strauss with a libretto written for him by H. von Hofmannsthal, and published in 1911. It is the second and the most popular of the six works in which Hofmannsthal and Strauss collaborated, and was first performed at Dresden in January 1911. Its setting is Vienna in the second half of the 18th century.

The Marschallin, married straight from school to a great nobleman who spends his time hunting, has as her lover the 18-year-old Octavian, Count Rofrano, nicknamed Quinquin. While he is with her she is visited by a boorish country cousin, Baron Ochs von Lerchenau. Octavian disguises himself as a maid. Ochs has come to Vienna to marry a rich and pretty girl, Sophie, the daughter of a newly ennobled commoner, Edler von Faninal. Ochs asks the Marschallin's help in finding a suitable person to perform the indispensable ceremony of presenting to the betrothed girl a silver rose. She assures him that Count Rofrano will accept the duty. Ochs, who meanwhile takes a fancy to the supposed serving maid, is delighted.

Left alone, the Marschallin, who foresees the end of Octavian's love for her, sings a moving lament for passing youth and beauty. In the second act Octavian duly performs the ceremony of the rose, and he and Sophie von Faninal at once fall deeply in love. An altercation occurs with Ochs, whom Octavian wounds in an impromptu duel. Ochs, who is as lecherous as he is cowardly, receives a note of assignation from ‘Mariandel’, the name Octavian used when disguised as a maid. In the third act Ochs falls into a trap set for him by Octavian, who has arranged the rendezvous in an inn of dubious propriety. Octavian attends in disguise as Mariandel, the Baron is frightened out of his wits by opening trapdoors and grinning faces, and his immoral intentions revealed to the Marschallin and Faninal, whom Octavian has summoned. Octavian, casting off his disguise, receives Sophie, and the Marschallin sadly but gracefully accepts the loss of his love.

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Discover Budapest and save money with this tourist card, which offers you almost a hundred services:

* unlimited travel on public transport
* free admission to 60 museums and sights
* reduced price tickets for cultural and folklore programmes
* discount in shops, restaurants and thermal baths
* special discounts on car rental, sports facilities and at many other places
* free travel insurance

plus a 112-page guide with the card's services The card is valid for an adult plus a child under 14.

The voucher exchange points for the Budapest Card are:

* Budapest Ferihegy - Terminal 2/A, Open 9am - 10pm

* Budapest Ferihegy - Terminal 2/B, Open 9am - 10pm

* Budapest Ferihegy - Terminal 1, Open 9am - 10pm

* Tourinform Office - St utca; Police Info

1052 Budapest, St utca 2. (at Dek Square)
Open 8am - 8pm

* Tourinform Office - Vr

1011 Budapest, Szenthromsg tr (next to Matthias Church)
Open 10am - 6pm

* Tourinform Office - Liszt Ference tr

1061 Budapest, Liszt Ference tr (Square) 11.
Open 10am - 6pm

* Mellow Mood Travel Agency - Keleti pu. - Fplet

Main Hall - Eastern Railway station
Open 8am - 6pm

Times: Daily - 48 Hour Card and 72 Hour Card Available.

The card is valid for an adult plus a child under 14.

Please exchange voucher at one of the official voucher exchange points.

Part 1

Xerxes, King of Persia is in love with a plane-tree.

Neither hurricane nor lighting can crush the proud standing tree, whose leaves give peace and tranquillity to the king's heart. Neither hurricane nor lightning…

Arsamenes, Xerxes' brother also visits this place, which is far from the city. He is also visiting his love. It is not a plant, but Romilda, who is singing about yearning lovers and Xerxes' strange affections. The king emerges from his hiding place having immediately fallen in love with Romilda's voice. He orders Arsamenes to propose to the girl for him. His brother's excuses do not alter his decision, and finally he sets out to propose to the girl himself.

Arsamenes manages to meet Romilda before the king arrives. He warns the girl about the danger, and, although his lover swears eternal love to him again - like she has done a hundred times before - Arsamenes foresees a gloomy future. Romilda's sister, Atalanta, however, seizes the opportunity, and in the hope that the king's wish will be fulfilled, confesses her love to Arsamenes immediately - which the lovers, of course, do not take seriously. They do take Xerxes' arrival seriously though. Elviro, Arsamenes' servant warns them in time to hide away, but his pride makes the prince reveal himself. Recognising his own brother as his rival, Xerxes expels Arsamenes and his servant from the court.

Princess Amastris, Xerxes' fiancée is in love with the king, and, dressed as a soldier, follows him to battles and conquests through thick and thin. Xerxes wins one victory after another, mainly thanks to his commander Ariodates, Romilda's and Atalanta's father. In return he promises him that Romilda can marry one of the most prominent members of the royal dynasty, and then sends his troops towards Athens. The loyal Ariodates is grateful for the king's benevolence, and sets out to the war. Amastris, who has eavesdropped Xerxes' secret desires, realises that the king no longer wants to marry her.

Arsamenes sends a note to Romilda with Elviro, in which he invites her lover to a secret rendezvous. Elviro is unwilling to do so as breaking his exile might result in his death. In the meantime Atalanta is trying to persuade her sister to accept the king's proposal and leave Arsamenes. Romilda sees through this naïve idea, and lectures to her sister to stop her futile intrigues as she would never come between her and Arsamenes. Atalanta does not give up so easily, if she cannot achieve her goal simply, she will find another way - she packs her things, and leaves to find her beloved one. She does not get very far.

Elviro tries to carry out his mission disguised as a flower vendor, but Amastris immediately reveals his identity. Elviro tells her the background of his mission, and now the princess can clearly see Xerxes' plans of marriage. Naturally, she breaks down. Eventually, Elviro hands over the note to Atalanta, who promises to forward it to her sister. She obviously does not have the slightest intention to do so, moreover, she exploits the upcoming situation, and when Xerxes arrives she tells him that Arsamenes wrote the letter to him as they have long been lovers. The king has some doubts about this new version, but finally he feels relieved, thinking that it would perhaps be easier to get Romilda. He promises to Atalanta to marry her to Arsamanes. The girl, just in case, warns him: if Arsamenes should deny it, do not believe her.

Xerxes shows the evidence to Romilda triumphantly, but she would still refuse to reject her lover. The king cannot comprehend and interpret this strong emotional attachment, and attempts to start to hate the object of his desires, but he himself does not know how it would be possible. Romilda turns to the audience, and asks them if love can exist without jealousy. In the meantime, the hopeless Arsamenes wants only to die.

Part 2

Xerxes' troops are gathering at the legendary pontoon bridge over the Dardanelles to cross the strait and invade Greece. The king dispatches his troops with a brief speech then starts to deal with his urgent love affairs. He offers peace to Arsamenes and lets her marry her lover. The misunderstanding, however, soon becomes apparent: his brother refuses to marry Atalanta, since he only loves Romilda. Atalanta is not shocked by the events: she is determined to find a husband, whatever it costs. If not Arsamenes, then someone else.

Elviro tries to alleviate his sorrow over the loss of his master by drinking heavily. Believing that he could find Arsamenes on the other side, he has no choice but to step onto the pontoon bridge, no matter how it pitches and tosses in the storm. The bridge suddenly collapses - at least, Elviro sees it happen -, and he is overwhelmed by seasickness.

Amastris and Xerxes, independently from each other are complaining about their lovers, who are impossible to reach. Before turning to a more serious topic, Romilda arrives. The girl swears to Arsamenes not to change her mind and remain faithful to him, no matter what will happen. Although their jealous row, which is so characteristic of lovers, does not ease, it emerges that they are victims of Atalanta's intrigue.

Xerxes appears suddenly, and Arsamenes and Elviro hide again. When Romilda receives the king, she pretends to be confused in order to gain time, and tries to parry Xerxes' assault by referring to his father's will, as an honourable girl: without his consent any marriage is out of question. Xerxes rushes away happily as he can be certain in his vassal Ariodates' positive reply. Arsamenes obviously does not notice that the girl is completely desperate, misunderstands Romilda's words, and reproachingly demands an explanation for her infidelity.

The retired general is surprised at the king's unexpected visit. Xerxes tells him categorically that today Romilda will have to marry a member of the royal family who is not lower-ranking than himself, the king. The reason for this sophisticated wording is that he, as a king, could not marry a daughter of one of his subjects. Ariodates, of course, misunderstands everything and suspects that Arsamenes, the king's brother will be his son-in-law. And he is most pleased as he has often been a victim of Xerxes' unbridled tyrannical will.

Xerxes now really feels he is in the saddle. He proposes to the girl again, who reveals her secret as a last attempt: her relationship with Arsamenes was more than smere innocent kisses, and now she is no longer worthy of being the king's wife. The furious Xerxes orders the execution of Arsamenes.

Being ardent lovers, Romilda and Arsamenes could quarrel until the end of their lives about who is more faithful than the other or who left the other one. Arsamenes' last hour is approaching, but the never-ending row does not settle until the girl's father appears with a group of priests to let his daughter marry her fiancé. Nobody protests.

Xerxes, who really appears unexpectedly, is shocked to face the fact that Romilda is already Arsamenes' wife. Then a reproachful letter raises his wrath to the extremes, but when he reads the signature, he calls the furies against himself: the letter was written by his fiancée, Amastris.

Everybody tries to calm the furious Xerxes, demanding Arsamenes to kill Romilda. Amastris, still in disguise, undertakes to execute the punishment. On her question whether the sword must drive through the heart of the one who returns true love with infidelity, the king agrees. Then, revealing her identity, Amastris points the sword at Xerxes' chest. The king, of course, regrets his tyrannical behaviour, pardons everyone and praises true love. If, after all this, anyone knows what that actually is.

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Act I

Scene 1: The mother and the nurse are making jam outside the Larin country house, while Tatyana and Olga are singing a song about yearning for happiness. Harvesters arrive and greet their mistress. The Larins' neighbour, Lensky, Olga's fiancé arrives and introduces his friend Onegin to the ladies. Lensky indulges in a talk of love with Olga, while Onegin entertains the silent Tatyana.

Scene 2: Tatyana interrogates her nurse about love. Left alone she is overwhelmed with the emotions she feels towards Onegin, seeing him as the hero of her dreams and romantic readings. She writes a letter confessing her feelings, and asks her nurse to send it to Onegin.

Scene 3: The girls pick raspberry in the garden of the Larin house. Tatyana anxiously looks forward to Onegin's arrival, but the man politely rejects her.

Act II

Scene 1: The nobles of the neighbourhood gather for a joyful birthday ball in the Larin house. Triquet, a Frenchman sings some songs in honour of Tatyana. The bored Onegin wants to annoy Lensky, and keeps dancing with Olga. Lensky challenges him to a duel.

Scene 2: At dawn next day Lensky, with a heavy heart, is preparing for death while waiting for his friend. Onegin kills Lensky at the duel.

Act III

Scene 1: Some years later, Onegin sees Tatyana again as a celebrated society lady in a grand ball in St. Petersburg. She had married Prince Gremin, and the elderly prince talks to Onegin about her emotionally. Onegin realizes that he is in love with Tatyana.

Scene 2: Onegin bombards Tatyana with love letters, and he passionately confesses his sentiments in her room. Tatyana still loves him, but chooses to remain faithful to Gremin, and rejects Onegin.

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Manon Lescaut is an opera (Lyric drama) in four acts by Giacomo Puccini, with libretto by Ruggero Leoncavallo, Marco Praga, Domenico Oliva, Luigi Illica and Giuseppe Giacosa. It was composed between 1889 and 1892, revised in 1893 and again in 1922 and premiered at the Teatro Regio in Turin on 1 February 1893.

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La Bayadère (The Temple Dancer) (Russian Баядерка - Bayaderka) is a ballet, originally staged in four acts and seven scenes.

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Il barbiere di Siviglia (The Barber of Seville) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The première (under the title Almaviva, or the Useless Precaution) took place on 20 February 1816 at the Teatro Argentina, Rome and though an infamous flop, The Barber of Seville has become a standard of comic opera repertory.

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An opera in five acts by Composer Giuseppe Verdi.

Act 1

In a square in Palermo the occupying French are drinking boisterously, while the Sicilians in their profound dejection long for revenge. When the Duchess Elena appears, mourning her brother, the French soldiers try to force her to entertain them by singing a song. Instead, she addresses her stirring words to the Sicilians. She has almost caused an uprising to break out, when the surprise arrival of Montforte prevents it, and the crowd disperse. Elena and her companions Ninetta and Danieli lament the cowardice of their compatriots, while Montforte sings coolly of his power. Suddenly Arrigo appears. He had been imprisoned as an insurgent, but Monforte has now granted him a reprieve. In spite of this, the young Sicilian continues to view the governor as his greatest enemy, even though so far he has never met him. When Montforte reveals his identity, a dialogue ensues between them, which greatly disturb Arrigo. Montforte first enquires about the young man's family, and then suggests he join his soldiers, eventually forbidding him to have any connection with Elena. Arrigo, who has so far concealed his love for the duchess, hotly rebuffs Monforte's admonitions.

Act 2

Procida, leader of Sicily's liberation movement, returns home after a long journey during which he has visited many countries seeking support for his beloved country. Sicilian conspirators gather round him and vow to seek revenge on the French. Having learned of Procida's return, Arrigo and Elena arrive. Procida asks both of them to assist in preparing for an uprising, without which there can be no support from Byzantium and Aragon. Arrigo declares his love to Elena. As a condition of her reciprocal love she tells Arrigo to revenge the death of her brother. Bethune arrives and hands Arrigo an invitation from Montforte to a ball. When Arrigo refuses to accept it, Bethune and his companions forcibly take him away. Procida instigates among the French soldiers that when the procession arrives of Sicilian young couples going to be married, they should carry off the fiancées. This defilement of the fiancées rallies the Sicilian men together, at which moment the French pass in festive procession on their way to Monforte's ball. Procida and Elena together with the Sicilians make a resolution: they will murder the governor at the ball.

Act 3

Montforte learns in a letter from Arrigo's mother written before she died that he is Arrigo's father. The governor dreams of a happy future with his son. He is convinced that he will be able to win his former enemy over to his side - and to that of the French. Arrigo does not understand why he is being treated in the governor's palace with so much attention - which is at De Montfort's instructions. Montforte shows his son his mother's letter, and reveals that he is his father. Arrigo is shocked and disturbed by the news, as he cannot and will not accept that his sworn enemy is his own father. Monforte pleads with him earnestly, but Arrigo refuses to show any filial devotion. At the ball Procida and Elena steal up to Arrigo and let him in on the conspiracy against Montforte. Arrigo is thrown into a serious crisis of conscience, and at the last minute causes the assassination attempt on his father to fail. Monforte has the assassins arrested and condemns them to death. The desperate Arrigo's betrayal of his friends produces contempt among the Sicilians and rejoicing among the French.

Act 4

Arrigo visits the prison to explain his betrayal to Elena and Procida. Elena is profoundly moved by the news that Monforte is Arrigo's father, and forgives him for what he did. She confesses that she was more afraid of losing his love than she is of her approaching death. They embrace each other happily. Procida learns that Aragon is offering assistance, and is thrown into despair that inside the prison walls he cannot pass on the news. Montforte arrives and issues orders for the execution to be carried out. Arrigo begs him to spare his friends. Monforte offers them mercy, if Arrigo will call him Father. Elena angrily rejects the idea. The execution squad enters. Procida and Elena wait courageously for the death which they must suffer for their homeland. At the last minute with a cry of Father! Arrigo prevents the execution. Overjoyed, Monforte not only grants them a reprieve, he gives his blessing for Arrigo and Elena to marry. He hopes by this to bring the hostile peoples closer together. The French and Sicilians fill the stage, feeling the approach of peace, while Procida hatches further plans for revenge.

Act 5

The day of the wedding of Elena and Arrigo dawns. While Procida and his fellow conspirators prepare for the uprising, Elena happily celebrates with the people her approaching wedding. Procida confides to Elena that the sign for the bloody uprising will be the tolling of the wedding bells. Elena falls into a panic, as she is unable to choose between her love for Arrigo, and her loyalty to her country. Elena's troubled behaviour shocks Arrigo, who is looking forward joyfully to the wedding. After a lengthy struggle Elena tells Arrigo she cannot marry him. In order not to give away Procida, Elena is silent about the real reason; she gives as her excuse the death of her beloved brother, which still stands between them. Montforte learns from Arrigo that Elena does not want to marry him. However, against their will, the governor orders the wedding to take place. Elena tries in vain for the last time to warn him: the tolling of the wedding bells will mean death and destruction for all of them.

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Fidelio (Married Love) is an opera in two acts by Ludwig van Beethoven, his only work in this genre, with libretto by Joseph Sonnleithner and Georg Friedrich Treitschke. It was composed between 1804 and 1805, revised in 1806 and once more in 1814. The original three act version premiered on 20 November 1805 at the Theater an der Wien in Vienna; the first revised version (in two acts) also premiered at the Theater an der Wien on 29 March 1806 and the second revised version premiered on 23 May 1814 at the Kãrntnertortheater in Vienna.

Synopsis

Act I

Leonore is looking for Florestan, her husband. She suspects that he is in the hands of state prison governor Don Pizarro. Disguised as a man and assuming the name of Fidelio she finds work with Rocco, the prison warden. Marzelline, Rocco's daughter has fallen in love with Fidelio. Her father also would prefer him to gatekeeper Jaquino as son-in-law. As token of trust Fidelio now demands to be taken along to the prisoners cells. A letter warns Don Pizarro of an impending prison inspection by Minister Don Fernando. He promptly commissions Rocco with the murder of Florestan so that his dark machinations remain unexposed. Rocco refuses but declares himself willing to dig the grave. Don Pizarro is willing to carry out the murder himself.

Act II

Fidelio persuades Rocco to let the prisoners into the courtyard. Together with Rocco, she descends into the dungeon. Florestan is lying asleep in the dungeon. He awakens when Rocco and Fidelio begin to dig the grave. He learns from the warden that Pizarro is prison governor. He wishes to send Rocco to his wife. Leonore recognizes her husband. At Rocco's signal Pizarro appears with the intent of stabbing Florestan. Fidelio protects him and reveals herself as Leonore. Trumpets herald the arrival of the Minister and their salvation. After a general amnesty by the government all prisoners are released, Don Fernando recognizes in Florestan his long-lost friend whom he had believed dead. Pizarro's crime stands revealed. The people celebrate the victory of Loyalty over Tyranny.

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ACT I

The storm clouds are gathering above the Viennese Herr Von Eisenstein's house. He has been sentenced to a five-day prison term for duelling. While he is away battling in court for acquittal, his wife Rosalinda is courted by and old suitor, Alfred, the famous tenor. Alfred tries to persuade his old flame to make good use of her brief grass widowhood. Rosalinda is about to be completely deserted: her chambermaid Adele tries to get the night off by telling her mistress that her ‘poor old aunt’ is deathly ill. In actual fact, Adele secretly wants to go to the ball at Prince Orlofsky's, to which she has been invited – so she is aware – by her sister Ida the ballerina.

Eisenstein arrives home in deep distress. He is fighting with his lawyer, Dr Blind. His prison term has been extended to eight days because of Blind’s incompetence. Blind promises to appeal, but Eisenstein throws him out. He has only been allowed to come home for a farewell dinner. He sends Adele to the nearby restaurant to get him some comforting delicacies.

The lawyer Dr Falke comes to visit. He used to be the family’s friend until Eisenstein played a nasty trick on him. Three years ago the two of them had gone to a costume ball dressed as a butterfly and a bat. On the way home, Eisenstein got the doctor drunk and left him asleep in the park in his bat costume. Ever since everyone in Vienna has called him the Batty Doctor. However, this time – so it appears – Dr Falke has not come to gloat. He convinces Eisenstein to come to the ball at Prince Orlofsky's and postpone reporting to gaol (where he can recover from the spree) until midnight. He even asks Eisenstein to bring with him his famous chiming watch, used so effectively in his many conquests. Dr Falke secretly also invites Rosalinda to Orlofsky’s, and provides her with a costume.

Adele returns the bountiful dinner, but her master hurries off with his crony, Dr Falke. Then, on the spur of the moment, Rosalinda decides to let Adele off for the night, and resigning herself to her fate she allows Alfred, serenading under her window, to enter, and continue at the dinner table. However, their intimate rendezvous is interrupted when Herr Frank, the director of the prison where Eisenstein is to spend his gaol term, enters. He has come to personally escort Eisenstein to his prison. Rosalinda begs Alfred to say that he is Eisenstein, to avert a scandal. Alfred agrees and leaves with Frank to take Eisenstein's place in prison.

ACT II

Receiving his guests in his lavish palace, Prince Orlofsky is lamenting his terminal boredom and eventually ‘shoots himself in the head’ with a bottle of vodka. Dr Falke assures him that tonight he will laugh: he has planned a little comedy, whose unsuspecting actors enter the scene one after the other.

Arriving in Rosalinda’s dress, Adele is introduced as an actress. Eisenstein is introduced as the Marquis de Renard, and is flabbergasted to see his chambermaid at the ball. Adele is equally horrified to see her master, but continues to insist that she is an actress. Eisenstein has a gruelling conversation in French with Chevalier Chagrin, who is in fact Frank. The ‘two illustrious’ Frenchmen woo Adele and Ida, while Falke introduces Eisenstein to the mysterious Hungarian countess, who is really Rosalinda. Eisenstein flirts with the woman, but loses his chiming watch in the process. He tries desperately to get it back, but his time is up, and he must begin his prison sentence.

ACT III

Frosch, the gaoler, delivers an intoxicated soliloquy in the prison director’s office, when an equally inebriated Frank comes in. They have not even weighed up the tricky situation when Adele and Ida arrive. They take Frank (or Chevalier Chagrin, as they know him) by his word, and ask him to help Adele break into show business – she displays talent in a brilliant solo.

Next, Eisenstein enters and is taken aback to find that his drinking mate, Chevalier Chagrin, is the director of the prison. His surprise is even greater when he learns that Herr Von Eisenstein was arrested the evening before, while he was at home, dining with his wife.

Meanwhile, Alfred impatiently waits for the lawyer he has sent for. Rosalinda arrives, wanting to save the day. However, Eisenstein returns, disguised as the lawyer. Instead of help, he swears to take revenge on his unfaithful wife and her suitor. But Rosalinda counters his accusation by producing the watch she swindled out of him as a Hungarian countess. Eisenstein then changes tactic and denies his identity, but Adele identifies her master.

Finally, Prince Orlofsky and all the party guests pour into the gaol. Dr Falke announces the whole situation was a joke – the revenge of the Bat. Eisenstein is reassured in his belief that Alfred too was just part of the joke. All is forgiven, everything is back to normal, only Adele becomes and actress, with the help of Orlofsky.

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A beautiful square in Seville with a cigarette factory, a guard house, and a bridge. Morales and the soldiers are on guard, very bored ("Sur la place, Chacun passe"). Micala appears seeking Jos, her fianc, but is accosted by the impudent soldiers who desire her company, causing her to run away. As Jos approaches with the new guard, he and the soldiers are imitated by the street-children ("Avec la garde montante"). The cigarette girls emerge from the factory, greeted by their men ("La cloche a sonn"). Carmen appears, and all the men ask her when she will love them ("Quand je vous aimerai?"). She replies that she loves the man that does not love her in the famous Habanera. ("L'amour est un oiseau rebelle"). When asked to choose a lover, she throws a flower in front of Jos ("Carmen! sur tes pas, nous nous pressons tous!"). Jos is temporarily transfixed until Micala brings him a letter and kiss from his mother ("Parle-moi de ma mre!"). Jos longingly thinks of his home. As soon as she leaves, screams are heard from the factory and the women run out, singing chaotically ("Au secours! Au secours!"). Don Jos and his superior, Zuniga find that Carmen has been fighting with another woman, and slashed her face with a knife. Zuniga attempts to interrogate Carmen who impudently sings a folk song, ignoring him ("Tra la la"). Zuniga instructs Jos to arrest her, and escort her to the gaol. Carmen seduces Jos with a Seguidilla ("Prs des remparts de Sville"), and convinces Jos to let her escape. Jos is arrested for letting Carmen escape.

Act II
Evening at Lillas Pastia's inn, frequented by smugglers. Carmen and her friends Frasquita and Mercds sing and dance ("Les tringles des sistres tintaient" Gypsy Song). Zuniga attempts to woo Carmen, but she can only think of Jos, who has been in jail for a month and is due to be released that day. The Matador Escamillo is greeted with great enthusiasm by the patrons ("Vivat, vivat le Torro"). He sings the Toreador song ("Votre toast, je peux vous le rendre") and also attempts to woo Carmen. Carmen refuses him as well. The smugglers Dancaro and Remendado discuss plans with Carmen and her gypsy friends ("Nous avons en tte une affaire" Quintet). Carmen refuses to accompany them, for she only can think of Jos. Jos arrives singing a folk song ("Halte l! Qui va l! Dragon d'Alcala!"), and he and Carmen are left alone. Carmen vexes him with stories of her dancing. She then dances for him alone ("Je vais danser en votre honneur...Lalala"), but is interrupted by the trumpets calling the soldiers to the barracks. Carmen's temper flares when Jos begins to leave, causing him to pledge his devotion to her in the Flower Song ("La fleur que tu m'avais jete"). Carmen asks him to join the smugglers if he really loves her ("Non, tu ne m'aime pas"). He refuses and begins to leave when he is surprised by Zuniga. He draws his sword upon his superior officer, but the Gypsies disarm both of them and take away Zuniga ("Mon cher monsieur"). Jos is forced to flee with Carmen ("La bas dans le montagne").

Act III
A rocky gorge, where the smugglers ply their trade. Jos arrives with the smugglers ("coute, coute, compagnon"), but Carmen loves him no longer, realizing that he is not her match. She now turns to Escamillo. Carmen, Frasquita and Mercedes read the cards ("Mlons! Coupons!"). Frasquita and Mercedes foresee love and romance, wealth and luxury in their cards; but Carmen's cards foretell death for her and Jos ("En vain pour viter les rponses amres"). The smugglers plan their actions ("Quant au douanier, c'est notre affaire"). Micala arrives with a guide seeking Jos ("Je dis, que rien ne m'pouvante"), and hides in the rocks when she hears a gunshot. Escamillo arrives and tells Jos that he is infatuated with Carmen and tells Jos the story of her affair with a soldier, not knowing that Jos is the soldier. A fight between Jos and Escamillo over Carmen is narrowly averted by the smugglers ("Hol, hol Jos"). Escamillo leaves, but invites Carmen and the smugglers to the bullfights. Micala emerges and tells Jos that his mother wishes to see him. At first he refuses to go ("Non, je ne partirai pas!"), until Micala tells him that his mother is dying. Vowing that he will return to Carmen, he leaves. As he is leaving, Escamillo is heard singing in the distance. Carmen rushes to the sound of his voice, but Jos bars her way.

Act IV
A square before the arena at Seville. The general populace prepare for the bull fight ("A deux cuartos!") (occasionally played as a ballet with a different text: "Dansez, dansez") and they see the cuadrilla arrive ("Les voici! voici la quadrille"). Carmen and Escamillo are greeted by the crowds and celebrate love and victory, Carmen adding that she had never loved one so much ("Si tu m'aimes, Carmen"). Frasquita warns Carmen that Jos is in the crowd ("Carmen! Prends garde!), and that he intends to kill her, but Carmen says she will speak to him. Before she can enter the arena she is confronted by the pale and despairing Jos ("C'est toi! C'est moi!"). For the last time, half-crazed he demands her love and fidelity, even after she repeatedly explains that she loves him no longer. When she scornfully throws back the ring that he gave to her ("Cette bague, autrefois), he stabs her to the heart ("Eh bien, damne") and she dies at the moment that Escamillo triumphs in the arena. The spectators exit the arena and Jos, completely broken, confesses his action to all, exclaiming: "Ah! Carmen! ma Carmen adore!".

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Act I Scene 1: A room in the palace. The Duke has seen an unknown beauty in the church and desires to possess her. He also pays court to the Countess Ceprano. Rigoletto, the hunchbacked jester of the Duke, mocks the husbands of the ladies to whom the Duke is paying attention, and advises the Duke to get rid of them by prison or death. The noblemen resolve to take vengeance on Rigoletto, especially Count Monterone, whose daughter the Duke had dishonoured. Monterone curses the Duke and Rigoletto.

Scene 2: A street; half of the stage, divided by a wall, is occupied by the courtyard of Rigoletto's house. Thinking of the curse, the jester approaches and is accosted by the bandit Sparafucile, who offers his services. Rigoletto contemplates the similarities between the two of them - Sparafucile uses his sword, Rigoletto his tongue and wits to fight. The hunchback opens a door in the wall and visits his daughter Gilda, whom he is concealing from the prince and the rest of the city. She does not know her father's occupation and, as he has forbidden her to appear in public, she has been nowhere except to church. When Rigoletto has gone the Duke enters, hearing Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a student she had met at the church, but that she would love him more if he were poor. Just as she declares her love, the Duke enters, overjoyed, convincing Gilda of his love, though she resists at first. When she asks for his name, he hesitantly calls himself Gualtier Mald. Steps are overheard and, fearing that her father has returned, Gilda sends the Duke away after they quickly repeat their love vows to each other. Later, the hostile noblemen seeing her at the wall, believe her to be the mistress of the jester. They abduct her, and when Rigoletto arrives they inform him they have abducted the Countess Ceprano, and with this idea he assists them in their arrangements. Too late Rigoletto realises that he has been duped and, collapsing, remembers the curse.

Act II: The Duke hears that Gilda has been abducted. The noblemen inform him that they have captured Rigoletto's mistress and by their description he recognises Gilda. She is in the palace, and he hastens to see her, declaring that at last, she will know the truth and that he would give up his wealth and position for her who had first inspired him to really love. The noblemen, at first perplexed by the Duke's strange excitement, now make sport of Rigoletto. He tries to find Gilda by singing, and as he fears she may fall into the hands of the Duke, at last acknowledges that she is his daughter, to general astonishment. Gilda arrives and begs her father to send the people away, and acknowledges to him the shame she feels of finding out his profession. The act ends with Rigoletto's oath of vengeance against his master.

Act III: A street. The half of the stage shows the house of Sparafucile, with two rooms, one above the other, open to the view of the audience. Rigoletto enters with Gilda, who still loves the prince. Rigoletto shows her the Duke in the house of the bandit amusing himself with Sparafucile's sister Maddalena, half-drunk in despair over losing Gilda. The Duke then sings the most famous aria of the opera, La donna e mobile, explaining the infidelity and fickle nature of women. Rigoletto bargains with the bandit, who is ready to murder his guest, whom he does not know, for money. Rigoletto orders his daughter to put on man's attire and go to Verona, whither he will follow later. Gilda goes, but fears an attack upon the Duke, whom she still loves, despite believing him to be unfaithful. Rigoletto offers the bandit 20 scudi for the death of the Duke. As a thunderstorm is approaching, the Duke determines to remain in the house, and Sparafucile assigns to him the ground floor as sleeping quarters. Gilda returns disguised as a man and hears the bandit promise Maddalena, who begs for the life of the Duke, that if by midnight another can be found to take the Duke's place he will spare his life. Gilda resolves to sacrifice herself for the Duke and enters the house. When Rigoletto arrives with the money he receives from the bandit a corpse wrapped in a bag and rejoices in his triumph. He is about to cast the sack into the river, weighting it with stones, when he hears the voice of the Duke singing a reprise of his bitter aria as he leaves the house. Bewildered, he opens the bag and to his despair discovers the corpse of his daughter, who for a moment revives and declares she is glad to die for her beloved. As she breathes her last, Rigoletto exclaims in horror, "The curse!" which is fulfilled upon both master and servant.

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Der Nussknacker (The Nutcracker) is a fairy tale ballet in two acts by Pyotr Ilyich Tchaikovsky, composed between 1891 and 1892 and based on Der Nuknacker und der Mauseknig (The Nutcracker and the Mouse King), a story by E. T. A. Hoffmann. An adaptation of the story was set to music by Tchaikovsky (after a libretto possibly written by Marius Petipa) and commissioned by the Imperial Theatre in 1891.

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Based on William Shakespeare’s comedy of the same name.

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Clytemnestra and Aegisthus have slain King Agamemnon. Clytemnestra performed the deed with a righteous conscience: her husband Agamemnon had sacrificed their daughter Iphigenia to gain success in the war against Troy.

Electra doesnt accept the justice of this. Her only thought is to revenge the death of her father Agamemnon. So she, who has separated herself from the entire community, keeps the thought of the deed and of vengeance alive for all.

Life shall not go on until the murder is expiated and Agamemnon honorably buried by his and Clytemnestras children Electra, Chrysothemis and Orestes. But Chrysothemis demands that she lives now, be a woman, and have children.

Electra waits for Orestes return. As rightful heir and thus a danger for the new rulers, he was sent abroad after the murder.

Rigid ritual dominates the events: Electra invokes her dead father, while Clytemnestra tries to find her peace in sacrifices and streams of blood. But Electra says the proper sacrifice can only be the mother herself.

Clytemnestra sighs with relief at the news of Orestes death. His threat to her life and rule seems overcome. But the report is false.

When Electra decides to avenge Agamemnon by herself, since Chrysothemis cannot be swayed to help, Orestes appears. He carries out the task, killing Clytemnestra and Aegisthus and assuming the throne, laden with new guilt.

Electra, who has devoted her life to revenge, has become superfluous. She wasnt even able to give Orestes the axe she long kept to perform the deed. Her destiny can only be silence and dancing. Burned out, she collapses.

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Figaro, the former Barber of Seville, has now become the valet of Count Almaviva in a castle nearby Seville. He loves Susanna, the ladys maid of Countess Rosina. The two of them intend to get married. But their wedding is threatened.

ACT I:

While measuring the newly allocated room by Count Almaviva, Figaro learns from Susanna that the Count is after her. He now insists on the privilege of the first night with Susanna, disregarding that he has had abolished this custom on his domain. Not only the Count, but also Marcellina threatens the marriage of Figaro. Indebted, he once promised marriage to her, if he was not able to pay back his debts. Bartolo encourages Marcellina, who is running his household, in insisting on the marriage. Cherubino, the Counts page, is raving about the Countess and asks Susanna for help, since their jealous lord plans to dismiss Cherubino. Susanna hides him from the Count and his music teacher Basilio, but Cherubino is discovered. Lead by Figaro, the villagers celebrate the Count as a noble preserver of female virtue, but in vain. Since he counts on the effects of Marcellinas insisting on the marriage with Figaro, the Count wants to postpone Figaros marriage in the first place. When Susanna and Figaro ask their lord to pardon the dismissed Cherubino, he nominates Cherubino as an officer in his regiment and sends him off immediately. Figaro makes fun of the reluctantly promoted by picturing his coming military deeds.

ACT II:

Countess Rosina laments on the unfaithfulness of her husband. She agrees to Figaros plan to convict the Count of infidelity by inviting him to a rendezvous with Susanna, only Cherubino disguised as Susanna. The aim is to make the Count consent to the marriage. Figaro has sent an anonymous letter to the Count, in which he is informed about a secret date of the Countess with a rival. While Cherubino tries on Susannas clothes, the jealous Count arrives. Cherubino is locked into a dressing room and both Countess and Count leave to get tools to open up the room. Meanwhile, Susanna rescues Cherubino from his hiding place. The page escapes through an open window and Susanna takes his place in the dressing room, to the surprise of Countess and Count. The gardener Antonio arrives, complaining bitterly that someone broke a flowerpot while jumping off the balcony. Arduously, Figaro clears the situation by confessing that it was him who jumped into the garden. Marcellina, Bartolo, and Basilio enter the scene and request the contract to be ratified, in which Figaro promised marriage to Marcellina. Once more, Figaros marriage is being postponed to enable the Count to undertake legal investigation of the situation in a proper order.

ACT III:

After Susanna asks the Count for a rendezvous, which the Countess plans to join disguised as her maid, the Count again becomes suspicious, when he overhears Susanna declaring to Figaro that his case is almost won. When the lawyer Don Curzio declares the decision of the case, they happily discover Figaro being the lost son of Marcellina and Bartolo. The Count gives in and agrees to both the marriage of Susanna and Figaro as well as to the one of Marcellina and Bartolo. The Countess dictates Susanna a letter to the Count, inviting him to a nocturnal date in the park. When the village girls pay homage to the Count, he discovers the disguised Cherubino among them. But Barbarina, the gardeners daughter, reminds the Count frankly of prior promises made during a lovers meeting and therefore the Count has to agree to her wedding with the page as well. Count Almaviva is reconciled for the moment, when he secretly receives the invitation from Susanna for a rendezvous in the park during a wedding dance.

ACT IV:

Barbarina looks for the pin that she is supposed to bring back from the Count as the seal of his consent to the nocturnal rendezvous. Enraged, Figaro learns from Barbarina of Susannas putative unfaithfulness. When he recognizes Susanna dressed as the Countess, he courts her effusively and in return gets slapped in the face. The Count curses and swears against his allegedly unfaithful wife, however, he must observe the confusion being cleared up. In the end the couples get together, first of all Figaro and Susanna. Full of remorse, Almaviva asks the Countess for forgiveness. Finally, the marriage of Figaro can take place.

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ACT I.

Cesare Angelotti, an escaped political prisoner, rushes into the church of Sant Andrea della Valle to hide in the Attavanti chapel. As he vanishes, an old Sacristan shuffles in, praying at the sound of the Angelus. Mario Cavaradossi enters to work on his portrait of Mary Magdalene - inspired by the Marchesa Attavanti (Angelottis sister), whom he has seen but does not know. Taking out a miniature of the singer Floria Tosca, he compares her raven beauty with that of the blonde Magdalene (Recondita armonia). The Sacristan grumbles disapproval and leaves. Angelotti ventures out and is recognized by his friend and fellow liberal Mario, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. Forever suspicious, she jealously questions him, then prays, and reminds him of their rendezvous that evening at his villa (Non la sospiri la nostra casetta?). Suddenly recognizing the Marchesa Attavanti in the painting, she explodes with renewed suspicions, but he reassures her (Qual occhio al mondo). When she has gone, Mario summons Angelotti from the chapel; a cannon signals that the police have discovered the escape, so the two flee to Marios villa. Meanwhile, the Sacristan returns with choirboys who are to sing in a Te Deum that day. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca comes back to her lover, Scarpia shows her a fan with the Attavanti crest, which he has just found. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves as the church fills with worshipers. Scarpia, sending his men to follow her to Angelotti, schemes to get the diva in his power (Va, Tosca!).

ACT II.

In the Farnese Palace, Scarpia anticipates the sadistic pleasure of bending Tosca to his will (Ha pi forte sapore). The spy Spoletta arrives, not having found Angelotti; to placate the baron he brings in Mario, who is interrogated while Tosca is heard singing a cantata at a royal gala downstairs. She enters just as her lover is being taken to an adjoining room: his arrogant silence is to be broken under torture. Unnerved by Scarpias questioning and the sound of Marios screams, she reveals Angelottis hiding place. Mario is carried in; realizing what has happened, he turns on Tosca, but the officer Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpias side. Mario shouts his defiance of tyranny (Vittoria!) and is dragged to prison. Scarpia, resuming his supper, suggests that Tosca yield herself to him in exchange for her lovers life. Fighting off his embraces, she protests her fate to God, having dedicated her life to art and love (Vissi darte). Scarpia again insists, but Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, forced to give in or lose her lover, agrees to Scarpias proposition. The baron pretends to order a mock execution for the prisoner, after which he is to be freed; Spoletta leaves. No sooner has Scarpia written a safe-conduct for the lovers than Tosca snatches a knife from the table and kills him. Wrenching the document from his stiffening fingers and placing candles at his head and a crucifix on his chest, she slips from the room.

ACT III.

The voice of a shepherd boy is heard as church bells toll the dawn. Mario awaits execution at the Castel SantAngelo; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair (E lucevan le stelle). Suddenly Tosca runs in, filled with the story of her recent adventures. Mario caresses the hands that committed murder for his sake (O dolci mani), and the two hail their future. As the firing squad appears, the diva coaches Mario on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Mario to hurry, but when he fails to move, she discovers that Scarpias treachery has transcended the grave: the bullets were real. When Spoletta rushes in to arrest Tosca for Scarpias murder, she cries to Scarpia to meet her before God, then leaps to her death.

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The Most Excellent and Lamentable Tragedy of Romeo and Juliet, commonly referred to as Romeo and Juliet, is a play by William Shakespeare concerning the fate of two young lovers who would do anything to be together. It is, perhaps, the most famous of his plays and undoubtedly the most famous love story in Western history.

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Music: Antonín Dvoøák
Choreography: Lilla Pártay

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Parsifal, figure of Arthurian legend also known as Sir Percivale, who is in turn a later form of a hero of Celtic myth. The name originally occurs as Pryderi, an alternative name of Gwry in Pwyll Prince of Dyved, a tale in the Mabinogion. Gwry is the original of Gawain, and in the later Percivale stories Gawain appears, often fulfilling the same role as the hero.

The great feature of the Percivale cycle is the Holy Grail, and Welsh sources connect this sacred talisman with Percivale, who finds the Grail. Chrtien de Troyes is the author of the first great artistic treatment of the theme; in Chrtien's unfinished poem Percivale finds the Grail at the Fisher King's castle and heals the king. The Parzival of Wolfram von Eschenbach is one of the greatest medieval poems. Drawn largely from Chrtien, von Eschenbach's story is highly spiritualized and appears essentially in the form used by Richard Wagner in his music drama Parsifal. In the Morte d'Arthur of Sir Thomas Malory, Percivale is admitted to the Grail with Galahad and Bors.

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Act I

Scene i
A group of officers is discussing the events of the previous night. One of them, Surin, lost his money in the gaming house where Herman stood as usual observing the game, but making no bets. Herman becomes the object of his fellow officers ridicule. He is tortured by an uncontrollable, unknown passion, not a romantic feeling, but a fever that is consuming and burning him. Demons that have been sleeping till now, have awakened inside him. He doesnt know the name of his beloved, and he doesnt want to know it. Meanwhile, Prince Yeletsky arrives, a happy man because of his approaching wedding. Yeletskys fiance is Lisa, who is approaching with her guardian, the legendary Countess. As she arrives Herman realizes that she is his nameless beloved, whom the Countess has promised to the Prince. The meeting is full with vague, terrible premonitions. Lisa knows Herman but is afraid of his dark passion. The Countess is afraid of the ominous signs. Prince Yeletsky is afraid for Lisa. He loves her and promises her his tender devotion. Herman succumbs to the Countesss strange power, he believes in the doom of this meeting. One of the officers, Tomsky, recounts the gossip about the Countesss past. They used to call her The Queen of Spades and her beauty and charm were adored by all of Paris, yet the Countess preferred cards. One day in Versailles, she gambled away her entire fortune, however soon afterwards, she mysteriously managed to win it all back. It was said that it was the Count Saint-Germain who promised to divulge the secret of the three cards to her in return for a rendezvous. Subsequently the Countess revealed the secret twice: to her husband, and then to a certain young man. Rumor had it that she received a mysterious spiritual warning against a third man who would try to win the secret from her in a frenzy of passion. Perhaps, then, Herman will become her lover and thus jibe his fellow officers. But Herman is profoundly affected by the Countesss secret and as a storm breaks out and Herman vows he will snatch the secret from the Countess or die.

Scene ii
(The Countesss Home)
Despite her friends light-hearted mood, Lisa is filled with anxiety. The fortune-telling on the eve of her betrothal is ominous. An aura of death hangs over Lisa and once she is alone, she cries, letting out the pain and commits the darkness of her spirit to the blackness of the night. She doesnt love the fair prince, her heart belongs to Herman, somber as a fallen angel. And then, Herman appears. He has crept into the Countesss house and demands love and devotion from Lisa. He blackmails her with his determination and their meeting is interrupted by the Countesss return. With her appearance, Hermans terrible desire floods back. The Countess, failing to notice Herman, leads Lisa out. But the girl will return in a moment, succumbing to Herman's hypnotic power.

ACT II

Scene i
(A great masked ball)
The Countess, Prince Yeletsky with Lisa, the officers and Herman, the object of their constant ridicule attend the ball. Yeletsky assures Lisa of his love for her even though he knows he is not loved back in return. Lisa remains distant and aloof. Herman receives a letter from her in which she requests to see him after the performance that has just started - a show put on especially for her betrothal to the Prince. After the performance, Lisa gives Herman the key to her room. She is utterly devoted to him, though her love no longer means anything to Herman. The ball continues and the arrival of the Empress adds luster to the event.

Scene ii
(The Countesss empty bedroom)
Herman tensely awaits the Countess' return from the ball. His obsessive passion fills his mind completely and he wants to learn the secret - if there is one. From his hiding place he can see the intoxicated Countess, witnessing her outburst of bitterness, watching as half-asleep, she sinks into her long-gone delightful past. The Countess is falling asleep, plunged in her dreams, but Herman rouses her. First he begs then demands that she reveal her secret to him. Terrified by the intrusion, the woman dies. Lisa arrives. Realizing that Herman wants to learn the secret of the cards more than he wants her love, she is torn between conflicting emotions and eventually rejects Herman.

ACT III

Scene i
Herman is reading a letter from Lisa who is unable to throw him out of her heart. She wants to believe that the Countess death was an accident and requests a rendezvous to give him another chance to prove his innocence. But Herman knows the darkness of his soul. As the chorus sings a propitiatory psalm, the image of the dead Countess appears, mocking him and revealing the secret sequence of cards. Its the three, seven and ace.

Scene ii
Lisa awaits Herman in vain on the bridge. She knows she is damned as she has linked her fate to a murderer. But, when Herman finally arrives, she is prepared to forgive this man for everything, loving him with a mystical devotion. Herman however, rejects Lisa and runs to the gaming-house in order to gamble using the secret he has revealed. Distraught, Lisa throws herself into the river.

Scene iii
There is excitement in the gaming-house. Hermans arrival surprises and disturbs those present as for the first time Herman wants to participate in the game. Tense, he bets his whole fortune on the cards indicated by the Countess. He bets on the three and wins. He then bets on the seven and wins again. He is master of the world and master of his fate and so he bets everything on one card and nobody but Yeletsky dares to meet his challenge. They play and Herman loses. Instead of the ace, the card in his hand is the queen of spades. He curses the Countess and takes his own life, dying with Lisas name on his lips, with her image before the eyes of his soul - with her waiting for him on the other side. The choruss prayer rises above his tortured soul.

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Verdi's opera based upon the famous tragedy by William Shakespeare.

The title character, a Moor, or dark-skinned Muslim, is a general commanding the forces of Venice. The villain Iago convinces Othello that Desdemona, the general's beautiful and faithful wife, has been guilty of adultery; at the end of the play, Othello smothers Desdemona.

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Opera in four acts and three parts in Italian
Mimi Andrea Rost
Stage adaptation: Sndor Palcs
Conductor: Gergely Kesselyk
Directed by: Klmn Ndasdy

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Così fan tutte is a dramma giocoso by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo da Ponte.

Written and composed at the suggestion of the Emperor Joseph II, the libretto was originally intended to be composed by Mozart's colleague Antonio Salieri who set to music only parts of the first act and then broke off his work. The first performance of Mozart's setting took place at the Burgtheater in Vienna on January 26 1790.

Mozart and Da Ponte took as a theme "fiancée swapping" which dates back to the 13th century, with notable earlier versions being those of Boccaccio's Decameron and Shakespeare's play Cymbeline. It also incorporates elements of the myth of Procris as found in Ovid.

The plot did not offend Viennese sensibilities of the time, but throughout the 19th and early 20th centuries it was considered risqué. As such, Così fell out of the operatic repertoire for many years, and when it did appear at all it was presented in one of several bowdlerized versions. After World War II, it regained its place in the standard operatic repertoire.

There are many recordings of Così, and it is frequently performed. The play Così, written by playwright Louis Nowra, features mental patients acting this opera. Many extracts from the opera were used as incidental music in the 2004 movie Closer.

The title literally means "Thus do all (women)" but is often translated as "Women are like that". The words are sung by the three male singers in Act II, Scene xi, just before the finale. Moreover, the words were earlier sung in Mozart's Le Nozze di Figaro (in Act I, Scene vii), also by da Ponte, making the title a sort of Mozartian in-joke.

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The Requiem by Giuseppe Verdi is a musical setting of the Roman Catholic funeral Mass (called the Requiem for the first word of the text, which begins Requiem aeternam dona eis, Domine, meaning, "Grant them eternal rest, O Lord" — see the entry at "Dies Irae") that was completed to mark the first anniversary of the death of Alessandro Manzoni, an Italian poet and novelist much admired by Verdi. The piece is also sometimes referred to as the Manzoni Requiem.

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Don Pasquale is a comic opera (opera buffa) in three acts by Gaetano Donizetti. At the time of its composition, Donizetti had just been appointed music director and composer for the imperial court of Emperor Ferdinand I of Austria, and Don Pasquale was the 64th of an eventual 66 operas he composed. Its libretto was adapted by Giovanni Ruffini from an older Italian opera, Ser Marc' Antonio, by Camerano. Don Pasquale was first produced at Paris's Théatre Italien in 1843, with Giulia Grisi as Norina, Giovanni Mario as Ernesto, Antonio Tamburini as Malatesta and Luigi Lablache as Don Pasquale.

The opera, in the tradition of opera buffo, harkens back to the stock characters of the commedia dell'arte. Pasquale is recognizable as the blustery Pantaleone, Ernesto as the lovesick Pierrot, Malatesta as the scheming Scapino, and Norina as a wily Columbina. The false Notary echos a long line of false officials as operatic devices.

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Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) is an opera in three acts, written and composed by Richard Wagner. It is one of the most popular operas in the repertory, and the longest still commonly performed today, usually taking around five hours. It was first performed at the Königliches Hof- und National-Theater, Munich, on June 21, 1868. The conductor at the premiere was Hans von Bülow.

The story takes place in Nuremberg during the middle of the 16th century. At the time, Nuremberg was an Imperial Free City, and one of the centers of the Renaissance in Northern Europe. The story revolves around the real-life guild of Meistersinger (Master Singers), an association of amateur poets and musicians, mostly from the middle class and often master craftsmen in their main professions.

The Meistersingers developed a craftsmanlike approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its charm from its faithful depiction of the Nuremberg of the era and the traditions of the Meistersinger guild. One of the main characters, the cobbler-poet Hans Sachs, is based on an actual historical figure: Hans Sachs (1494 — 1576), the most famous of the historical Meistersingers. Die Meistersinger von Nürnberg occupies a unique place in Wagner's oeuvre.

It is the only comedy among his mature operas, and the only one centered on a historically well-defined time and place rather than a mythical or legendary setting. It is the only mature Wagner opera to be based on an entirely original story, devised by Wagner himself. It incorporates many of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias, choruses, a ballet, and even a quintet (the celebrated Meistersinger Quintet).

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Experience Budapest with a 5 language City-Circle-Tour.

Grand City Tour, Parliament, Margaret Bridge, castle district, Fishermens Bastion (round trip) and the Matthias Church - View from Gellrt Hill (Photostop), Elisabeth Bridge, HeroesSquare (round trip), opera house back tho the Hotel InterContinental.

Tour Info

15.04.2010 - 31.10.2010 daily 10:00 am / 11:00 am / 02.30 pm

01.11.2010 - 31.03.2011 daily 10:00 am / 02:30 pm

Language: English, German, French, Spanish, Italian

Child: 6-12 years
Under 6 years: Children are free

Running Time: approx. 3 hours

Departure Point: Hotel InterContinental; Apczai Csere J. u. 12-14., 1052 Budapest