In ancient Rome, Spartacus, a Thracian king, is turned captive by Crassus with his wife Phrygia. Forced to fight as a gladiator and kill one of his friends, Spartacus plots an unprecedented upheaval. Grigorovich's Spartacus was created at the Bolshoi in 1968 and has since remained the Russian company’s signature ballet. This most spectacular production is an epic tour de force, giving full expression to the virility and strength for which the Bolshoi’s male dancers are renowned. Principal dancer Mikhail Lobukhin is stunning in the role of the legendary gladiator, along with Svetlana Zakharova as Aegina and Vladislav Lantratov as Crassus. (SPARTACUS was recorded live on October 20, 2013)
On Christmas Eve, the mysterious Drosselmeyer brings a Nutcracker doll as a gift for his goddaughter Marie. At midnight, the doll comes to life and finds himself in a battle led with the Mouse King, while Marie watches in fear. The Bolshoi’s magical Nutcracker production captivates audiences of all ages and brings them on whirlwind journey of enchantment with rising star Soloist Margarita Shrainer perfectly embodying Marie’s innocence and joy along with the supremely elegant Principal Dancer Semyon Chudin as her Nutcracker Prince. A timeless holiday classic accompanied by Tchaikovsky’s beloved score.
NRContent is generally suitable for all ages. This content does not contain strong language and does not include violence, drug use or sex scenes/dialogue.
On her sixteenth birthday, Princess Aurora falls under the curse of the Evil Fairy Carabosse and into a deep slumber lasting one hundred years. Only the kiss of a prince can break the spell…. Tchaikovsky’s resplendent fairytale ballet is perfect for the whole family, The Sleeping Beauty features scores of magical characters including the Little Red Riding Hood, Puss in Boots, Cinderella, and a beautiful young Princess Aurora performed by Olga Smirnova, a “truly extraordinary talent” (The Telegraph).
PG-13for thematic material involving suicide, brief strong language and some suggestive references
Film adaptation of the Tony and Grammy Award-winning musical about Evan Hansen, a high school senior with Social Anxiety disorder and his journey of self-discovery and acceptance following the suicide of a fellow classmate.
NRSome content may not be suitable for kids under the age of 13 and could include strong language, stronger sexual situations/dialogue (including nudity) and violence. Parents are cautioned about kids under the age of 13 viewing this content.
Stephen Sondheim’s legendary musical is staged for the first time at the National Theatre and broadcast live to cinemas. New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, it’s directed by Dominic Cooke (The Comedy of Errors). Winner of Academy, Tony, Grammy and Olivier awards, Sondheim’s previous work includes A Little Night Music, Sweeney Todd and Sunday in the Park with George.
NRThis content is not recommended for anyone under the age of 17 due to adult themes and could include very strong language, intense violence, nudity, graphic sex scenes/dialogue and drug use.
Captured live from the National Theatre in London, this critically acclaimed production directed by Marianne Elliot (Angels in America, War Horse) has astonished audiences around the world and has received seven Olivier and five Tony Awards®. Christopher, fifteen years old, stands beside Mrs Shears’ dead dog. It has been speared with a garden fork, it is seven minutes after midnight and Christopher is under suspicion. He records each fact in the book he is writing to solve the mystery of who murdered Wellington. He has an extraordinary brain, exceptional at maths while ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched and he distrusts strangers. But his detective work, forbidden by his father, takes him on a frightening journey that upturns his world.
Rfor some disturbing violence, graphic nudity, language and brief sexuality.
Redemption is the long game in Paul Schrader’s THE CARD COUNTER. Told with Schrader’s trademark cinematic intensity, the revenge thriller tells the story of an ex-military interrogator turned gambler haunted by the ghosts of his past decisions, and features riveting performances from stars Oscar Isaac, Tiffany Haddish, Tye Sheridan and Willem Dafoe.
PG-13for sexual content and drug abuse.
An intimate look at the extraordinary rise, fall and redemption of televangelist Tammy Faye Bakker. In the 1970s and 80s, Tammy Faye and her husband, Jim Bakker, rose from humble beginnings to create the world's largest religious broadcasting network and theme park, and were revered for their message of love, acceptance and prosperity. Tammy Faye was legendary for her indelible eyelashes, her idiosyncratic singing, and her eagerness to embrace people from all walks of life. However, it wasn't long before financial improprieties, scheming rivals, and scandal toppled their carefully constructed empire.
PG-13for nude art images.
THE LOST LEONARDO tells the inside story behind the Salvator Mundi, the most expensive painting ever sold at $450 million, claimed to be a long-lost masterpiece by Leonardo da Vinci. From the moment it is purchased from a shady New Orleans auction house, and its buyers discover masterful brushstrokes beneath its cheap restoration, the fate of the Salvator Mundi is driven by an insatiable quest for fame, money, and power. But as its price soars, so do questions about its authenticity. Is this multi-million dollar painting actually by Leonardo – or do certain power players simply want it to be? Unravelling the hidden agendas of the world’s richest men and most powerful art institutions, THE LOST LEONARDO reveals how vested interests became all-important, and the truth secondary.
Exhilarating soprano Lise Davidsen makes her Live in HD debut in one of her signature roles, the mythological Greek heroine of Strauss’s enchanting masterpiece. The outstanding cast also features mezzo-soprano Isabel Leonard as the Composer of the opera-within-an-opera around which the plot revolves, with soprano Brenda Rae as the spirited Zerbinetta and tenor Brandon Jovanovich as Ariadne’s lover, the god Bacchus. Marek Janowski conducts.
Bass René Pape, the world’s reigning Boris, reprises his tremendous portrayal of the tortured tsar caught between grasping ambition and crippling paranoia, kicking off the highly anticipated 2021–22 Live in HD season. Conductor Sebastian Weigle leads Mussorgsky’s masterwork, a pillar of the Russian repertoire, in its original 1869 version. Stephen Wadsworth’s affecting production poignantly captures the hope and suffering of the Russian people, as well as the title ruler himself.
Laurent Pelly’s storybook staging of Massenet’s Cendrillon is presented with an all-new English translation in an abridged 90-minute adaptation, with mezzo-soprano Isabel Leonard as its rags-to-riches princess. Maestro Emmanuel Villaume leads a delightful cast, which includes mezzo-soprano Emily D’Angelo as Cinderella’s Prince Charming, soprano Jessica Pratt as her Fairy Godmother, and mezzo-soprano Stephanie Blythe and bass-baritone Laurent Naouri as her feuding guardians.
For the first time in company history, the Met presents the original five-act French version of Verdi’s epic opera of doomed love among royalty, set against the backdrop of the Spanish Inquisition. Met Music Director Yannick Nézet-Séguin leads a starry cast, including tenor Matthew Polenzani in the title role, soprano Sonya Yoncheva as Élisabeth de Valois, and mezzo-soprano Elīna Garanča as Eboli. Bass Günther Groissböck and bass-baritone John Relyea are Philippe II and the Grand Inquisitor, and baritone Étienne Dupuis rounds out the principal cast as Rodrigue. Verdi’s masterpiece receives a monumental new staging by David McVicar that marks his 11th Met production, placing him among the most prolific and popular directors in recent Met memory.
Rising American composer Matthew Aucoin brings a captivating new take on the ancient Greek myth of Orpheus—who attempts to harness the power of music to rescue his beloved from the underworld—to the Met. Featuring a libretto by MacArthur “Genius Grant” recipient Sarah Ruhl, the opera reimagines the familiar tale from Eurydice’s point of view. Met Music Director Yannick Nézet-Séguin conducts an immersive new staging.
NRaddresses adult themes and contains some adult language.
Met Music Director Yannick Nézet-Séguin conducts Grammy Award–winning jazz musician and composer Terence Blanchard’s adaptation of Charles M. Blow’s moving memoir. The first opera by a Black composer presented on the Met stage and featuring a libretto by filmmaker Kasi Lemmons, the opera tells a poignant and profound story about a young man’s journey to overcome a life of trauma and hardship. James Robinson and Camille A. Brown—two of the creators of the recent production of the Gershwins’ Porgy and Bess—co-direct this new staging, live in cinemas on October 23. Baritone Will Liverman, one of opera’s most exciting young artists, stars as Charles, alongside sopranos Angel Blue as Destiny/Loneliness/Greta and Latonia Moore as Billie.
When Australian composer Brett Dean’s Hamlet had its world premiere at the Glyndebourne Festival in 2017, The Guardian declared, “New opera doesn’t often get to sound this good … Shakespeare offers a gauntlet to composers that shouldn’t always be picked up, but Dean’s Hamlet rises to the challenge.” On June 4, this riveting contemporary masterpiece appears live in cinemas, with Neil Armfield, who directed the work’s premiere, bringing his acclaimed staging to the Met. Many of the original cast members have followed, including tenor Allan Clayton in the title role. Nicholas Carter makes his Met debut conducting a remarkable ensemble, which also features soprano Brenda Rae as Ophelia, mezzo-soprano Sarah Connolly as Gertrude, baritone Rod Gilfry as Claudius, and legendary bass John Tomlinson as the ghost of Hamlet’s father.
Soprano Nadine Sierra takes on one of the repertory’s most formidable and storied roles, the haunted heroine of Donizetti’s Lucia di Lammermoor, in an electrifying new staging by Australian theater and film director Simon Stone, conducted by Riccardo Frizza. Tenor Javier Camarena adds to the bel canto fireworks as Lucia’s beloved, Edgardo, with baritone Artur Ruciński as her overbearing brother, Enrico, and bass Matthew Rose as her tutor, Raimondo.
Tony Award¬–winning director Bartlett Sher offers a bold new take on Verdi’s timeless tragedy, re-setting the opera’s action to 1920s Europe, with Art Deco sets by Michael Yeargan and elegant costumes by Catherine Zuber. Baritone Quinn Kelsey, a commanding artist at the height of his powers, brings his searing portrayal of the title role to the Met for the first time, starring alongside soprano Rosa Feola as Gilda and tenor Piotr Beczała as the Duke of Mantua, with leading maestro Daniele Rustioni on the podium.
Superstar soprano Anna Netrebko makes her long-awaited Met role debut as Puccini’s icy princess—live in cinemas on May 7. Tenor Yonghoon Lee is the bold prince determined to win Turandot’s love, alongside soprano Michelle Bradley as the devoted servant Liù and legendary bass Ferruccio Furlanetto as the blind king Timur. Marco Armiliato conducts Puccini’s stirring opera, which takes the stage in the company’s dazzling, ever-popular production by Franco Zeffirelli.