All Emerging Pictures Opera in Cinema productions are presented in stunning High Definition, 5.1 surround sound, and subtitled in English.

General Admission : $20
Senior (62+), Youth (17-), Student (w/ valid ID) : $16

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Cendrillion - Royal Opera House, London

Sunday January 22nd - 2:00p
Tuesday January 24th- 7:00p

Sung in French

2 hrs 50 mins including one intermission

Cendrillon: JOYCE DIDONATO
La Fée: EGLISE GUTIERREZ
Le Prince Charmant: ALICE COOTE
Madame de la Haltière: EWA PODLES
Pandolfe: JEAN-PHILIPPE LAFONT
Noémie: MADELEINE PIERARD
Dorothée: KAI RÜÜTEL
Roi: JEREMY WHITE
Doyen de la Faculté: HARRY NICOLL
Surintendant des Plaisirs: DAWID KIMBERG
Premier Ministre: JOHN-OWEN MILEY-READ

Composer: JULES MASSENET
Conductor: BERTRAND DE BILLY
Director: LAURENT PELLY
Set designs: BARBARA DE LIMBURG
Costume designs: LAURENT PELLY & JEAN-JACQUES DELMOTTE
Lighting design: DUANE SCHULER
Choreography: LAURA SCOZZI

Program Note:

For the first time ever, The Royal Opera presents the story of Cinderella as told in Massenet’s opera Cendrillon. The production, new to the Royal Opera House, is by Laurent Pelly, whose previous work here has included the spectacularly successful La Fille du régiment, a heart-warming L’elisir d’amore and last Season’s stylish new Manon. Pelly brings his characteristic lightness of touch, wit and elegance to Massenet’s delightfully tuneful score against sets and costumes of fairytale charm. Joyce DiDonato takes the title role, with Alice Coote – just like the Principal Boy familiar from British pantomime – as her Prince Charming. And there has of course to be a fairy godmother, played by Eglise Guttiérez, in this version of a tale that gained particular popularity from the published fairytales of Frenchman Charles Perrault. Musical highlights include the fairy godmother’s airy coloratura, the orchestral dances of the ball, the March of the Princesses, and of course rapturous duets between the Prince and Cendrillon. French music specialist Bertrand de Billy is the conductor for an opera of radiance and charm.

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Il Trittico - Royal Opera House, London

Sunday February 12th - 2:00p
Tuesday February 21st- 7:00p

Sung in Italian with English subtitles

3 hrs 45 mins including two intermissions

Michele: LUCIO GALLO
Il ‘Talpa’: ENRICO FISSORE
Giorgetta: EVA-MARIA WESTBROEK
La Frugola: IRINA MISHURA
Luigi: ALEKSANDRS ANTONENKO
Ballad Seller: JI HYUN KIM
Il ‘Tinca’: ALAN OKE
Two lovers: ANNA DEVIN, JI HYUN KIM

Conductor: ANTONIO PAPPANO
Director: RICHARD JONES
Set designs: ULTZ
Costume designs: NICKY GILLIBRAND
Lighting design: D M WOOD

Program Note:

This is The Royal Opera’s first complete presentation of Puccini’s Il trittico since 1965. Leading director Richard Jones staged his witty, darkly comic realization of Gianni Schicchi for The Royal Opera in 2007, and here he completes the trio. Royal Opera Music Director Antonio Pappano will conduct. Il trittico (‘the triptych’), unveiled at the Metropolitan Opera, New York, in 1918, represented an operatic departure. Instead of a single evening-length narrative, Puccini offered three contrasting one-act works. Il trittico reached Covent Garden in 1920, but has rarely been performed there complete.

The first panel, Il tabarro (The Cloak), takes us to a barge on the banks of the Seine, where an unusually dark version of the eternal operatic triangle is played out with a gruesome and violent ending. World-famous soprano Eva-Maria Westbroek, recently on the main stage as Anna Nicole Smith in Mark-Anthony Turnage’s Anna Nicole, directed by Richard Jones, takes the role of the wayward Giorgetta, bored with her elderly husband, who embarks on an affair with the handsome Luigi.

Next comes the pastel-shaded Suor Angelica (Sister Angelica), set in a convent where a woman has been sent to expiate the ‘sin’ of having an illegitimate baby; suddenly a relative arrives to bring her some devastating news. The devoted and tormented mother, Suor Angelica, is sung by German soprano Anja Harteros, who made her triumphant Royal Opera debut in 2008 as Amelia Grimaldi in Verdi’s Simon Boccanegra. Acclaimed Jette Parker Young Artist Anna Devin sings the charming cameo role of young Suor Genoveva.

Finally, in the mordant comedy Gianni Schicchi we meet the Florentine relatives of the late Buoso Donati, intent upon altering the will of their deceased family member with the aid of a wily newcomer to the city. Renowned baritone Lucio Gallo returns to The Royal Opera after his triumphant performances as Iago in Simon Boccanegra, Elena Zilio returns in the grandly comic role of Zita and rising star Francesco Demuro sings the role of her nephew Rinuccio.

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La Boheme- Gran Teatre del Liceu

Sunday March 25th - 2:00p
Tuesday March 27th- 7:00p

2 hrs 50 mins including intermissions

Cast To Be Announced

Conductor: VICTOR PABLO PEREZ
Director: GIANCARLO DEL MONACO
Set designs: MICHAEL SCOTT
Costume designs: MICHAEL SCOTT
Lighting design: ULRICH NIEPEL

Program Note:

From the mid-19th century onwards — against the background of industrialization, the supremacy of bourgeois values, and an intellectual climate dominated by secular materialistic and scientific positivism — art became realistic, seeking to show things as they really were — almost photographically —, rather than making them more amiable or more beautiful. An opera such as La Bohème, which talks of the fragile nature of happiness in a world of poverty, cold and disease, is an obvious example of this trend.

In La Bohème, however, the aesthetic of Verism — the Italian equivalent of the French Naturalism of Émile Zola — becomes more sentimental and the brutality of social reality is depicted less crudely than elsewhere. Four young artists live out their everyday lives amid dreams and disappointments, waiting for the event that is to win them renown, but poverty and misfortune deprive the leading characters — Mimì and Rodolfo — of the joy of mutual love. The text and music relate all this with a pleasant melodramatic tenderness with which it is easy to identify.

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Rigoletto - Royal Opera House, London

Sunday April 22nd- 2:00p
Tuesday April 24th- 7:00p

Sung in Italian with English subtitles

2 hrs 9 mins

Rigoletto: DIMITRI PLATANIAS
Marullo: ZHENGZHONG ZHOU
Gilda: EKATERINA SIURINA
Count Monterone: GIANFRANCO MONTRESOR
Duke of Mantua: VITTORIO GRIGOLO
Giovanna: TBA
Matteo Borsa: PABLO BEMSCH
Page: ANDREA HAZELL
Count Ceprano: JIHOON KIM
Court Usher: NIGEL CLIFFE
Countess Ceprano: LOUISE ARMIT
Maddalena: CHRISTINE RICE

Conductor: JOHN ELIOT GARDINER
Director: DAVID MCVICAR
Set designs: MICHAEL VALE
Costume designs: TANYA MCCALLIN

Program Note:

Act I

Scene 1 - At a ball at the ducal court of Mantua, the hunchbacked jester Rigoletto mocks the courtiers cuckolded by the profligate Duke, stirring them to plans of vengeance. Count Monterone appeals to the Duke for the return of his dishonoured daughter, but is cruelly mocked by Rigoletto. Enraged, Monterone calls down a father's curse on the terrified jester.

Scene 2 - Outside his house, Rigoletto encounters Sparafucile, a professional assassin, but has no need of his services. Rigoletto warns his daughter Gilda to remain concealed in their home. She does not reveal to him that she has fallen in love with a handsome young man she has encountered on her way to church. The object of her affections is the Duke, who appears as soon as Rigoletto has left, bribing Gilda's nurse to admit him and to speak well of him to Gilda. He tells her he is a poor student. After he leaves, the courtiers come to abduct Gilda, believing her to be Rigoletto's mistress. They trick Rigoletto into assisting them, assuring him that it is the Countess Ceprano they are abducting from the neighboring house. When he realizes what has happened, he is distraught. He remembers the curse.

Act II

The courtiers describe their abduction of Gilda to the Duke. He is delighted to discover that she has been brought to his palace and awaits him in his bedroom. Rigoletto now enters, feigning indifference but desperately seeking signs of the whereabouts of his daughter. When he realizes what has happened he first curses, then pleads with the courtiers for her return, but to no avail. Gilda appears en deshabille, and Rigoletto swears vengeance on the Duke.

Act III

The Duke has been lured to a remote inn by Sparafucile's sister Maddalena. Rigoletto has paid Sparafucile to kill the Duke and to deliver his body in a sack so that he may himself throw it into the Mincio. Rigoletto brings Gilda with him to spy on the inn, hoping to reinforce the notion that the Duke is not a man of honour in affairs of the heart. Gilda is unimpressed. Rigoletto sends her home to change into men's clothing for their flight to Verona. Infatuated with the Duke herself, Maddalena begs her brother to spare him and to murder the jester instead. His sense of professional responsibility offended, Sparafucile refuses, but does go so far as to agree that if anyone else should happen to show up at the inn on this wild and stormy night, he will murder them instead. Gilda, returning and hearing all this, sees her chance to help the man she loves. She boldly walks up to the door of the inn, knocks, is admitted and promptly stabbed and stuffed into the sack for Rigoletto. Rigoletto is just about to throw the sack in the river when he hears the Duke still singing in the inn. Wildly he opens the sack to find his dying daughter, who with her last breath assures him that she will pray for him with her mother in heaven. Again, Rigoletto recalls Monterone's curse.

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