Administrator of a Fitness-Club Kostya thinks that having a woman taller than 180sm by a man's side is a symbol of his prosperity and success. But he can only dream of having a 180sm beauty by his side. One day he decides to go on a date with one of his 180sm tall Fitness-Club members, after calling almost all the women he doesn't get a single acceptation : each of them has her own problems with men. However, accidentally it happens that way that he happens to be on a date with all of his dream ladies...
A young Israeli suffers a personal crisis after being released from a psychiatric hospital and returns home to find that his wife has left him taking their son with her.
Franco Zeffirelli's magnificient staging of Puccini's final opera - a fairy tale set in a mythical China - is one of the most popular in the Met repertory. In this Live in HD production, Maria Guleghina takes on the title role and Marcello Giordani is Calaf, the unknown prince. Marina Poplavskaya and Samuel Ramey co-star, and Andris Nelsons conducts in his Met debut.
From the world famous Arena of Verona, an international cast perform one of Puccini's best loved operas. The cruel Princess Turandot, ruler of China, will only wed a prince who can answer correctly her three riddles. Those who fail are executed. Prince Calaf, son of the exiled king of Tartary, falls in love with Turandot as soon as he sets eyes on her, and despite the protestations of his friends and family sets out to pass her test.
Puccini s last and unfinished opera tells the tale of Turandot, the cruel daughter of the Chinese emperor, who demands that her suitors correctly answer three riddles. If they fail they are beheaded. Turandot does this in memory of a female ancestor who was brutally ravished and murdered by a marauding prince. Many have failed her test, the latest being the Prince of Persia who will be executed at moonrise. Watching is Calaf, son of the King of Tartary, who on seeing Turandot is captivated by her beauty and he takes up the challenge. With Rosario La Spina cast as Calaf, Susan Foster as the icy princess and Hyeseoung Kwon as the loyal slave girl Liù, the singing throughout is superlative. The choreography and direction of Graeme Murphy is visionary, add the set and costume designs of Kristian Fredrikson, and the lighting of John Drummond Montgomery and this production is glorious in its beauty.
Against all odds, the first theatrical production in over 20 years at Dominguez High School is going to be Thorton Wilder's American classic Our Town. The kids at this Compton school are about to experience more than a culture clash, as they embark on a rich journey and discover the educational and social value of theater. OT: Our Town tells the story of human spirit and its strength against the stereotypes holding them down. Where Thorton Wilder wrote about about little Grover's Corners, this documentary exemplifies how Our Town is every town. Our Town is Compton.
Fleeing an abusive relationship, Mila, a teen prostitute, finds herself in a border town, pregnant, alone, and, to her surprise, welcome. The remote village is on a marijuana plantation run by a group of elderly men and women. Not having known much kindness, she goes into emotional hiding, but by the time the baby is born she has a new life and love. Her past, however, is not far behind
You have seen them being born. You have seen them grow. Forget everything you've seen.
A romantic comedy about a young officers from army base.
In the beginning of a new century the capital of Russia is just amazing and full of poets, beautiful women and arts...
Kesten is a picturesque village on the border between Bulgaria, Turkey and Greece. A French sociologist named Franæois Denis comes to the village to study the risk of ethnic conflict in this part of the Balkans. He finds out that in a place situated only 100 kilometers from Kosovo there are Muslims and Christians capable of living in peace just as they have for hundreds of years. But what is far more interesting to this western visitor is meeting the local inhabitants: Vladimír, who fills all municipal posts from mayor to postmaster, a poet whose verse has never been published and who longs to see Rossellini's The Greatest Love one last time, and a smuggler who is willing to do anything for his mentally disabled brother. It's a fascinating and absurd, though harmonious, world where anything can happen - where even wine has flowed from the water taps...
Mention Giacomo Puccini's name and opera-lovers all over the world will think of grand opera and passionate love stories. One of the world's most famous arias comes from the composer's final opera, Turandot: "Nessun dorma" none shall sleep because by morning the Chinese princess is determined to have discovered the name of the unknown prince. The work is remarkable for its Chinese local colour, its opulent crowd scenes, its powerful choruses and its characters overwhelmed by their emotions. Enthusiastically acclaimed by its audiences, the present production combines spectacular and touching scenes on the Bregenz Festival's vast lakeside stage.
Written 20 years after Madame Butterfly (1904), Puccini's version of an 800-year-old fairy-tale is set in a legendary Peking and scored on a grand scale, incorporating not only Chinese musical techniques but a vast range of oriental percussion. Puccini draws heavily on the chorus, and as ever makes intense demands on his heroine, to which Eva Marton rises powerfully, very well complemented by the tenor Michael Sylvester as Calaf. However, what makes this 1994 San Francisco Opera version so enchanting as a visual experience is the realisation by David Hockney, who not only designed the sets and costumes but also directed the production. His vision is highly stylised, richly imagined, atmospheric and very beautiful, and it is a testament to how well this version is directed that much of the original magic is communicated through the confines of a TV screen.
Part of the Operavox series.
2013 revival of Andrei Serban's 1984 production. Recorded live at the Royal Opera House, September 2013. Andrei Serban's spectacular and thrilling 1984 production of Puccini's final and grandest opera has long been a classic at the Royal Opera House. First filmed for BBC TV in the 80s, this new recording – of its fifteenth revival – is in stunning HD and makes this famous production available for the first time on DVD and Blu-ray. The release will rightfully take its place alongside the outstanding Royal Opera Puccini DVDs of La Bohème, Tosca (on EMI) and Trittico. American Lise Lindstrom is one of the very few contemporary Turandots who can genuinely sing this ‘killer’ role, and is supported by a touching Liù from Japanese soprano Eri Nakamura and an unashamedly Italianite Calaf from Marco Berti. The young Hungarian conductor Henrik Nánási directs the large orchestra and all-important chorus.
The plot follows Princess Turandot who is cursed by a mysterious power emanating from three Mazovian bracelets that were given to her as birthday gifts. These bracelets’ life-draining effects cause the princess to becomes cruel, and gradually she loses her humanity.
This movie was recorded during the 2002 Salzburg Festival. Valery Gergiev provides a quite good performance, as he uses to do, and the stage presents very brilliant moments, for example, the impressive image of Turandot, especially when filmed from the bottom of the scene by the expert Brian Large. Cristina Gallardo Domas as Liu clearly outcomes in this cast although I cannot help mentioning my favourite Liu, Monserrat Caballé. She did set a so high standard for this role that further performances slightly get to approach her. Good Calaf and Turandot and perhaps a not very remarkable Ping, Pang, Pong trio.
The Franco Zeffirelli production of Puccini's "Turandot", recorded live at the Metropolitan Opera in April, 1987. Éva Marton stars as Turandot, with Plácido Domingo as Calaf, Leona Mitchell as Liù, Paul Plishka as Timur, and Hugues Cuenod as L'Imperatore Altoum. James Levine conducts.
Michaela Grill's visual work makes use of a concrete wall as the smallest identifiable element of urban music culture which forms a space. The visual organization of this barely recognizable representational surface is resolved through Takeshi Fumimoto's musical structure. The images illustrate neither the tone nor the rhythm; they follow the logic of the acoustic blueprint to create new forms of hearing through the processing of the found sounds. The camera makes a parallel searching movement along the rough surface. The images, which cannot be isolated, resist a representational aesthetic, and fleeting spatial landscapes and forms which illustrate non-repeatability and improvisation appear in the tension between concentration on the cracks and fractures and the camera's movement across them. Reduction to the plastic and sensorial basis sensitizes the viewer's gaze by making the structure comprehensible.