Diana Damrau

Documentary about Wolfgang Amadeus Mozart.

Documentary about female opera stars.

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive. The internationally renowned Mozart interpreter Sir Colin Davis conducts the chorus and orchestra of the Royal Opera House and a glittering cast in David McVicar's 2003 production of the opera Mozart wrote in the final year of his life, recorded live at Covent Garden.

Herbert Wernicke's production of Richard Strauss's "Der Rosenkavalier", filmed live at the Festspielhaus Baden-Baden on 31 January 2009. Renée Fleming is the Marschallin, Diana Damrau is Sophie, Sophie Koch is Octavian, Franz Hawlata is Baron Ochs, Franz Grundheber is Faninal, Jane Henschel is Annina, and Jonas Kaufmann is the Italian singer. Christian Thielemann conducts the Münchner Philharmoniker.

Inspired by one of the twentieth century's greatest novels, composer Lorin Maazel evokes Orwell's totalitarian nightmare, where "Big Brother" is always watching, and those guilty of "thoughtcrime" are condemned to face their worst fears in the infamous "Room 101". Filmed during world premiere performances of Robert Lepage's spectacular and psychologically gripping Royal Opera production and conducted by the composer, an international cast brings George Orwell's dark vision to shattering operatic life.

Diana Damrau performs the title role of Salieri's opera staged in the Teatro alla Scala in 2004. Riccardo Muti conducts the Teatro alla Scala Orchestra and Chorus with the cast also including Desirée Rancatore as Semele and Genia Kühmeier as Asterio.

Live performance, Bayerische Staatsoper, 2011. The Tales of Hoffmann (French: LES CONTES D'HOFFMANN) is an opéra fantastique by Jacques Offenbach that combines three short stories by E.T.A. Hoffmann into a haunting whole: a melancholy poet reflects on three women he loved and lost in the past: a mechanical performing doll, a Venetian courtesan, and the consumptive daughter of a celebrated composer. One of the questions this opera poses for any director is how to link the 'tales' of Hoffmann's three lost loves together and knit them satisfactorily into the Prologue and Epilogue. In this production, Richard Jones solves the puzzle by turning it into an autobiographical journey which ends with a grand meet-up of all the characters Hoffmann has encountered: for once, Hoffmann is not presented as a rollicking kind of drunken story-spinner, but rather a sad-eyed, sobered-up depressive, who reaches for the bottle only because his disastrous love life has gone wrong yet again.

The Queen of the Night enlists a handsome prince named Tamino to rescue her beautiful kidnapped daughter, Princess Pamina. Aided by the lovelorn bird hunter Papageno and a magical flute that holds the power to change the hearts of men, young Tamino embarks on a quest for true love, leading to the evil Sarastro's temple where Pamina is held captive. The Pierre Audi production of Mozart's Die Zauberflöte was recorded live at the 2006 Salzburger Festpiele.

Rossini's "Le Comte Ory" tells the story of a libidinous and cunning nobleman who disguises himself first as a hermit and then as a nun in order to gain access to the virtuous Countess Adele, whose brother is away at the Crusades. The 2011 Met production was directed by Tony Award winner Bartlett Sher, who presented the action as an opera within an opera, updating the action by a few centuries and giving the costume designer, Catherine Zuber, the opportunity to create some particularly extravagant headgear. Juan Diego Florez starred as the title role while Diana Damrau plays Countess Adele, and Joyce DiDonato was in breeches as his pageboy Isolier. Conducted with verve and finesse by Maurizio Benini, the production also features the stylish French baritone Stephane Degout as Ory's bibulous conspirator Raimbaud, charismatic Italian bass Michele Pertusi as the Count's long-suffering Tutor, and, formidable as Adele's housekeeper Ragonde, the Swedish dramatic mezzo Susanne Resmark.

Both Florez and Diana Damrau brought their bel canto expertise and superb vocalism to the service of Verdi's music. The Rigoletto, Zeljko Lucic, ran the gamut from tenderness with his Gilda to thundering fury with everyone else. I also liked the production. At first, when Rigoletto was putting on his grease paint during the overture, I was afraid that it might be a typical "Euro-trash" production, with a bit of warmed over I Pagliacci. But the sets and dramatic action really served the music and libretto. I would have to say that I came to a deeper understanding and appreciation of the story and characters as a result of seeing this performance.

Diana Damrau, Ildebrando D'Arcangelo, Pietro Spagnoli, Marcella Orsatti Talamanca, and Monica Bacelli star in this La Scala production of the Mozart opera conducted by Gerard Korsten and directed by Giorgio Strehler.

The prestigious Gran Teatre del Liceu from Barcelona presents Mozart's beloved opera in an elegant, dramatic twist with a sparkling cast of world-class stars, led by coloratura soprano Diana Damrau as Constance and rising star Olga Peretyatko as Blonda. Director Christophe Loy has created a thought-provoking and surprisingly original script in which both Constance and Blonda feel respect, admiration and even deep love for their captors. As a result of this tantalizing, torturous approach, traditional norms and concepts of good and evil were turned upside down.

Bizet’s rarely heard opera returned to the Met for the first time in a century on New Year’s Eve 2015, in Penny Woolcock’s acclaimed new production. Star soprano Diana Damrau sings Leïla, the virgin priestess at the center of the story. Matthew Polenzani and Mariusz Kwiecien are Nadir and Zurga, rivals for Leïla’s love who have sworn to renounce her to protect their friendship—and who get to sing one of opera’s most celebrated duets, “Au fond du temple saint.” Nicolas Testé is the high priest Nourabad and Gianandrea Noseda conducts Bizet’s supremely romantic score.

Lucia’s brother Enrico is horrified to learn she has fallen in love with his sworn enemy Edgardo. He hastily arranges her marriage to his associate Arturo. Edgardo and Lucia privately exchange rings before he leaves to fight in France. Enrico tricks Lucia into believing that Edgardo has been unfaithful. Longing for death, she signs the contract with Arturo – moments before Edgardo returns. Lucia murders Arturo in their wedding bed. His death is followed first by Lucia’s, and then by Edgardo’s.

Staging directors Patrice Caurier and Moshe Leiser infuse German composer Engelbert Humperdinck's fairy-tale opera with more than a dollop of black humor in this 2008 London performance that's both enchanting and menacing. Angelika Kirchschlager and Diana Damrau play Hansel and Gretel, respectively, and beloved British baritone Thomas Allen portrays their father in an outstanding production led by maestro Colin Davis.

Filmed production of the 2016 Scala production of the famous opera.

In 2005, the Staatsoper Berlin and its orchestra, the Staatskapelle Berlin under musical director Daniel Barenboim, celebrated a series of events to celebrate the 80th birthday of French conductor and composer Pierre Boulez. Artistically associated for decades with Barenboim and Berlin, Pierre Boulez is one of today's most distinguished composers and conductors. As part of the celebration, Boulez conducted a performance of Mahler's "Resurrection" Symphony at the Berlin Philharmonie. With his uncompromising approach to the score, Pierre Boulez's Mahler readings have long fascinated critics and audiences alike. Boulez eschews the romanticized readings common in performance tradition and, instead, reveals the real joy and terror in Mahler's large-scale symphonies.

Any new Met production of Verdi’s beloved tragedy La Traviata would be noteworthy, but Michael Mayer’s dazzling staging, which premiered during the 2018–19 season, was doubly significant as it marked Yannick Nézet-Séguin’s first performances as the Met’s Jeanette Lerman-Neubauer Music Director. On the podium for this Live in HD transmission, Nézet-Séguin leads a starry ensemble. As Violetta, the consumptive heroine fighting to find true happiness, soprano Diana Damrau delivers yet another compelling portrayal on the Met stage. Tenor Juan Diego Flórez sings his first Verdi role with the company, as Violetta’s ardent yet impetuous lover, Alfredo, and baritone Quinn Kelsey rounds out the principal cast as Giorgio Germont, Alfredo’s implacable father.

Diana Damrau’s reputation as the world’s leading coloratura soprano has been built on her extraordinary technical virtuosity, her sensitive musicianship and her acute psychological insight. In this DVD of Katie Mitchell’s sometimes radical production of Lucia di Lammermoor from London’s Royal Opera House, she is, as the Financial Times wrote, “brilliantly convincing”. The British award winning director Katie Mitchell – took a revisionist approach to the drama, updating the action to the mid-19th century and applying a feminist slant as she added new and unexpected elements. The Financial Times wrote: “Mitchell shows us on stage personal traumas that a self-respecting woman in the early 19th century was meant to keep to herself. It is a messy, bloody list — nocturnal sex trysts, a knife murder, a miscarriage, a suicide in the bath … In all this Damrau is brilliantly convincing. Her rebellious Lucia is a woman of modern attitudes stuck in a still feudal Victorian world.”

Following her performances in recent seasons in Verdi’s La travita on the world’s major opera stages – the Metropolitan, New York, La Scala, Milan, Royal Opera House Covent Garden and Paris Opera – Diana Damrau has become the primary interpreter of Violetta, arguably opera’s most iconic character. This DVD release is from Paris Opera production of June 2014, when the German soprano appeared in a new production – inspired by the paintings of Manet – by the film director Benoit Jacquot. This critically acclaimed production was conducted by Francesco Ivan Ciampa, with a cast including Francesco Demuro and Ludovic Tezier.

Including world-class artists such as Bryn Terfel, Cecilia Bartoli, Anne Sofie von Otter, Jose Cura, Simon Keenlyside and Agnes Letestu, this 50-minute sampler will give you a taste of many beloved classics in opera and ballet.

In its most ambitious effort yet to bring the joy and artistry of opera to audiences everywhere during the Met’s closure, the company presented an unprecedented virtual At-Home Gala, featuring more than 40 leading artists performing in a live stream from their homes all around the world.

Michael Mayer’s acclaimed production, first seen in the 2012–13 season, sets the action of Verdi’s masterpiece in 1960 Las Vegas—a neon-lit world ruled by money and ruthless, powerful men. Piotr Beczała is the Duke, a popular entertainer and casino owner who will stop at nothing to get what he wants. Željko Lučić sings Rigoletto, his sidekick and comedian, and Diana Damrau is Rigoletto’s innocent daughter, Gilda. When she is seduced by the Duke, Rigoletto sets out on a tragic course of murderous revenge. Štefan Kocán is the assassin Sparafucile and Michele Mariotti conducts.

Diana Damrau and Vittorio Grigolo are opera’s classic lovers in Gounod’s lush Shakespeare adaptation. Director Bartlett Sher’s “brilliant and inspired new production … is a revelation” (Huffington Post), and has already won acclaim for its vivid 18th-century milieu and stunning costumes during runs at Salzburg and La Scala. Emmanuel Villaume conducts the sumptuous score.

A bel canto jewel and one of the most technically-challenging operas of the repertoire found its dream team in 2016 at the Teatro Real de Madrid with the incredible soprano Diana Damrau as Elvira, Javier Camarena as Arturo, Ludovic Tézier as Sir Riccardo Forth, and Nicolas Testé as Sir Giorgio. The Spanish stage director Emilio Sagi’s setting of I Puritani is somber and elegant, a perfect match for the excellent musical direction of Evelino Pidò, one of the great interpreters of this repertoire.

The Berlin Philharmonic brings in the New Year with a festive concert featuring performances of music by Gershwin, Bernstein, Porter & Loewe.

Kirill Petrenko conducts this live performance of the Berliner Philharmoniker with Diana Damrau. The programme features works by Richard Rodgers, Kurt Weill, Stephen Sondheim and Harold Arlen.

The annual New Year’s Eve Concert is one of the highlights in the calendar of every classical music fan in Berlin and beyond. On New Year‘s Eve, the Berliner Philharmoniker invite an exceptional soloist for a festive gala. Together, the musicians bid farewell to the old year and welcome the new. The 2019 concert was conducted by Kirill Petrenko and featured soprano Diana Damrau. On the programme: George Gershwin: Girl Crazy - Overture, Richard Rodgers: If I loved you from "Carousel", Leonard Bernstein: I feel pretty from and Dances from "West Side Story", Kurt Weill: Foolish Heart from "One Touch of Venus" and Lady in the Dark - Symphonic Nocturne, Stephen Sondheim: Send in the Clowns from "A Little Night Music", Harold Arlen: Over the Rainbow from "The Wizard of Oz", George Gershwin: An American in Paris, Frederick Loewe: I Could Have Danced All Night from "My Fair Lady", Franz Waxman: The Ride of the Cossacks from "Taras Bulba."

Barrie Kosky gives the “operetta of all operettas” a new look and devotes himself to its morbid side. The setting is Vienna, city of the golden operetta era, where Die Fledermaus premiered at the Theater an der Wien in 1874. The bat's revenge becomes a nightmare, and not just for Gabriel von Eisenstein. A society, an entire city dances towards the abyss. To take revenge on his friend Eisenstein, Dr. Falke, alias Die Fledermaus, stages a game of mistaken identity at Count Orlofsky's house. A marquis and a chevalier, a countess and budding artists meet there for a raucous party. Glasses clink, relationships are shaken, people love, lie and dance. The party lasts as long as it lasts, true to the motto: “Happy is he who forgets...”.

One of his most sublime compositions, Verdi’s ode to love and sacrifice is adored the world over. Cutting-edge director and designer Dmitri Tcherniakov’s captivating production is set in the present day. German soprano Diana Damrau is matchless in the role of the tragic Violetta Valéry. Alongside her, the tenor Piotr Beczala as Alfredo and Željko Lučić as Germont, his valiant father, beg for her pardon. Daniele Gatti conducts.

When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.