Katia Ricciarelli

Bologna, 1954. Taddeo, a young man of 18 whom everyone calls Kid, dreams of becoming one of the regulars of the mythical Margherita Café, located under the portico across from his family's home. Through a ploy, he manages to get work as the chauffeur for Al, the neighborhood's most glamorous and mysterious resident. Having been taken under Al's wing, Taddeo gets to witness the adventures of Bep, who is in love with Marcella the entraineuse; the trials and tribulations of Gian, an aspiring singer and the victim of a horrible practical joke; the crazy behavior of Manuelo, a small-time robber with a sex phobia; the meanness of Zanchi, inventor of the elastic necktie; and the bizarre manias of Sarti, a ballroom dancing champion who wears his tux day and night. And Taddeo's home life is no less out of the ordinary, considering his mother is being led on by the family physician while his grandfather has fallen head over heels for a well-built piano teacher.

Racial integration is Elena's profession and passion, not only filling her working day as a cultural mediator assisting immigrants, but spilling over into her home life as well. All too often her husband Carlo must attend charity events where he feels distinctly out of place. During one of these evenings, Carlo meets Nadine, a beautiful black woman.

When his destituite widowed sister-in-law—whom he had never stopped harbouring feelings for—and her ne'er-do-well son come to live with him after World War II, a mentally-ill farmer who spends all his time destroying unexploded ordnance scattered across the countryside finds a new purpose in his lonely life.

Dino craft practice tattoos, Bruna is a beautician; their studies are facing each other. They learn of a mysterious treasure hidden in a chair that belonged to a woman now dead.

The historic 1984 revival performance of Il viaggio a Reims was the first time in over 150 years the opera was performed. Set in a luxurious hotel in Plombières-les-Bains, the opera follows a diverse group of aristocratic characters as they gather to celebrate the coronation of King Charles X of France. Amidst the festivities, wacky antics ensue, romantic entanglements unfold, and the characters face various comedic and dramatic challenges, showcasing Rossini's masterful blend of music, comedy, and drama.

Through five stories, the film talks about the problems related to social networks and its use especially by young people.

This production from Covent Garden is set in Stockholm, and not Boston. With Reri Grist (Oscar), Placido Domingo (Gustavus), Katia Ricciarelli (Amelia), Piero Cappucili (Renato), Patricia Payne (? - the booklet or DVD fails to credit the singer) (Ulrica) and Claudio Abbado in the pit: all at their peak, you just simply cannot go wrong when purchasing this DVD. This performance made me realise why I had fallen in love with opera: beautiful (today one should be thankful) and convincing sets and costumes, and fiery conducting and singing from all the above soloists which leaves you breathless. Domingo as the King (not the Governor of Boston) is simply ravishing! He is so convincing and dashing as Gustavus - I think very few tenors nowadays can even attempt such a convincing vocal and dramatic performance.

Live from the Metropolitan Opera, 14 February 1980. This version takes place in Boston rather than Sweden.

Maazel conducts this production from Vienna, starring Jose Carreras and Eva Marton.

Carmen, presented in a production at the French Opera House.

Based on Shakespeare's play, Verdi's opera depicts the devastating effects of jealousy, "...the green-eyed monster which doth mock the meat it feeds upon". Believing Otello has promoted the fast-rising Cassio over himself, Iago plots to destroy both Cassio and Otello. Iago convinces the jealous Otello that his beautiful wife Desdemona is unfaithful, and that Cassio is her lover. Jealousy is followed by tragedy, then retribution, "Has Heaven no more thunderbolts?"

This first-rate 1982 production of Verdi’s Falstaff marked the great 20th century Italian maestro Carlo Maria Giulini's return to opera conducting after more than a decade's absence. Renato Bruson leads a brilliant cast as the lovable fat knight Sir John Falstaff, going toe to toe in a series of hijinks with Katia Ricciarelli (Alice Ford) and Brenda Boozer (Meg Page).

Five patients suffering from serious mental disorders, after therapy carried out at the mental health department, are entrusted to the care of Carmen who has the task of helping them resume a normal life and reintegrate into the social and working context. All of them go to live in the apartment where they are distrusted by their neighbours, intimidated by their strange habits. Only four of them will be able to regain possession of their lives, overcoming the dark tunnel into which their mind had fallen.

A widowed mother, tries desperately to get an entry into the ruthless world of professional football for her 12-yer-old son.

This tour-de-force concert event showcases opera luminaries Alfredo Kraus, Ruggero Raimondi and Katia Ricciarelli performing arias and other songs, including "Chanson Boheme" from "Carmen" and "Soli noi siamo" from "Lucrezia Borgia." Filmed live in Madrid and also featuring vocalists Paolo Coni and Lucia Valentini-Terrani, this program also includes "La calunnia e un venticello" from "Il barbiere di Seviglia" and many more.