The production bears the imprint of the conductor, Marko Letonja, and the director, Tobias Richter, whose understanding is ideal: both breathe a troupe spirit - specific to comedy - into this heterogeneous cast, which brings together young and old. Both give as much importance to recitatives as to arias and ensembles.

Fierce with a pen and notorious in combat, Cyrano almost has it all - if only he could win the heart of his true love Roxane. There’s just one big problem: he has a nose as huge as his heart. Will a society engulfed by narcissism get the better of Cyrano - or can his mastery of language set Roxane’s world alight?

Part One, "The Last Christmas Dinner," is about the relationship between an old man and an old woman, both homeless. Part Two, "The Electric Floor Polisher," is an opera-like story of a woman who is obsessed with polishing her floors. Part Three is a musical interlude featuring Jeanne Moreau singing "When Love Dies." Part Four, "The Virtue of Tolerance," concerns an old man, his young wife, and how they come to terms when she has an affair with a man her own age.

The film is set to bring forward once again the well-worn images of the summit talks between Reagan and Gorbachev in Geneva. It is a reproduction of the days during the summit. On the one hand, pictures are gathered from the perspective as an onlooker in Geneva, on the other hand, the old television footage is processed.

"Theatre of Mr. and Mrs. Kabal" is Walerian Borowczyk’s first feature-length film and his last animated film. It consists of a sequence of loosely connected scenes, much like a vaudeville program, in which Mr. and Mrs. Kabal perform absurd, surreal, and sometimes cruel acts.

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

Three young children set up a table, and on the table is placed a miniature stage. The stage curtain opens, a carpet appears, and then the carpet unrolls by itself. Two puppet figures then come out and begin to perform a series of routines.

The wandering minstrel Lothario comes across a beautiful young girl named Mignon - a girl who may be his long-lost daughter.

British director Phelim McDermott offers the audience a new take on the culture of the people of Ancient Egypt in Aida, one that allows us also to question the world in which we live. This new perspective entails a number of bold creative choices that do not make use of the traditional staging imagery associated with Aida. Aida’s command to Radames — “Ritorna vincitor!” — comes at a price. The triumphal march of the victorious Egyptians is a procession for the coffins of the heroes fallen in battle, the chorus are their grieving kinsfolk. McDermott’s staging resonates keenly with the images of so many civilian and military funerals that crowd our newsfeeds. Here is a triumphal march that does not seek to hide the true, lethal and disastrous nature of war, whatever side you are on.

A splendid Jenůfa, one of Janáček's best-known operas, here directed for stage by Alvis Hermanis and conducted by Ludovic Morlot at La Monnaie / Die Munt in Brussels.