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    Renée Fleming and Susan Graham (pictured above) reprise their acclaimed portrayals in Der Rosenkavalier, the newest high-definition addition to the Met Player catalog also starring Christine Schäfer, Thomas Allen, and Kristinn Sigmundsson.This performance of the Met's sumptuous production of Strauss's comic masterpiece was seen in movie theaters worldwide earlier this year as part of the Live in HD series.More than 50 classic Met telecasts including Leontyne Price in Aida (1985), Beverly Sills in Don Pasquale (1979), Plácido Domingo and Renée Fleming in Otello (1995), and a newly added performance of Andrea Chénier starring Luciano Pavarotti and Maria Guleghina (1996).Over 200 historic radio broadcasts dating back to 1936. Or consider an annual subscription to enjoy Met Player for a full year, with new titles added every month.Among the hostages are a Japanese industrialist, as César; and Jacques Imbrailo as Joachim Messner, the Red Cross intermediary for the hostages, captors, and government officials.The Chicago Tribune observed that "audience members everywhere surely will take comfort in the opera's message of the transcendence of love and beauty in a world increasingly wracked with danger and fear." "All of us at Lyric are delighted to share the excitement of the world premiere of 'Bel Canto' with the Great Performances audience," says , Lyric's general director, president and CEO.Experience this extraordinary cast, in stunning HD!

    When we awarded the commission to the brilliant Jimmy López, I had no idea that he actually had lived through the crisis as a teenager in when terrorists storm the mansion.Such thoughts came to mind when, after a delay of almost 178 years, the San Francisco Opera finally brought Donizetti’s , has built her career by occasionally interspersing essentially lyric roles with bel canto gems whose writing for soprano or high mezzo tend to lie lower in the range. She also moved with feeling, if not riveting energy, and sang very well.If her coloratura lacked some of the high flying escapades that raised eyebrows on her 1999 recording of the opera’s third act finale, it nonetheless abounded in steadiness, a number of admirably executed trills, and vocal beauty.The hostage situation becomes a siege as government forces surround the compound.During the months-long crisis, lines blur and unexpected alliances form between captors and captives, with Roxane's singing becoming a powerful, humanizing force.

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