Kristine Opolais

Various authors

1h 39m
Spanish , English

Critics praise her and the audience loves her - Kristine Opolais, the primadonna and the star of the New York Metropolitan opera in a splendid solo concert at the Latvian National Opera. The programme includes arias both from operas that brought Kristine international acclaim and pieces that will be included in her future repertoire.


The beautiful programme, mostly dedicated to Italian music, will encourage you to dream about love and think about what is truly important. It will touch your heart in many ways.

Conductor | Sesto Quatrini

Soprano | Kristine Opolais

Latvian National Symphony Orchestra



Giuseppe Verdi

Overture from Luisa Miller

Desdemona's "O salce" and "Ave Maria", from Otello, Act IV

Aria from Aida, Act I

Overture from La forza del destino


Alfredo Catalani

Wally's aria, from La Wally, Act I


Pietro Mascagni

Intermezzo from L'amico fritz


Arrigo Boito

Margherita's aria, from Mefistofele, Act III


Giacomo Puccini

Cio-Cio-San's aria, from Madama Butterfly, Act II

Manon's aria, from Manon Lescaut


Camille Saint-Saëns

"Bacchanale", from Samson et Delilah, Act III


Giacomo Puccini

Cio-Cio-San's aria, from Madama Butterfly, Act III

"O mio babbino caro", from Gianni Schicchi


La Fenice
Giuseppe Verdi
Maurizio Benini, Arnaud Bernard

Based on Schiller’s Kabale und Liebe (Intrigue and Love), Verdi’s tragic melodrama Luisa Miller revolves around the loves of the heroine of the title and Rodolfo, son of Count Walter, and the machinations of the Count’s steward, Wurm, who wants Luisa for himself, resulting in the death of all three. Directed by Arnaud Bernard, who took as his inspiration Bernardo Bertolucci’s 1976 film 1900, this La Fenice production is led by the outstanding Bulgarian soprano Darina Takova whose intense characterization of Luisa emphasizes the heroine’s inner torture, and Giuseppe Sabbatini who brings a thrilling theatricality to the rôle of Rodolfo, especially in the most famous aria from the opera, "Quando le sere al placido".

With the collaboration of Naxos.

Teatro Real (Spain)
Giacomo Puccini
Marco Armiliato, Mario Gas

Madama Butterfly, one of the most staged operas in the whole world.  


The tragic story of the geisha Cio Cio San, better known as Madama Butterfly, touches all audiences. Puccini’s innate talent narrates the terrible conflict between two irreconcilable civilizations. This time the story is told from a different angle. Stage director Mario Gas sets the story in a 1930s cinema set. He narrates the poignant drama from three simultaneous perspectives for an even more marvelous experience of this classic by Giacomo Puccini.

Festspielhaus Baden-Baden
Giacomo Puccini
Sir Simon Rattle, Richard Eyre

The fact that the Berliner Philharmoniker turned to Puccini – this beloved yet ostracized composer – is symbolic. Here is someone who was thought to be outmoded for a long time, but there is really so much more to be discovered about him and his work. The tale of one who becomes a model but remains a girl, is very contemporary.

Los Angeles Opera
Giacomo Puccini
Grant Gershon, Woody Allen

Puccini’s Gianni Schicchi premiered at the Metropolitan Opera New York in 1918. The third piece of his Il trittico is a comic opera after an episode in Dante’s Divine Commedy –the playful-amusing depiction of a shrewd glutton – that soon became a great success with the public. Its musical language is surely the boldest and most modern of the Trittico. This masterpiece of Italian Opera Buffa will be staged by none less than Woody Allen, whose mordacity and twisted sense of humor will make it truly special.

From the archive
Camille Saint-Saëns
Luis Antonio García Navarro, Beni Montresor

Samson et Dalila is a representative example of that exoticism which in the 19th century acted as one of the main movements of the French imagination. The only one of his thirteen operas that has remained in the repertoire, Saint-Saëns adheres to an authentic stage tradition that includes titles such as Meyerbeer's L'Africaine, Bizet's Les pêcheurs de perles, or Delibes' Lakmé. The well-known biblical plot is used to create a work that is somewhere between an oratorio and a grand-opera. From the former, the structural sense, the importance of the chorus and a certain staticism, evident in Act I. From the latter, the almost grandiloquent tone, the spectacular staging and the importance of the ballet, as well as an enveloping voluptuousness.


Along with the frequent choral interventions, the numbers of Samson, a tenor with heroic tonalities, and especially those of Delilah, one of the most important roles assigned to the mezzo-soprano voice in the history of the genre, such as the beautiful "Mon coeur s'ouvre à ta voix", from Act II, are worth mentioning. In the orientalism that dominates the brilliant setting, Saint-Saëns uses procedures derived from Arab music, often from North Africa, and which are also reflected in the last of his piano concertos, subtitled "Egyptian" in the Suite Algérienne or in Africa, for piano and orchestra.