Eric Cutler

This grand opera, complete with ensembles and ballets, large choruses and orchestral set pieces, is given an appropriately grand treatment in this production by the renowned Catalan theater group "La Fura dels Baus" recorded at Valencia's Palau de les Arts. In the first part of the work, Padrissa plays with the present-day meaning of "Trojans" as computer viruses: his Trojan horse carries within it the infection that will cause system failures and, ultimately, destruction. In the second part, Carthage is presented as the mysterious seat of a future civilization, where human life is heading towards self-destruction through environmental disasters.

This is a performance of Wagner's three-act opera Der fliegende Holländer ("The flying Dutchman"), performed by Bayreuther Festpiele, directed by Dmitri Tcherniakov. The staging was notable for two other milestones, as Oksana Lyniv became the first woman to conduct at Richard Wagner’s legendary Festspielhaus since its opening in 1876, and the sensational Lithuanian soprano Asmik Grigorian made her house debut with a standout performance as the opera’s heroine, Senta. The exceptional cast also included John Lundgren (The Dutchman), Georg Zeppenfeld (Daland), Eric Cutler (Erik) and Marina Prudenskaya (Mary).

Live performance at Teatro La Fenice, Venice, September 25-28 2010. Myung-Whun Chung conducting Orchestra e Coro del Teatro La Fenice. Directed for the stage by Daniele Abbado.

La soprano Anna Netrebko a pris d'assaut New York lorsqu'elle a interprété le rôle de la fragile jeune fille puritaine Elvira. Son interprétation audacieuse de la célèbre scène folle de l'héroïne lui a valu des ovations enthousiastes de la part des maisons à guichets fermés nuit après nuit. Débordant d'airs et d'ensembles ravissants, ce joyau du bel canto met également en vedette Eric Cutler dans le rôle d'Arturo, l'amour d'Elvira, Franco Vassallo dans le rôle de son prétendant Riccardo et John Relyea dans celui de son oncle Giorgio.

James Morris leads an all-star cast including Karita Mattila, Ben Heppner, Thomas Allen and René Pape, in this production of Wagner's comic opera, recorded live at New York's Metropolitan Opera in 2001. James Levine conducts.

Opera fantastique in five acts (1881), new version by Sylvain Cambreling & Christoph Marthaler. With Eric Cutler and Anne Sofie Von Otter. Teatro Real, filmed on 05/2014

Le chef-d’œuvre épique de Berlioz raconte la magnifique saga des suites de la guerre de Troie et des exploits d’Énée. Le ténor montant Bryan Hymel, dans ses débuts au Met, incarne le héros chargé par les dieux de la fondation de la ville de Rome. Susan Graham incarne Didon, reine de Carthage, qui devient l'amante d'Énée, et Deborah Voigt chante Cassandra, la princesse troyenne dont les avertissements sur la destruction imminente de Troie restent lettre morte. La production atmosphérique de Francesca Zambello, mettant en vedette la chorégraphie de Doug Varone, est dirigée par le chef d'orchestre principal du Met, Fabio Luisi.

‘In reality, this Lohengrin is an entirely new phenomenon for the modern consciousness!’ Richard Wagner himself understood the innovative character of his sixth piece of music theatre, completed in 1848, the year of revolutions. Although it is reckoned among his ‘romantic operas’, his new vision of musical drama is already clearly heralded in this work. In his hands, the mediaeval saga of the Knight of the Swan becomes a meditation on the true love that asks no questions. Alain Altinoglu, our Music Director, who has already conducted this work in Bayreuth, guarantees the quality of the music, while the director Olivier Py, known at La Monnaie for his brilliant productions of Les Huguenots and Hamlet, can be relied on not to downplay Wagner’s revolutionary political side. Wagner’s own opinion was that ‘one can only understand Lohengrin if one can liberate oneself from any modern-looking, generalising form of representation so as to see the phenomena of real life’. A challenge to us all?

Cette production de l’œuvre la plus somptueuse de Strauss par le metteur en scène Nathaniel Merrill et le designer Robert O’Hearn est presque aussi appréciée que l’opéra lui-même. Il capture parfaitement le pays imaginaire scintillant du rococco Vienne comme les Viennois – et le reste du monde – l’auraient souhaité, et c’est le cadre idéal pour une comédie adulte sur l’amour et les erreurs. Susan Graham est la jeune Octave aristocratique, déchirée entre deux femmes : Renée Fleming dans le rôle de la Maréchale, la femme mûre qui comprend qu'un jour Octave doit la quitter ; et Christine Schäfer dans le rôle de Sophie, la jeune fille qui, de manière inattendue, conquiert son cœur. Kristinn Sigmundsson incarne le lubrique baron Ochs qui met en branle l'intrigue tourbillonnante, sous la direction d'Edo de Waart.

The libretto of the most well known opera by Dvořak, which premiered in Prague in 1901, is inspired by the Czech version of the Central European folktale, one we also know as Undine (1811) by Friedrich de la Motte Fouqué or The Little Mermaid (1837) by Hans Christian Andersen.

A staging of Richard Strauss' opera "Ariadne auf Naxos" by Katie Mitchell. Recorded at the Festival d'Aix-en-Provence.

Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.