Nino Surguladze

When a sharp-tongued court jester Rigoletto is cursed for his spiteful words, he is forced to hide his unworldly daughter Gilda from his own licentious master the Duke. For Verdi’s wonderful ambivalent hunchback, paradise is the peaceful home and family that he struggles to protect.

Dans l’Allemagne du XVIe  siècle, Renata, une mystérieuse jeune fille, voit le diable lui apparaître sous les traits d’un ange de lumière qui la séduit, et l’entraîne à la pratique de la sorcellerie et des sortilèges. Un spectacle filmé le 5 avril 2022 au Teatro Real de Madrid.

Live from La Scala Wednesday 10 December 2003

A stage performance of the Shostakovich opera, filmed at the Gran Teatre del Liceu in Barcelona.

In Rigoletto, the deformed figure of the hunchbacked jester at the Mantuan court acts as a foil to his cynical and powerful master, an unscrupulous philanderer contrasted with his cruel and unforgiving fool. Rigoletto encourages and welcomes the Duke's conquests, pitilessly mocking his victims until he discovers that the Duke has abducted the one person he genuinely loves, his own daughter. As a result, the character of the court jester is transformed into a tragic figure who, in spite of his evident immorality and malice, allows us to sense the devotion he feels for his daughter and his horror at being destroyed by the same despotic world as that which he himself has helped to create.

A story about a friendship between eleven years old Niniko and a dolphin named Metichara.

Set in 1937 Stalinist Georgia, the film traces the parallel destinies of a mother, condemned by the government as "an enemy of the people" and exiled to a work camp in Siberia, and her daughter, who meanwhile is sent to an orphanage. Arriving at the overcrowded work camp, the mother and other women who are not considered strong enough to be labourers, must journey still farther, crossing the icy Siberian landscape in search of food and shelter. At the same time, the daughter escapes the orphanage and returns to her former home, where she finds that a KGB officer has taken up residence. He protects her and an uneasy rapport between them develops—one of abhorrence and attraction, need and suspicion.

Jérusalem pleure la défaite qui met son sort entre les mains de Nabucco, le roi de Babylone. Ismaël les avertit que ce dernier s'approche du Temple. Il reste seul avec Ferena, la fille du roi babylonien, prise en otage par les Hébreux, et lui avoue son amour. Or la soeur de Ferena, Abigaille, aime aussi Ismaël. Dans cette nouvelle mise en scène, Arnaud Bernard replace l'intrigue dans le cadre esthétique du Risorgimento italien. Lors de sa création à la Scala de Milan en 1842, Nabucco triompha immédiatement. Dans une Italie alors en proie aux mouvements nationalistes, le public s'identifie immédiatement aux Hébreux retenus en captivité à Babylone. Le choeur des esclaves «Va, pensiero» devient ainsi l'un des airs les plus célèbres de l'histoire de l'art lyrique.

"This is a family tragedy, and in many ways, it is a very contemporary story." This is how Robert Wilson described Il trovatore, or Le Trouvère in its French version, commissioned from Verdi after the incredible success of the premiere of his Italian version in 1853. With a few changes and alterations to the original music, this version was first performed in 1857 at the Paris Opera. A light show unique to the stage director unfolds in the cold architecture, creating the perfect framing for Verdi’s music, dramatic and dark in this timeless opera.

Set in Tbilisi, the film’s protagonist walks through the city’s streets as he contemplates whether to accept a job abroad or to stay at home with his family and girlfriend.

Dans le New York de la fin du 19ème siècle sous la responsabilité du chef de police Theodore Roosevelt, le spécialiste des maladies mentales Laszlo Kreizler s'intéresse à un impitoyable tueur qui laisse derrière lui les corps mutilés d’enfants. Face à l'impassibilité des pouvoirs publics, Kreizler tente d’identifier le responsable de ces meurtres horribles, épaulé par l'illustrateur criminel John Moore et Sara Howard, la première femme à faire son entrée dans l'univers très masculin de la police.