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Description: TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG is a grand opera by Richard Wagner in three acts. After experiencing boundless sensuality and freedom with the fun-loving Venus (soprano), the singer Tannhäuser (Tenor) finds it impossible to conform to the cultured setting of his betrothed Elizabeth (soprano), who loves him. During a singing contest, Tannhäuser describes the affair with Venus as the ultimate love experience and because of that, he is cast out from the established society. Thanks to Elizabeth's intervention, he is allowed to undertake a pilgrimage to the Pope to ask for the Holy Father's pardon. If the Pope accepts to forgive him, he would be allowed to take back his zone in society. Tannhäuser accepts. But fate will not let him to meet with his beloved Elizabeth again in this life. This is a recording of the legendary staging by Götz Friedrich for the 1978 Bayreuth Festival conducted by Sir Colin Davis.
Description: Cao Fei recorded her "experiences" within the online social platform Second Life. The effect is a wistful, surreal vision of an alternative reality sprung from the pop culture fantasies and hyper-consumerism of contemporary urban China, while also trying to transcend its real-life limitations. It can be seen as an respond to the challenge posed by River Elegy: how to envision a fresh Chinese destiny founded on principles of individuality, creativity, discovery, and freedom. The movie also reflects the contemporary condition of the virtual supplanting our experience of the real.
Description: Nirvana Together Leave Your Lover I'm Not the Only One (with A$AP Rocky) I've Said You Actually Like I Can Reset Do I Wanna Know? (Arctic Monkeys cover) La La La (Naughty Man cover) Lay Me Down Cash on My Mind Latch (Disclosure cover) Create It To Me Stay With Me
Description: NORMA says the tragic storyline of a supposedly chaste druidic priestess, who is driven to murderous jealousy by her lover's inconstancy. But she forgoes vengeance, protects innocence, and sees to it that the guilty atone for their crimes. Fiorenza Cedolins, Sonia Ganassi, Vincenzo La Scola, and Andrea Papi star in this 2007 Gran Theatre Del Liceu/Grand Theatre de Geneve co-production of the Bellini opera.
Description: Charismatic, enigmatic, Michael Hutchence was the personification of the classic rock and roll star and, seemingly, had it all. His untimely death in 1997 robbed the globe of a special and fragile talent. 'The Loved One' traces Hutchence and INXS' rise from obscure Sydney bar rooms and clubs to stadiums all over the world. Featuring interviews with many of Hutchence's close mates and contemporaries, the movie sensitively investigates the pressures and demons that spurred his success and ultimately led to his spiral into depression and eventual death. Featuring stunning footage of Michael performing on the stages of the world, 'The Loved One' is a poignant and ultimately uplifting tribute to both the singer and the band.
Description: Fired by a raging individuality and defiant sense of purpose, they are a band who will not comply, musically or personally, to any constraints; a history littered with smashed offices, banned videos and 1995's threat to split. The band's videos are equally as turbulent, inspiring and outrages. The sound of British rock had finally woken up with the support of Ginger, one of Britain's most daring and brilliant songwriters. The band's flare for the unusual and diverse would also be reflected in their videos. The Wildhearts, sometimes difficult, sometimes infuriating, but everytime exciting! Amen!
Description: Capturing one of the most exciting, talented and decadent rock groups of the '90s back together and blasting through all their live favourites including the top 20 singles 'I Wanna Go Where The Folks Go', 'Sick Of Drugs' & 'Stormy In The North - Karma In The South' live at Scarborough Castle on 17th September 2005
Description: A colour anamorphic musical look at London's Heathrow airport over 24-hours in November 1971. The topics was shot entirely at Heathrow airport without recording any direct sound. LHR's many layered tracks were all compiled, recorded and laid in post-production.
Description: Otsuka Ai "LOVE IS BORN" ~7th Anniversary 2010~ is the twelveth concert video released by Otsuka Ai. It includes footage from her annual "Love Is Born" concert held at the Yokohama Red Brick Park Outdoor Stage. Tracklist 1. Ai (愛) 2. Is 3. Zokkondition (ゾッ婚ディション) 4. Hanikami Jane (ハニカミジェーン) 5. Action 10.5 (アクション10.5) 6. Everytime Together 7. Momo no Hanabira (桃の花びら) 8. Neko ni Fuusen (ネコに風船) 9. Kingyo Hanabi (金魚花火) 10.LOVE LETTER 11.Ren'ai Shashin (恋愛写真) 12.Planetarium (プラネタリウム) 13.Birthday Song 14.Rocket Sneaker (ロケットスニーカー) 15.Sakuranbo (さくらんぼ) 16.Mirai Taxi (未来タクシー) 17.LUCKY☆STAR (Encore) 18.Ticket (チケット) 19.CHU-LIP 20.I ♥ ××× (Title in Chinese) 1. 愛 2. Is 3. 想婚頭 4. 害羞的珍 5. Action 10.5 6. Always Together 7. 桃花花瓣 8. 貓與氣球 9. 金魚花火 10. LOVE LETTER 11. 戀愛寫真 12. 星象儀 13. Birthday Song 14. 火箭帆布鞋 15. 櫻桃 16. 未來計程車 17. LUCKY☆STAR 18. 車票 19. CHU-LIP 親親鬱金香 20. I ♥ ×××
Description: NANA MIZUKI LIVE GRACE 2011 ―ORCHESTRA― is Mizuki Nana's thirteenth concert DVD and eightteenth overall video release. DVD & BR containing the NANA MIZUKI LIVE GRACE 2011 ―ORCHESTRA―, held at Yokohama Arena in January 2011 and the Nana Mizuki performance in HIBARY 7 Days. The DVD top the chart at 3 in general and 2 in musical chart. The Bluray ver top the Bluray chart at 1.
Description: The Dutch violinist and the Johann Strauss Orchestra perform a number of musical hits. André Rieu is one of the bestselling modern classical artists, with over 20 million sales worldwide and a string of successful tours behind him. Rieu set up the Johann Strauss Orchestra in 1987 with the dual aim of promoting the waltz melody he loves while introducing a wider audience to the pleasures of classical music. Here Rieu and his orchestra turn their attention to memorable songs from scene musicals, providing their own take on a number of famous tunes.
Description: One of few tv specials starring actress and singer Mitzi Gaynor. This unique contains guests Jack Albertson and Michael Landon. Songs performed include: “I’ve Got the Melody in Me,” Gaynor and Landon performing “Life is a Rock (But the Radio Rolled Me),” Gaynor performing “Oh My My,” “Keep On Trucking,” and “Got to Receive You Into My Life,” Gaynor and Albertson performing “When the Woman in My Arms is You” and “Four or Five Times,” Gaynor with a ver of “Did You Happen to See the Most Pretty Woman in the World” and “Always,” Albertson singing “Mandy,” Gaynor and Landon with “Delightful, Delicious, Delovely,” joined by Albertson for “We Got Us,” a dance number, and finally Gaynor singing “You Are the Sunshine of My Life.”
Description: Mozart's popular Singspiel after Christoph Friedrich Bretzner's work "Belmonte und Konstanze", DIE ENTFÜHRUNG AUS DEM SERAIL comes to life in the sumptuous setting of Topkapi, the Ottoman sultans' own Istanbul seraglio (palace harem). Belmonte finds his fiancée Konstanze and her English maid Blondchen, who were captured and sold by pirates, in the Mediterranean seraglio of the Ottoman pasha Selim. Belmonte's servant Pedrillo gets him engaged as builder. After Selim tried to enforce himself upon Konstanze, Pedrillo and Blondchen, his own sweetheart, prepare their flight, managing to receive Osmin, the pasha's overseer, drunk. Yet Osmin and Selim's guard still capture them, already in the garden; however the touching display of real love melts the pasha's heart, so he lets them go.
Description: The first ever live tv recording of The Quireboys shot at London’s famed City and Country Club in 1992 at the height of their career. This mesmerising performance to an enthusiastic sell-out crowd contains the Top 40 UK hit singles 7 O’clock, Hey You and I Don’t Love You Anymore.
Description: Compilation of live performances, tv appearances and promotional videos from the 1970s rock band, including all their classic tracks such as 'The Men Are Back In Town', 'Killer On The Loose' and 'Whiskey In The Jar'.
Description: Lulu, the daughter of musician Hermann Simon, is looking for something she feels is missing from her life. She delves into the past and is transported to the lives of her ancestors via dreamlike sequences that present the hopes and realities of her female relations over the course of an whole century. Heimat Fragments is an intoxicating trip into the lives of venerable characters from various periods in Lulu's family history, from long-forgotten scenes of fight to each day family life on the farm. This gripping movie shows fragments of the lives that shaped her own. Her gaze into the past does not simply signal the end of her youth, it means the beginning of a newly gained freedom.
Description: A Large Night in with Darren Hayes, was recorded in the Concert Hall of the Sydney Opera House in Sydney, Australia in July 2006. It was the third tour undertaken by Australian singer-songwriter Darren Hayes as a solo artist. The tour was undertaken to celebrate the release of Savage Garden's 10th anniversary best hits album. The staging for the tour was simple, with a 'living room' feel, featuring a bar, dining zone and wardrobe. The present featured a nice deal of audience participation.
Description: Mozart's genius in setting to melody da Ponte's comic enjoy of love, infidelity and forgiveness marks COSI FAN TUTTE as one of the nice works of art from the Age of Enlightenment. Nicholas Hytner's pretty fresh production, with its sure touch and theatrical know-how, lives up to its promise to be "shockingly traditional" as Iván Fischer teases artful performances from an outstanding international cast of convincing young lovers.
Description: Never was the pain of adolescence so vividly soundtracked as it was by The Smiths during their brief tenure in the 1980s. So hopelessly romantic and so utterly British, the song writing partnership of Morrissey and Marr was almost too excellent to exist for any length of time, as it entwined poetry and music with timeless brilliance. Glorious Noise is detail length documentary movie which reviews the whole career of The Smiths. Beginning with their formation in Manchester in the early 80s, and taking flight through their four pivotal albums, their legendary live performances and their controversial behaviour, culminating in their abrupt demise, the movie covers the full storyline of the finest British act of the past thirty years.
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Just for the record, I love opera, I love Wagner, and Siegfried is my private favorite of the Ring Cycle(just edging out Die Walkure). So it's not as if I have some negative bias towards the opera. But I really disliked this production, it's almost as terrible as Katharina Wagner's Die Meistersinger Von Nurnberg when it comes to productions of any of Wagner's operas.It isn't all terrible though. The melody is superb helped by the mostly clear sound quality, and there are two performances that are cute good, Heinz Gohrig as a nasty and somewhat sympathetic Mime(though the masturbating, I blame the scene director rather than Gohrig) was too much) and Bjorn Waag's creepy(if perhaps too attractive) Alberich.Wolfgang Schone vocally is the greatest of the three Stuttgart Wotans(in Siegfried in the guise of Wanderer, Wolfgang Probst was strong but uncontrolled and Jan Hendrik Rootering was too weak-pushed-up-bass in quality. Schone here does have a powerful voice, even with some strain and he struggles in his stage with Erda in Act 3, with the most authoritative diction of the three Wotans. Unfortunately I would rate him higher, if he didn't look so embarrassed. Lisa Gasteen as Brunnhilde is also the greatest of the three Brunnhildes, Behle was shrill and DeVol would have been better if she had done the role 10 yeas earlier, as she is quite perfect vocally. Sadly her costume is unflattering and the production in her large stage between her and Siegfried create her too promiscuous.The Woodbird has vocal clarity but looks like a blind man with spiked-up hair. This is an approach that may work well in an Eminem melody video but not in a Wagner production, it's just too bizarre. Attila Jun projects his voice much more than he did as Hunding in Die Walkure. The trouble of his Fafner was not his singing, but the fact that visually and dramatically he is nowhere near sinister enough, the stage between him and Siegfried doesn't have the impact the melody here promises.Jon Frederic West's Siegfried is a vast improvement over his Tristan under Mehta. The sound is strong, and far less strained and blustery than before. Dramatically he is not as promising, very stolid and unheroic most of the time and he is not helped by his costuming which now create him larger than he now is or the inept staging. Erda is not warning enough, looking and sounding old instead.Musically it is decent enough, but is never outstanding. The orchestra do enjoy with a lush sound, but are underpowered and not alert enough. The conducting is also not bad, more involved than the previous two instalments but still has a tendency to be too bombastic in the climaxes.Visually, this Siegfried is absolutely awful. I have seen some bad-looking productions, but this one tops it. The costumes either unflatter the singers(especially West) or undermine the tension that the scenes could do(Jun's Fafner). The sets are gaudy in colour and even look filthy, Brunnhilde's boudoir is terrible enough but the worst offender was the the Act 3 stage between Wotan/Wanderer and Erda.The staging is inept, often irritating and comes across as more overly-silly approach than wacky and witty, the latter two I imagine was the objective. Those looking for anvil strokes will see Mime hitting a bowl with a potato peeler instead, the Woodbird acting like the Ghost of Christmas Future and the entire stage between Siegfried and Brunnhilde is an embarrassment, operatic soap-opera at its worst.All in all, has one or two nice performances and the melody is wonderful, but visually, staging-wise and mostly characterisation-wise, it is disgusting. 3/10 Bethany Cox
Before I tell anything rude about this ver of Siegfried, I could just tell that it really is very well sung. It is probably the greatest individual production in the cut-price Ring Cycle from Stuttgart. Perhaps it lends itself to being done on the cheap because there are just eight soloists, no Rheinmaidens, no Valkyries, no Norns and no chorus. The satellite Performance Channel is rather cheekily broadcasting this Ring in tournament with the multi-million pounds of wasted taxpayers' cash ver from Covent Garden that currently being broadcast by the BBC.This Stuttgart Ring does have its embarrassments, notably in its soap opera ver of Die Walküre but Siegfreid works rather well given a related soap opera treatment. Mime's cave is a dilapidated council flat that just happens to have a furnace in the corner for forging broken swords back together. Mime, engagingly sung by Heinz Göhrig, is a seedy bachelor who we first see peeling potatoes for Siegfried's dinner. Siegfried is sung by Jon Frederic West who has a pleasing heldentenor voice but whom I would back any day vs Luciano Pavarotti in a pie eating contest. West seems to be a Tristan specialist and I imagine he should be quite successful in that role, wearing a long, loose robe. However Siegfried's jeans and tee shirt are not the most becoming apparel for a boy his size. It is probably a mistake to have Sieg printed on one man-breast and Fried on the another so that he looks like an advert for Colonel Wagner's Sieg Fried Chicken.Wolfgang Shöne has a sonorous voice and sinister presence as Wotan in a leather jacket and baseball cap. He just strolls into Mime's flat but Mime, on seeing him sings: "Who has found me here in the wild wood?" I enjoyed the three riddles stage between Mime and Wotan. This is really just back storyline for anyone who has not seen the first two instalments of the Ring but I liked the method they chalk their scores up on the wall as they respond every others' riddles correctly, as if they are having a minigame of darts.There are effective cameos from Björn Waag as Alberich and Attila Jun as the dragon, Fafner. Fafner's cave is conjured up effectively with just a bit of wire fencing. Of course this production does not run to the expense of a dragon costume. Fafner just wears a tee shirt and jeans like Siegfried's except that his reads dierF gieS across the chest. Maybe this suggests that he is a mirror photo of Siegfried, his own mental demon. Also in this stage we see the Woodbird, everytime my favorite hero even though she only has one tune. Gabriela Herrera sings her one tune very prettily and, for some reason I cannot explain, is a blind woodbird.The stage between Wotan and Erda seems to take zone in a maternity ward, maybe suggesting Erda's function of producing daughters for Wotan to serve as Valkyries. Helene Ranada is alternately moving and bloodcurdling in this role.Finally Siegfried bursts into Brünnhilde's bedroom, no nonsense about magic fire here. He finds none another than Lisa Gasteen who was also Brünnhilde in Covent Garden's disastrous production. Gasteen is more successful here, the smaller venue and Lothar Zagrosek's quieter orchestral accompaniment are better suited to her voice. She wears a silk negligée, slit to the waist and displays ample décolletage. Despite this, the sexually naïve Siegfried first mistakes her for a man. His: "this is no man", exclamation finally comes when he slides his hand between her thighs. The opera ends with 40 mins of the most sensuous melody ever written and in this production the sensuality gets totally emphasised. Brünnhilde gets an additional silk pillow from the wardrobe and puts it beside hers before patting the bed to indicate that Siegfried could join her. They sing their extended lovemaking duet on the bed together. How various it is from the Covent Garden production where Brünnhilde and Siegfried stand at either side of the scene as though Brünnhilde has a terrible situation of halitosis after her twenty year sleep. Here, Brünnhilde thoughtfully brushes her teeth before climbing into bed.Lothar Zagrosek conducts what, to me, sounds like an underpowered orchestra. This is something I noticed in the another parts of this Ring. When the orchestra is accompanying the singers the balance is fine but when the sound could well up during the orchestral interludes it just fails to well. This one quibble aside, congratulations could go to the scene directors Sergio Morabito and Jossi Wieler for this witty, Wagner production that is a nice treat, both musically and visually. Witty and Wagner, actually there are two words that you do not often hear in the same sentence.
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