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The classic opera about falling into and out of love, friendship, and loss. Mimi and the poet Rudolfo, the painter Marcello and Musetta are the lovers; the musician Schaunard and philosopher Colline round out the set of friends living life rather close to the edge in Paris' Left Bank. The classic mix of comedy and tragedy has enchanted audiences ever since its premiere in 1896. Act I Christmas Eve finds the poet and painter freezing in their squalid attic apartment overlooking the rooftops of the Latin Quarter. They try keeping warm by burning the poet's unsold play manuscript. Colline, the philosopher enters, announcing that the apocalypse is on them because the pawn shops are closed. Just as the flames from the burning manuscript die completely, the musician Schaunard enters, bringing food, fuel for the fire, wine, and money for everybody -- he had a lucrative music lesson that apparently paid well. They resolve to drink at home, but eat out among the cafes and excitement of the Latin Quarter, when they are interrupted by a visit from the landlord. They manage to dodge paying the rent via a clever ruse, and then go down, leaving Rudolfo behind to finish up an article he's been writing. Enter Mimi, a neighbor from the floor below, who needs her candle relit. She seems ill and faints. Rudolfo falls in love with her right away, and the act ends with the two new lovers going to meet Rudolfo's friends. Act II at the Cafe Momus -- the friends reunite, and right away a second girlfriend (an ex girlfriend) enters with her new sugar daddy in tow. It's Musetta, Marcello's old flame, and there is a hilarious interplay as she insists that he can't live without her. She dumps the sugar daddy, adds the friends' cafe tab to her own for the old man to pay, and exits joyously with Marcello. Act III is maybe a month or two later. It's snowing at the gates of the city where there is an inn/alehouse off to one side. Mimi enters, coughing, obviously ill, looking for Marcello, who - with Musetta - is living at the inn. Mimi asks Marcello to help her -- Rudolfo has told her that he was finished with her -- she thinks he loves her, but he keeps pushing her away. He's actually inside the inn, and when he wakes up and looks for Marcello, Mimi hides and listens as Rudolfo confesses that yes, he loves Mimi, but is terribly afraid because he knows that she is sick and dying. Eventually, after he's spilled the whole thing unwittingly, he spots her and tries to comfort her while Marcello, hearing Musetta laughing, goes off in a jealous rage. Eventually, Mimi and Rudolfo patch things up temporarily, and Marcello and Musetta have a knock down dragout. Act IV back at the same squalid apartment. Rudolfo and Marcello are missing their girls, but perk up a bit when the other guys come back and begin some very funny horseplay. Right at the most riotous part, Musetta enters and tells them that Mimi is downstairs, barely able to walk. She's left her other boyfriend and want to return to Rudolfo, whom she truly loves. He gathers her up and comforts her -- Musetta and Marcello leave to get medicine and to sell some earrings to pay for a doctor, and Mimi tells Rudolfo, for the last time, that she will always love him. At the last, all the friends are there. Rudolfo gets up from Mimi's bedside to speak to Musetta and, while his back is turned, Mimi quietly dies. Schaunard notices it first, then later the rest of them. Rudolfo is the last to know. Heartbroken, he calls her name twice, and the curtain goes down on him weeping with her in his arms.

A program dedicated to science and all the knowledge. It replaces the great Superquark of Piero Angela. It tells the science in a new light in the sign of the past.

From the end of World War II and in the following decade, Italians from Istria, Fiume and Dalmatia emigrated from their homelands. Almost ninety years later an old boat, "Klizia, " retraces this journey backwards and this is its story.

Ein zeitloses Meisterwerk vor imposanter Kulisse: Die Oper La Fenice in Venedig lädt zu einem Spektakel auf den Markusplatz ein. Unter der virtuosen Leitung des slowakischen Dirigenten Juraj Valcuha wird Ludwig van Beethovens Neunte Symphonie zu hören sein. Ludwig van Beethovens (1770-1827) letzte vollendete Komposition, die Symphonie Nr. 9 in d-Moll, ist ein zeitloses musikalisches Werk, ein wahrer Olymp des symphonischen Repertoires. Beethoven widmete einen Großteil seines Lebens der Komposition dieses imposanten, revolutionären Freskos, das zum ersten Mal einen Chor und mehrere Solisten beinhaltete. Die Ode "An die Freude" aus dem Jahr 1785 wird zum Symbol für die Ideale der Brüderlichkeit der deutschen Jugend. Es ist während seiner Studienzeit in Bonn, dass Beethoven beschließt, Schillers Gedicht zu vertonen. Erst 1823 widmet er sich voll und ganz seiner Symphonie, die mit sofortigem Erfolg am 7. Mai 1824 im Wiener Kärntnertor-Theater uraufgeführt wird. Der zu der Zeit bereits völlig taube Komponist erhält stehende Ovationen von einem begeisterten Publikum, das mit Taschentüchern winkt. Dieses symphonische Testament des deutschen Komponisten Ludwig van Beethoven wird bei der Aufführung auf dem Markusplatz in Venedig vom slowakischen Maestro Juraj Valcuha dirigiert. Er übernimmt die Leitung des Orchesters der Oper La Fenice. Das Vokalquartett besteht aus Federica Lombardi (Sopran), Michael Schade (Tenor), Veronica Simeoni (Mezzosopran) und Mark S. Doss (Bass), Chorleiter ist Alfonso Caiani.

Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. One of the most popular pieces in music history and the most performed choral/orchestral work of the 20th century, Teatro La Fenice returns to the Piazza San Marco in Venice, in front of the magnificent façade of the Basilica di San Marco. Conducted by the great master Fabio Luisi, featuring the word-class singers Regula Mühlemann, Michael Schade and Markus Werba it was a magnificent event. "La Fenice's orchestra and choir, in this case with the addition of the Piccoli cantori veneziani in the final part, have hit the mark" (Il Gazzettino) with this concert and "it is noticeable overall the work made by the conductor Fabio Luisi, who managed to maintain the tension of the various historical pages with determination and energy." (Il Gazzettino)

Luigi Ghirri, an internationally renowned Italian photographer, wrote regularly throughout his life. His photography is reflected in his writing, which is at the same time a poetic affirmation, an existential argument, a diary that questions the present times. Starting from his writings, the documentary will retrace the crucial stages of the photographer's life. It will be a journey to the places of the province, a study of lands, water, hills, infinite horizons. It will be a research on his photographic work, conceived not in terms of a single image, but as an alphabet in which each image exists only thanks to the others. The companions of this journey will be the artists Franco Guerzoni and Davide Benati, the art historian Arturo Carlo Quintavalle, the printer Arrigo Ghi, the photographer Gianni Leone, the musician Massimo Zamboni and finally the family, which represented for Ghirri the feeling of belonging to an ordinary but united community. Stefano Accorsi will give voice to Ghirri's texts.

Liliana Cavani, interviewed by Massimo Bernardini, retraces her activity as a documentary filmmaker for Rai. Graduated from the Centro Sperimentale, she was hired at the newborn Secondo Canale and from 1961 to 1966 she made memorable programs, from investigations into the house to the history of the Third Reich and Stalinism to a special on Francis of Assisi which would become her first film. The documentaries, of which large excerpts are proposed, are contextualized by the historian Giovanni De Luna. "Liliana Cavani's TV. A bildungsroman" is a program by Massimo Bernardini, Alessandra Bisegna, Sara Chiaretti, Giovanni de Luna, with the collaboration of Serena Valeri and directed by Massimo Latini.