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A tragic and secretive romance ensues over many years after two men meet while herding sheep on Brokeback Mountain in this opera based on Annie Proulx's short story and its subsequent Oscar-winning film adaptation.

Who was Moliere? He is known everywhere as one of the world's greatest playwrights. But who was he? Born Jean-Baptiste Poquelin in 1622, the son of a prosperous tapestry maker. His mother died when he was a boy. Growing up in the teeming streets of 17th century Paris, Jean Baptiste received a good Jesuit education and was fascinated by the street fairs and traveling carnivals that flourished in spite of the religious repression and hypocrisy of those cruel times. As a young man he joined the theatrical Bejart family to establish the Illustre-Theatre, which soon went bankrupt. The troupe reformed, found patronage, and went on the road for thirteen years, performing all over France. Poquelin developed his stagecraft adapting Commedia dell Arte plots to please brutalized peasants and cynical townspeople. He also married Madeline Bejart, the widowed daughter of the troupe's founder. Later he entered into a love affair with Mme Bejart's daughter, to the dismay of all. The troupe eventually returned to Paris and, on October 24, 1658, greatly impressed the 20-year old King Louis XIV, later to be called the Sun King. Moliere's life became bound up with the magnificent court at Versailles, and with its intrigues. He wrote, staged and acted in the plays now famous all over the world. He fought with his enemies and his friends, enjoyed success followed by failure, organized court festivities and defended himself against increasingly fanatic religious authorities. Above all, his theater was taken from life as his life was theatrical.

The Ballet de l'Opera National de Paris mounted this production of the late Pina Bausch's dance-opera Orpheus und Eurydike, which Bausch had adapted from composer Christoph Willibald-Gluck and Ranieri de' Calzabigi's 1762 opera Orfeo ed Euridice. As the title suggests, it takes its basic narrative from the myth of Orpheus, and his courageous but ill-fated attempt to rescue his lover Eurydice (also known as Eurydike) from the jaws of the underworld. This particular production finds Yann Bridard dancing as Orpheus and Marie-Agnès Gillot dancing as Eurydike , with mezzo-soprano Maria-Riccarda Wesseling accompanying Bridard and soprano Julia Kleiter accompanying Wesseling. Pina Bausch did the choreography and stage direction, while Rolf Borzik designed the sets, costumes and lighting. The Balthasar-Neumann Ensemble and Choir, under the direction of Thomas Hengelbrock, lend musical accompaniment.

A spoof on the Ancient Greek myth, Orpheus and Eurydice are two bickering spouses who are happily separated when she is kidnapped by the gods and forms a love triangle with Pluton and Jupiter. But Public Opinion forces a reluctant Orpheus to go into the Underworld to save her.

A choreographer must face an unresolved romantic encounter from her past as she creates a new dance work.

Philippe Boesmans sign his fourth opera with Julie. Harking back to the model of the chamber opera, the composer focused on the chemistry of human relationships that lead heroine of the drama of Strindberg to end his life. Three voices, a chamber orchestra, a unique place, a night time make us witness the fate of this young woman touching. Composer in residence at the Théâtre Royal de la Monnaie for nearly 20 years, the Belgian Philippe Boesmans, born in 1936, is undoubtedly a major figure in the musical landscape of our time. Julie is an intimate work, a chamber opera in one act, based on the drama of the Swedish August Strindberg's Miss Julie, written in 1888. Boesmans music is very personal: his writing is dense and precise, rich and colorful, delicate and colorful and his writing for the voice proves that with opera, the composer was in his natural element.

Ballet performance The peasant girl Giselle is overcome by love, but driven mad by a treacherous lover. A romantic ballet classic, which with its blend of realism and the supernatural has enchanted audiences since it was first performed in 1841. A story of love and forgiveness beyond death.

Entirely composed of visual and audio archives; German fictions and musical operettas of the period, news clippings and documentary footage, musical shorts, home movies, restored in HD, as well as photographs and photo montages, paintings and drawings. "CABARET-BERLIN, THE WILD SCENE" offers an inside view of the Berlin artistic kabarett scene, as an eye witness to the Weimar Republic's history, and doing so, reveals "the true story of Cabaret". With unheard-of artistic expressions, and serving as a lightening rod for criticism and protest, the Berlin cabarets became critically reflective mirrors of topical events, politics and culture of the unstable Weimar Republic, as well as the symbol of Berlin Tempo, too. Alongside the dramatic events accompanying the Era of Inflation, the Golden Years, the Depression and the surge of Nazism, the film shines a spotlight on this watchtower of unbroken conscience. The film itself is structured as a cabaret show led by its Master of Ceremony, the famous actor Ulrich Tukur who, off-screen, narrates necessary background information, connecting songs and sketches to their historical, political and social context. The treatment sticks to the aesthetic style of the period and uses the archive sources not as documentary samples, but as a stock of edited rushes which weave the dramatization of the story. At the end of the day, CABARET-BERLIN, THE WILD SCENE is a film about the birth of modernity.

A small part of a large cemetery. End of fall. It has just rained. Black trees, a few leaves are still attached, other leaves litter the ground. A gravel driveway. A bench whose painting flakes. A man advances in the aisle, leaves the aisle, goes to a grave, reads what is written on the tombstone, stays there and looks at the stone, goes to another tomb, also reads this Who is written on the tombstone, remains for a moment to look at it, then joins the aisle and will sit on the bench.

In Geneva, Martha Argerich invites her lifelong music partner, the cellist Mischa Maisky, to play in private chamber music. Between each piece, Martha opens up to her daughter Annie Dutoit, in an intimate interview.

Composed in 1931 by Dmitry Shostakovich, The Bolt is based on a book by Viktor Smirnov and is being revived for the first time in more than 70 years. Shostakovich composed a caustically humourous ballet, blending popular tunes, serious music, circus music, waltzes, marches, tangos. He had imagined his ballet as a joyful lampoon of proletarian drama. His intention was to highlight the eventful and ambiguous relationship existing between proletarian experience and the representation given of it by the Soviet vanguard. Alexei Ratmansky's choreography develops into a true marvel, opening with a ballet of giant robots and ending in a blood red delirious grand parade.

For a year, the film follows the pianist Lucas Debargue through his encounters, his discoveries and his quest for music. In his early career, revealed by the XVth International Tchaikovsky Competition, praised by the public and critics, Lucas is confronted with the concerts that come one after another. He discovers the relationship with the conductor and music partners, studio recordings, post-concerts, success and autographs. He has now found his new life, a whole life devoted to music.