Known to millions as ‘The King of Waltz’, André Rieu is one of the world’s most popular music artists. His legendary annual Maastricht concert is the most eagerly anticipated cinema event of the year, last year setting new box office records in several countries.
Set against the stunning medieval backdrop of the town square in André’s Dutch hometown, the spectacular Maastricht concert features the maestro in his element, along with his 60-piece Johann Strauss Orchestra, sopranos, tenors and very special guests. André delivers an unforgettable musical experience full of humor, fun and emotion for all ages.
This presentation of André Rieu’s 2017 Maastricht Concert in Cinemas features host Charlotte Hawkins, who conducts an interview with André Rieu the moment he steps off stage, exclusively for cinema audiences.
This year is a very special year because it is exactly 30 years ago that André Rieu started his Johann Strauss Orchestra in his home town of Maastricht. From a small group of musicians rehearsing in the classroom of André’s son’s primary school to stadiums and concert halls around the world - what a journey it has been!
Take a front row seat and experience this spectacular musical event on the big screen. Enjoy backstage access, interviews with André and his special guests, musical favourites and much, much more, exclusive to cinema.
For a truly unforgettable cinematic experience, please join André and his Orchestra in their hometown of Maastricht for 2 days only on Saturday 22nd and Sunday 23rd July at the ‘2017 Maastricht Concert’ to ‘Celebrate 30 years of André and his Johann Strauss Orchestra’.
CAPTAIN UNDERPANTS: THE FIRST EPIC MOVIE is an animated comedy in which two young pranksters cause their mean head teacher to turn into the super hero Captain Underpants.
CARS 3 is an animated adventure in which an aging racer fights to make a comeback after he's beaten by a younger, faster car.
DESPICABLE ME 3 is a US children's animated comedy in which Gru discovers that he has a twin brother called Dru.
Allied soldiers from Britain, Belgium, Canada, and France are surrounded by the German Army on the beaches of Dunkirk and evacuated in Operation Dynamo between 26 May and 4 June 1940, during the early stages of the Second World War.
A fairy godmother, a glass slipper, an opulent ball, an enchanted forest, and a Prince Charming who loves her—did all that really happen, or was it just a dream? Long-suffering Cendrillon lives a life of drudgery with her good-natured father and his imperious wife, until fate, romance, and a touch of fairy magic intervene. For the first time ever, Massenet’s sumptuous version of the Cinderella story comes to the Met in this imaginative storybook production directed by Laurent Pelly. Superstar Joyce DiDonato sings the title role, alongside British mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the archetypal wicked stepmother.
Goaded by their cynical friend Don Alfonso, soldiers Ferrando and Guglielmo decide to test their fiancées’ fidelity. Pretending to leave with their regiment, they return in disguise and pay court to each other’s lover. Will the young women succumb to the charms of these two handsome ‘foreigners’? A co-production with English National Opera, this clever vision of the battle of the sexes is set in a carnivalesque environment inspired by 1950s Coney Island. The cast features Amanda Majeski and Serena Malfi as the sisters put to the test, with Broadway star Kelli O’Hara as their feisty maid, Ben Bliss and Adam Plachetka as their fiancés, and Christopher Maltman as Don Alfonso. David Robertson conducts Mozart’s delightful score.
Experience Mozart’s irresistible fantasy in all its glory! Will brave Prince Tamino rescue Princess Pamina from the clutches of the evil Sarastro, and will Papageno the foolish bird catcher learn wisdom enough to help him? The Queen of the Night’s aria, with its stratospheric high notes, is just one of the countless highlights in this tale of love and magic, mysterious secrets, and whimsical fantasy. Julie Taymor’s (The Lion King) enchanting production captures both the opera’s earthy comedy and its enlightened nobility. Met Music Director Emeritus James Levine conducts a cast of rising young stars.
The poor country boy Nemorino is in love with Adina, a confident landowner, but she is way out of his league—financially and otherwise. But when he buys a “love potion” from a travelling quack, the results are rather more than he bargained for. Charmingly staged by Bartlett Sher, Donizetti’s beloved masterpiece combines deft comic timing with touching emotional depth. The production stars Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his moving “Una furtiva lagrima.” Rising South African soprano Pretty Yende is the spirited Adina, Davide Luciano makes his Met debut as the arrogant soldier Belcore, and Ildebrando D’Arcangelo is the potion-peddling Doctor Dulcamara. Domingo Hindoyan conducts.
The world’s most popular opera returns with an exciting young cast in Franco Zeffirelli’s legendary production. Poverty-stricken poet Rodolfo and his artist friends eke out a precarious existence in bohemian Paris, alternately practising their art, laughing, quarrelling, dodging the landlord, and living it up in their local cafe. When Rodolfo meets the delicate Mimì, the pair instantly fall in love. But Mimì is ill, Rodolfo is jealous, and their romance is doomed from the start. Opera superstars Sonya Yoncheva and Michael Fabiano play the heart-breaking couple, singing two sublime Puccini favourites—“Sì, mi chiamano Mimì” and “Che gelida manina.” Zeffirelli’s stupendous onstage recreations of 19th-century Paris are sure to take your breath away.
James Levine and Plácido Domingo add yet another chapter to their legendary Met collaboration with this rarely performed Verdi gem, a heart-wrenching tragedy based on Friedrich Schiller’s novel Intrigue and Love. The young maiden Luisa loves Rodolfo, unaware that he is actually the son of the local lord. An unscrupulous rival for her affections tells her father of Rodolfo’s true identity, turning the old man against him. Jealousy, suspicion, and betrayal tear the lovers apart, but Luisa remains loyal to her father to the last. In the first Met performances of the opera in more than ten years, Sonya Yoncheva sings the title role opposite Piotr Beczała as Rodolfo, with Domingo as Luisa’s stern-yet-loving father.
This new production of Bellini’s masterpiece stars Sondra Radvanovsky as the Druid priestess and Joyce DiDonato as her rival, Adalgisa - a casting coup for bel canto fans.
Tenor Joseph Calleja is Pollione, Norma’s unfaithful lover, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule.
Sung in Italian with English subtitles
This new production of Bellini’s masterpiece stars Sondra Radvanovsky as the Druid priestess and Joyce DiDonato as her rival, Adalgisa - a casting coup for bel canto fans. Tenor Joseph Calleja is Pollione, Norma’s unfaithful lover, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule. Sung in Italian with English subtitles
Against the backdrop of the Hanging Gardens, Semiramide, Queen of Babylon, defies bad omens and supernatural threats in her quest to find a worthy successor to her late husband. But she harbours more than one dark secret, and whoever gains the throne may find that he has lost more than he has won. Based on a story by Voltaire, this rarely performed tragic opera reveals The Barber of Seville composer Giaochino Rossini in a whole new light. The title role—composed for Rossini’s wife, Isabella Colbran—features some of the most demanding vocal music he ever wrote. Angela Meade takes on the challenging vocal fireworks in this revival of a production last seen at the Met 25 years ago.
Take a seat at the strangest dinner party of your life. The servants have absconded; the ragout is all over the floor; there’s a bear in the garden; your fellow guests are rapidly descending into savagery; and most mysteriously of all, no one seems able to leave. British composer Thomas Adès (The Tempest) conducts the American premiere of his latest opera. Co-commissioned by the Met and sung in English, this black comedy, with shades of JG Ballard/Ben Wheatley’s High-Rise, is based on the screenplay of Luis Buñuel’s 1962 surrealist film. The cast is filled with established British names including Sally Matthews, Sophie Bevan, Alice Coote, Christine Rice, Ieystn Davies and John Tomlinson.
Puccini’s thrilling Tosca is a story of love, terror, the abuse of power, and the unquenchable longing for freedom. When an escaped political prisoner takes refuge in a church, an opera singer and a painter are drawn into a twisting plot that puts them at the mercy of the secret police and its network of torturers and spies. Rivalling the splendour of Franco Zeffirelli’s Napoleonic-era sets and costumes, Sir David McVicar’s ravishing new production offers a splendid backdrop for extraordinary singing. Kristine Opolais stars as the titular prima donna, alongside Vittorio Grigolo as her artist lover and Bryn Terfel as the villainous police chief—one of his signature roles. Andris Nelsons conducts.
Follies is a dazzling musical by Stephen Sondheim (A Little Night Music, Sweeney Todd, Sunday in the Park with George), performed for the first time on the National Theatre’s Olivier stage. The cast includes Imelda Staunton, who was recently on NT Live screens in Who’s Afraid of Virginia Woolf?, Tracie Bennett and Janie Dee; and the production will also include a 21-piece orchestra. It promises to be a visual and musical extravaganza, and we’re delighted to be bringing it to screens.
Ben Whishaw (The Danish Girl, Skyfall, Hamlet) and Michelle Fairley (Fortitude, Game of Thrones) play Brutus and Cassius, David Calder (The Lost City of Z, The Hatton Garden Job) plays Caesar and David Morrissey (The Missing, Hangmen, The Walking Dead) is Mark Antony. Broadcast live from The Bridge Theatre, London.
Caesar returns in triumph to Rome and the people pour out of their homes to celebrate. Alarmed by the autocrat’s popularity, the educated élite conspire to bring him down. After his assassination, civil war erupts on the streets of the capital.
Nicholas Hytner’s production will thrust the audience into the street party that greets Caesar’s return, the congress that witnesses his murder, the rally that assembles for his funeral and the chaos that explodes in its wake.
Rory Kinnear (The Threepenny Opera, Penny Dreadful, Othello) is Marx and Oliver Chris (Twelfth Night, Green Wing) is Engels, in this new comedy written by Richard Bean and Clive Coleman. Broadcast live from The Bridge Theatre, London, the production is directed by Nicholas Hytner and reunites the creative team behind Broadway and West End hit comedy One Man, Two Guvnors.
1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty-two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child-like emotional illiteracy.
Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx.
At a garden party on a sunny afternoon,
Alice is surprised to see her parents’ friend
Lewis Carroll transform into a white rabbit.
When she follows him down a rabbit hole
events become curiouser and curiouser...
As Alice journeys through Wonderland, she
encounters countless strange creatures. She’s
swept off her feet by the charming Knave of
Hearts, who’s on the run for stealing the tarts.
Confusion piles upon confusion. Then Alice
wakes with a start. Was it all a daydream?
Adventures in Wonderland
burst onto the
stage in 2011 in an explosion of colour,
stage magic and inventive, sophisticated
’s score combines
contemporary soundworlds with sweeping
melodies that gesture to ballet scores of
the 19th century.
imaginative, eye-popping designs draw on
everything from puppetry to projections to
make Wonderland wonderfully real.
Alice encounters a cast of extraordinary
and instantly recognizable characters, from
the highly strung Queen of Hearts – who
performs a hilarious send-up of
's famous Rose Adage – to a playing-
card corps de ballet, a sinuous caterpillar
and a tap-dancing Mad Hatter. But the ballet
does not avoid the darker undercurrents of
Lewis Carroll’s story: a nightmarish kitchen,
an eerily disembodied Cheshire Cat and the
unhinged tea party are all here in vivid detail.
The delicious result shows The Royal Ballet at
its best, bringing together world-class dance
with enchanting family entertainment.
was one of the first classical
composers in America to achieve both popular
and critical acclaim. He was eclectic in his
sources – drawing on jazz and modernism, the
traditions of Jewish music and the Broadway
musical – and many of Bernstein’s scores
are remarkably well suited to dance. He was
particularly associated with Jerome Robbins,
their credits together including
West Side Story
. To celebrate the centenary
year of the composer’s birth,
has united all three of its associate
choreographers to celebrate the dynamic range
and danceability of Bernstein’s music.
The programme includes two world
Resident Choreographer Wayne
Artistic Associate Christopher
, marking each artist’s first foray
into Bernstein. At the heart of the programme
is the first revival of
Artist in Residence Liam
The Age of Anxiety
, created in 2014 to
Bernstein’s soul-searching Second Symphony.
Both symphony and ballet are inspired by
W.H. Auden’s masterful modernist poem,
itself written in response to the atmosphere of
disillusionment and uncertainty that followed
the end of World War II.
is the best-known work by French
, and one of the
most famous operas in the entire art form
– numbers such as the Habanera and the
Toreador Song have permeated the popular
consciousness as little else has. The opera’s
heady combination of passion, sensuality
and violence initially proved too much for
the stage, and it was a critical failure on its
1875 premiere. Bizet died shortly after, and
never learned of the spectacular success his
would achieve: the opera has been
performed more than five hundred times at
Covent Garden alone.
This ever-popular opera is given a fresh
point of view in
physical production, originally created for
Frankfurt Opera. The Australian director is
one of the world’s most sought-after opera
directors, whose Royal Opera debut with
in 2016 was greeted
with delight. For
he has devised a far-
from-traditional version, incorporating music
written by Bizet for the score but not usually
heard, and giving a new voice to the opera’s
endlessly fascinating central character.
When Rodolfo, a penniless poet, meets Mimì,
a seamstress, they fall instantly in love. But
their happiness is threatened when Rodolfo
learns that Mimì is gravely ill.
) directs a new production
. Irresistible in its witty,
passionate blend of comedy and tragedy,
the opera focusses on the lives of a group
of young artists as they eke out an existence
on the bohemian fri
nges of Paris, the
capital of the 19th century. J
ones brings his
characteristically acute insight to this much-
loved classic, visualized in
spectacular, stylized 1850s setting.
Puccini’s romantic depiction of bohemian
Paris, with memorable music and a love story
drawn from everyday life, has captivated
audiences around the world, making
one of the best-loved of all operas.
It was first performed in Covent Garden in
1897 and has had more than five hundred
performances there since.
’s life-long love affair with Shakespeare’s
works began with
, a play he
considered to be ‘one of the greatest creations
of man’. With his librettist, Francesco Maria
Piave, Verdi set out to create ‘something out
of the ordinary’. Their success is borne out in
every bar of a score that sees Verdi at his most
theatrical: it bristles with demonic energy.
The warrior Macbeth fights on the side of
the King of Scotland – but when a coven of
witches prophesy that he shall become king
himself, a ruthless ambition drives Macbeth
and his wife to horrific acts.
Murder makes Macbeth king, and intrigue
and butchery are the hallmarks of his brief,
doomed reign. The witches make another
prediction, which also comes true: Macbeth
and his lady lose their lives, and justice is
’s 2002 production for The
Royal Opera is richly hued, shot through with
black, red and gold. The witches – imagined
scarlet-turbaned creatures – are ever-present
agents of fate. Lloyd depicts the Macbeths’
childlessness as the dark sadness lurking
behind their terrible deeds.
The Royal Opera
production uses Verdi’s 1865 Paris revision
of the opera, which includes Lady Macbeth’s
riveting aria ‘La luce langue’.
Manon’s brother Lescaut is offering her to the
highest bidder when she meets Des Grieux
and falls in love. They elope to Paris, but
when Monsieur G.M. offers Manon a life of
luxury as his mistress she can’t resist. With
the Lescauts’ encouragement Des Grieux
cheats at cards in an attempt to win Monsieur
G.M.’s fortune. They are caught. Manon is
arrested as a prostitute and deported to New
Orleans, followed by Des Grieux. On the run,
Manon dies from exhaustion.
’s source for
was the 18th-century French novel already
adapted for opera by
The premiere was given on 7 March 1974,
with the lead roles danced by Antoinette
Sibley and Anthony Dowell. The ballet
quickly became a staple of The Royal
Ballet’s repertory, and a touchstone of
adult, dramatic dance.
MacMillan found new sympathy with
the capricious Manon and her struggle
to escape poverty. Designs by his regular
this, depicting a world of lavish splendour
polluted by miserable destitution. MacMillan’s
spectacular ensemble scenes for the whole
Company create vivid, complex portraits
of the distinct societies of Paris and New
Orleans. But it is Manon and Des Grieux’s
pas de deux
– recalling the
intensity of MacMillan’s earlier
– that drive this tragic story,
one of MacMillan’s
most powerful dramas.
The corruption of innocence is at the heart
of Verdi’s potent tragedy in
production for The Royal Opera.
Rigoletto, court jester to the libertine Duke
of Mantua, is cursed by the father of one of
the Duke’s victims for his irreverent laughter.
When the Duke seduces Rigoletto’s daughter
Gilda, it seems the curse is taking effect...
David McVicar’s production highlights
the cruelty at the heart of the court of
Mantua. Richly dressed courtiers engage in
orgies and revelries to Verdi’s heady, spirited
dances. The opera’s many musical highlights
include the ebullient ‘La donna è mobile’, in
which the Duke boasts of his disregard for
women; Gilda’s exquisite, plangent duets with
Rigoletto and the Duke; and the gorgeous
Act III quartet that beautifully weaves the
voices together as the story quickens to its
wrote in 1855 that
was his ‘best opera’. He had had
to overcome state censorship to stage it –
the censors objected to its depiction of an
immoral ruler – but he was vindicated by the
premiere’s huge success in 1851.
performed 250 times in the next 10 years and
has remained one of the most popular of all
has had a special role in the
The Royal Ballet
This Season The Royal Ballet creates a new
production with additional choreography
by Artist in Residence
remaining faithful to the Petipa-Ivanov text,
Scarlett will bring fresh eyes to the staging
of this classic ballet, in collaboration with his
Prince Siegfried chances upon a fl ock of
swans while out hunting. When one of the
swans turns into a beautiful woman, Odette,
he is enraptured. But she is under a spell that
holds her captive, allowing her to regain her
human form only at night.
’s fi rst ballet
score. Given its status today as arguably the
best loved and most admired of all classical
ballets, it is perhaps surprising that at its
premiere in 1877
received. It is thanks to the 1895 production
by Marius Petipa and Lev Ivanov that
has become part of not only ballet
consciousness but also wider popular culture.
That success is secured not only by the
sublime, symphonic sweep of Tchaikovsky’s
score, but also by the striking choreographic
contrasts between Petipa’s royal palace
scenes and the lyric lakeside scenes created
Mozart’s glorious opera
The Magic Flute
is brought enchantingly to life in
’s production with beautiful sets
Prince Tamino promises the Queen of the
Night that he will rescue her daughter Pamina
from the enchanter Sarastro. He begins his
quest, accompanied by the bird-catcher
Papageno – but all is not as it seems...
David McVicar’s classic production
embraces both the seriousness and comedy
of Mozart’s work. The audience is transported
to a fantastical world of dancing animals,
flying machines and dazzlingly starry skies.
The setting provides a wonderful backdrop
for Mozart’s kaleidoscopic score, from the
Queen of the Night’s coloratura fireworks to
Tamino and Pamina’s lyrical love duets and
Papageno’s hearty, folksong-like arias.
As well as being a comedy
is an expression of Mozart’s profound
spiritual beliefs: Enlightenment concerns with
the search for wisdom and virtue are at the
heart of this enchanting tale.
The Magic Flute
was an instant success with audiences and
Mozart’s supposed rival Salieri described it
as an ‘operone’ – a great opera.
The young Clara creeps downstairs on
Christmas Eve to play with her favourite
present – a Nutcracker doll. But the
mysterious magician Drosselmeyer is
waiting to sweep her off on a magical
adventure. After defeating the Mouse King,
the Nutcracker and Clara travel through the
Land of Snow to the Kingdom of Sweets,
where the Sugar Plum Fairy treats them to
a wonderful display of dances. Back home,
Clara thinks she must have been dreaming
– but doesn’t she recognize Drosselmeyer’s
’s nigh-on definitive
The Royal Ballet
one of the most enduring and enchanting
. With its festive
period setting, dancing snowflakes and
enchanting stage magic, Lev Ivanov’s 1892
ballet has become the perfect Christmas
sumptuous, sugar-spun music the most
recognizable of all ballet scores.
Loosely based on the story by E.T.A.
Hoffmann, the ballet opens with a lively
Christmas party, its Victorian setting
captured in opulent detail by
’s designs. Wright’s choreography
ingeniously incorporates surviving fragments
of the ballet’s original material, including
pas de deux
for the Sugar Plum
Fairy and her Prince. But in emphasizing
the relationship between Clara and the
Nutcracker Prince, the production also gains
a touching subtext of first love.
, Artistic Associate
of The Royal Ballet, created his adaptation
of Shakespeare’s late great romance
for The Royal Ballet in 2014.
Building on the success of
The Winter’s Tale
ecstatic praise at its premiere, acclaimed by
critics and audiences alike for its intelligent,
distinctive and emotionally powerful story,
told through exquisite dance. It is now widely
judged to be a modern ballet classic.
The story follows the destruction of a
marriage through consuming jealousy, the
abandonment of a child and a seemingly
hopeless love. Yet, through remorse and
regret – and after a seemingly miraculous
return to life – the ending is one of
forgiveness and reconciliation. With powerful
The Winter’s Tale
masterful modern narrative ballet.
is one of the great evenings of opera,
and from its strident opening chords conjures
up a world of political instability and menace.
’s production for
captures the dangerous political
turbulence of Rome in 1800. The Chief of
Police, Scarpia – one of the most malevolent
villains in opera – ruthlessly pursues and
tortures enemies of the state. His dark,
demonic music contrasts with the expansive
melodies of the idealistic lovers, Tosca and
Cavaradossi, who express their passion in
sublime arias, including ‘Vissi d’arte’ and ‘E
lucevan le stelle’.
work was a hit with audiences on its 1900
premiere and it remains one of the most
performed of all operas – with its gripping
plot and glorious music, it’s easy to see why.
A candle-lit church, Scarpia’s gloomy
study with its hidden torture chamber and
the false optimism of a Roman dawn: this
handsome production throws into relief the
ruthlessly taut drama, as the tension is wound
up towards a fateful conclusion. Puccini’s
meticulously researched score is infused
with the same authentic detail, from distant
cannon fire during the Act I Te Deum to
tolling church bells and the sounds of a firing
A full-throttle war play that revels in the sweat of the battlefield, Coriolanus transports us back to the emergence of the republic of Rome.
Caius Martius Coriolanus is a fearless soldier but a reluctant leader. His ambitious mother attempts to carve him a path to political power, but he struggles to change his nature and do what is required to achieve greatness. In this new city state struggling to find its feet, where the gap between rich and poor is widening every day, Coriolanus must decide who he really is and where his allegiances lie.
Rome Season Director, Angus Jackson, completes the Royal Shakespeare Company’s collection of Shakespeare’s Roman plays with a visceral production which sees Sope Dirisu (One Night in Miami, Donmar Warehouse, 2016) take on the title role.
SPIDER-MAN: HOMECOMING is a superhero fantasy action adventure in which a high-schooler with super powers attempts to prove himself worthy of a position on the 'Avengers' team by foiling an arms dealer.
WAR FOR THE PLANET OF THE APES is an action sci-fi sequel in which the leader of the ape rebellion attempts to rescue his son from a labour camp