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            <marc:subfield code="a">LEVAY, S.: Elisabeth [Musical] (Vereinigte Bühnen Wien, 2022) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Ziegler, Daniela, Artist -- Orchester der Vereinigten Bühnen Wien, Orchestra -- Bauer, André, Artist -- Römer, Michael, Conductor -- Hakvoort, Maya, Artist -- Perman, Lukas, Artist -- Seibert, Mark, Artist -- Alaoui, Abla, Artist -- Jakobs, David, Artist -- Gruber-Hirschbrich, ‎Philipp, Artist -- Neblung, Hans, Artist -- Berg, Katja, Artist -- Kunze, Michael, Lyricist -- Levay, Sylvester, Composer</marc:subfield>
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            <marc:subfield code="a">Treading a tightrope between death, life and intense romance in the opulent world of 19th-century Habsburg royalty. &lt;i&gt;Elisabeth&lt;/i&gt; tells the story of the beautiful Empress of Austria, from her wedding, to her tragic assassination by the hand of the Italian anarchist Luigi Lucheni. Ongoing dark obsessions and inner turmoil are undercurrents family schisms flare up amidst a crumbling empire. These powerful themes and potent score brimming with fabulous music have combine to establish Elisabeth as the most successful German-language musical of all time. This spectacular open-air event presents Elisabeth at the fabled empress's real-life home - Schonbrunn Palace in Vienna.</marc:subfield>
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            <marc:subfield code="a">SCHUBERT, F.: Winterreise (Eine) (staged version by C. Loy) [Opera] (Theater Basel, 2022) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Eine Winterreise (staged version by C. Loy) (Theater Basel, 2022) (NTSC) ( 01 hrs., 49 min. ) / Schubert</marc:subfield>
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            <marc:subfield code="a">Otter, Anne Sofie von, Artist -- Bezuidenhout, Kristian, Artist -- Alm, Kristian, Artist -- Rado, Claudio, Artist -- Franciscus, Nicolas, Artist -- Gustafsson, Matilda, Artist -- Tornarolli, Giulia, Artist -- Lappe, Karl Gottlieb, Lyricist -- Schober, Franz von, Lyricist -- Rellstab, Ludwig, Lyricist -- Heine, Heinrich, Lyricist -- Seidl, Johann Gabriel, Lyricist -- Pratobevera, Adolf von, Lyricist -- Schubert, Franz, Composer -- Müller, Wilhelm, Lyricist -- Klopstock, Friedrich Gottlieb, Lyricist -- Mayrhofer, Johann Baptist, Lyricist</marc:subfield>
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            <marc:subfield code="a">Together with the internationally acclaimed mezzo-soprano Anne Sofie von Otter, &lt;i&gt;Christof Loy&lt;/i&gt; creates an intimate evening of music theatre. Inspired by the songs of &lt;i&gt;Franz Schubert&lt;/i&gt;, which oscillate between the joy of life and the longing for death, the two tell of the extremes of human feelings. In addition to the &lt;i&gt;Winter Journey&lt;/i&gt; song cycle, other works of the composer will be performed. Anne Sofie von Otter, whose?career began in Basel, is one of the most celebrated singers in the world. She will be accompanied on the piano forte by the internationally acclaimed pianist Kristian Bezuidenhout.</marc:subfield>
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            <marc:subfield code="a">La vie parisienne (Parisian Life) (Palazzetto Bru Zane, 2021) (NTSC) ( 02 hrs., 58 min. ) / Offenbach -- Disc 2 ( 00 sec. ) / Offenbach</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Jacques Offenbach&lt;/i&gt; had already achieved fame as an operetta composer by 1866, but that year's premier of &lt;i&gt;La Vie parisienne&lt;/i&gt; was his first portrayal of contemporary Parisian life. With its tale of romantic intrigues, disguises and comic celebrations of the mad gaiety of life in the French capital, La Vie parisienne became popular in the nationa's theatres, but not after a hasty re-working of its final acts after protests from the original performers. With significant new musical discoveries and the final act restored, this opera-bouffe masterpiece now speaks for itself given the resources of a superb cast and Christian Lacroix's colourful and much acclaimed Bru Zane France production.</marc:subfield>
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            <marc:subfield code="a">Internationally recognized as one of the greatest violinists of her generation, &lt;i&gt;Maria-Elisabeth Lott&lt;/i&gt; made her EMI Warner Classics and Erato debut recording at the age of 11, playing &lt;i&gt;Mozart's&lt;/i&gt; own violin with the Mozarteum Orchester Salzburg as the winner of the Mozarteum Salzburg Competition 1998.

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            <marc:subfield code="a">Born in New York to Korean parents, solo cellist &lt;i&gt;Timothy Park&lt;/i&gt; studied at The Juilliard School with Jerome Carrington and Fred Sherry and at the Yale University with Aldo Parisot, later moving to Germany to obtain his Master Diploma and Konzertexam from the Musikhochschule Lubeck and the Hochschule fur Musik Hanns Eisler Berlin, where he was a pupil of David Geringas and also worked with Josef Feigelson, Boris Pergamenschikow and Daniel Barenboim.

As a soloist, Mr. Park has performed with ensembles such as the Chamber Orchestra of New York, Detroit Symphony Orchestra, Orquesta Sinfonica de Venezuela, Moscow Radio Symphony Orchestra, Berlin Symphony Orchestra, the Juilliard Orchestra and the Interlochen Center for the Arts Academy Orchestra. He is regularly invited to participate in the Lucerne Festival, Aspen Music Festival and School, Schleswig Holstein Musik Festival, NDR Mecklenburg-Vorpommern, Kronberg Academy, the Jerusalem Festival and the festival Pablo Casals in Prades.

An avid chamber musician, Timothy Park is the cellist of the Erlenbusch string quartet, keeping an artistic collaboration with the Staatskapelle Berlin and playing with musicians such as Elena Bashkirova, Levon Chilingirian, Alessio Bax, Vladimir Mendelssohn, Zakhar Bron, Frans Helmerson, Gary Hoffman, Tamaki Kawakubo, Nikolaj Znaider, Michael Barenboim, Emmanuel Pahud and Bruno Schneider.

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            <marc:subfield code="a">The beautiful opening phrase conceals an unexpected fact: &lt;i&gt;Beethoven&lt;/i&gt; starts the sonata off-key, on the dominant (E major). This start in medias res contributes to the openness and questioning character of many of the phrases, and later in the movement Beethoven develops this idea, systematically avoiding a resolution into the home key of A major. This turns out to be part of the sonata's design - Beethoven masterfully builds up a subconscious need for a resolution throughout the movements and manages to delay the appearance of a strong A major until much later in the sonata - the opening of the finale. This also fits with the development of the sonata form in Beethoven's late period, with the last movement increasingly becoming the main weight-bearer and focal aim of the entire work.

&lt;i&gt;Boris Giltburg&lt;/i&gt; is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.</marc:subfield>
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            <marc:subfield code="a">If Op. 101 is a sonata that inspires love at first hearing, the next sonata in the cycle, &lt;i&gt;Op. 106 - the Hammerklavier&lt;/i&gt; - rather tends to inspire awe and admiration at first. It towers above the rest like a musical Mount Everest, alluring and dangerous, dwarfing all others through its complexity and colossal scope. In performing it, one experiences &lt;i&gt;Beethoven's&lt;/i&gt; titanic compositional struggle in every note, his vision in this particular work constantly driving him to test the extremes of size and intensity, to push the limits of piano technique beyond anything he attempted before. Later, as one comes to grips with the material, some of the admiration is replaced with love - but the awe always remains.

&lt;i&gt;Boris Giltburg&lt;/i&gt; is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.</marc:subfield>
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            <marc:subfield code="a">The last three sonatas were neither the last piano pieces &lt;i&gt;Beethoven&lt;/i&gt; would write - he followed them with the &lt;i&gt;Diabelli Variations, Op. 120&lt;/i&gt; and the &lt;i&gt;6 Bagatelles, Op. 126&lt;/i&gt; - nor were they his final works in the sonata form - those would be the late string quartets. But after Op. 111 Beethoven's path did not lead him back to the piano sonata genre. In strong contrast to the &lt;i&gt;Hammerklavier&lt;/i&gt;, where the bulging, straining creative muscles are evident in every note, the last three sound like an uninhibited stream of inspiration, captured mid-flow by Beethoven and shaped and moulded by him until they appear to us as near miraculous acts of effortless creation. Whereas the Hammerklavier feels probing, exploring, challenging, the last three are completely at ease with themselves, reflecting not the struggles of a creative genius trying to unfetter himself from all convention, but the poetic utterances of a composer who has gone so far ahead of us that one cannot but feel awe facing these inimitable musical worlds, and gratitude at having been granted access to them.

Much unites the three sonatas, besides the overall sense of transcendence suffusing the music. Structurally, they all lead towards their respective finales. All three incorporate large vocally-imagined movements or episodes - a 'song with the most heartfelt emotion' in Op. 109, a &lt;i&gt;lamenting arioso&lt;/i&gt; in Op. 110, and the simply named &lt;i&gt;Arietta&lt;/i&gt; as the magnificent theme of Op. 111's finale. All three are also obsessed with polyphonic writing - a growing interest of Beethoven in his late years. It's most overt in Op. 110, which contains two fully fledged fugues in its finale, but polyphonic sections abound in both Opp. 109 and 111 as well.</marc:subfield>
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&lt;i&gt;Boris Giltburg&lt;/i&gt; is lauded worldwide as a deeply sensitive, insightful and compelling interpreter, with critics praising his impassioned approach to performance. This project to record all of Beethoven's 32 piano sonatas is a personal exploration for Giltburg, driven by curiosity and his profound respect for the composer.</marc:subfield>
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            <marc:subfield code="a">Tales of Beatrix Potter (Royal Ballet, 2007) (NTSC) ( 01 hrs., 16 min. ) / Lanchbery</marc:subfield>
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            <marc:subfield code="a">Royal Ballet, Covent Garden, Ensemble -- Murphy, Paul, Conductor -- Royal Ballet Sinfonia, Orchestra -- Howells, Jonathan, Artist -- McRae, Steven, Artist -- Avis, Gary, Artist -- Pickering, David, Artist -- Loots, Iohna, Artist -- Cervera, Ricardo, Artist -- Hewitt, Victoria, Artist -- Sykes, Gemma, Artist -- Gartside, Bennet, Artist -- Morera, Laura, Artist -- Faruque, Zachary, Artist -- Ciriaci, Giacomo, Artist -- Tuifua, Joshua, Artist -- Lanchbery, John, Composer</marc:subfield>
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            <marc:subfield code="a">Created by Frederick Ashton for a film in 1971, and brought to the stage in a production by Anthony Dowell in 1992, &lt;i&gt;Tales of Beatrix Potter&lt;/i&gt; brings alive, with rich characterization and invention, the famous images and stories of Beatrix Potter.

&lt;i&gt;John Lanchbery's&lt;/i&gt; music (incorporating mostly forgotten Victorian melodies) is utterly captivating, inspiriting spirited playing from the Royal Ballet Sinfonia conducted by Paul Murphy. Christine Edzard's designs conjure up a lost England field mice and Berkshire black pigs, of foxgloves and shady groves. Swept up in the ballet's childlike exuberance, the entire cast delivers outstanding portrayals of such colourful figures as Jemima Puddle-Duck, Mr Jeremy Fisher, Mrs Tiggy-Winkle and the irrespressible Peter Rabbit. Frederick Ashton's warm and witty, yet demanding, choreography creates a piece of charm and grace for all ages.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Ballet &amp; Dance</marc:subfield>
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            <marc:subfield code="a">Lanchbery, John</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/OA1001D.jpg</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1001D</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/OA1001D</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">JANACEK, L.: Cunning Little Vixen (The) (Glyndebourne, 2012) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
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            <marc:subfield code="c">2013</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">The Cunning Little Vixen, JW I/9 (Glyndebourne, 2012) (NTSC) ( 01 hrs., 59 min. ) / Janáček</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Thompson, Adrian, Artist -- Leiferkus, Sergey, Artist -- Rigby, Jean, Artist -- Glyndebourne Chorus, Choir -- Jurowski, Vladimir, Conductor -- London Philharmonic Orchestra, Orchestra -- Crowe, Lucy, Artist -- Spickova, Lucie, Artist -- Bell, Emma, Artist -- Schelomianski, Mischa, Artist -- Davies, Sebastian, Artist -- Watkins, Beatrice, Artist -- Woscholski, Orlando, Artist -- Moseley, Louise, Artist -- Janáček, Leoš, Composer</marc:subfield>
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            <marc:subfield code="a">The tale of a quick-witted fox and her escape from confinement for a life in the forest that is by turns joyful and violent, &lt;i&gt;The Cunning Little Vixen&lt;/i&gt; is an unsentimental parable of death and rebirth that lives through the instinctive and immediate world of nature, animal and human, which &lt;i&gt;Janacek&lt;/i&gt; loved so much. Melly Still's production for Glyndenbourne finds the 'delicate balance between whimsy and mysticism' (Daily Telegraph) at the heart of the opera, which Vladimir Jurowski conducts' with lustrous style: you can hear the birds in the score, feel the sunshine and thrill to the starlit night sky in the finale scene' (Opera Today).</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1101D</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/OA1101D</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">RAMEAU, J.P.: Hippolyte et Aricie (Glyndebourne, 2013) (NTSC)</marc:subfield>
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            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
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            <marc:subfield code="a">Hippolyte et Aricie (Glyndebourne, 2013) (NTSC) ( 00 sec. ) / Rameau -- Disc 2 ( 00 sec. ) / Rameau</marc:subfield>
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            <marc:subfield code="a">Degout, Stéphane, Artist -- Connolly, Sarah, Artist -- Glyndebourne Chorus, Choir -- Christie, William, Conductor -- Orchestra of the Age of Enlightenment, Orchestra -- Lyon, Ed, Artist -- Felix, Loic, Artist -- Boden, Samuel, Artist -- Karg, Christiane, Artist -- Lis, Francois, Artist -- Pasturaud, Julie, Artist -- Watson, Katherine, Artist -- Quintans, Ana, Artist -- Lefevre, Aimery, Artist -- Rameau, Jean-Philippe, Composer -- Pellegrin, Simon-Joseph, Lyricist</marc:subfield>
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            <marc:subfield code="a">In Glyndebourne's first-ever staging of an opera by &lt;i&gt;Rameau&lt;/i&gt;, director Jonathan Kent presents a production which, in his own words, 'strives to appeal to every sense and show audiences how engrossing and musically ravishing French Baroque opera can be.' Rameau's inventive take on Racine's great tragedy &lt;i&gt;Phedre&lt;/i&gt; brought to life Paul Brown's colourful and elegant designs and Ashley Page's playful choreography. Ed Lyon and Christine Kang give captivating performances as the titular young lovers, while Sara Connolly, making a welcome return to Glyndebourne, 'invests Phaedra with both grandeur and a desperately human vulnerability' (The Independent). Leading exponent of early music William Christie 'sets an exhilarating pace, galvanising the Orchestra of the Age of Enlightenment to playing of tremendous panache' (The Daily Telegraph).</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
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            <marc:subfield code="a">MAILLOT, J.-C.: LAC (Ballet after Swan Lake) (Les Ballets de Monte Carlo, 2013) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
            <marc:subfield code="c">2014</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
            <marc:subfield code="b">tdi</marc:subfield>
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            <marc:subfield code="b">cr</marc:subfield>
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        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">LAC (Les Ballets de Monte Carlo, 2013) (NTSC) ( 01 hrs., 33 min. ) / Not Applicable</marc:subfield>
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        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Slatkin, Leonard, Conductor -- Saint Louis Symphony Orchestra, Orchestra -- Ballets de Monte-Carlo, Les, Ensemble -- Coppieters, Bernice, Artist -- Behrend, Anja, Artist -- Ball, April, Artist -- Bourgond, Stephan, Artist -- Prieto, Alvaro, Artist -- Koike, Mimoza, Artist -- Verbruggen, Jeroen, Artist -- Uriagereka, Asier, Artist -- Edeso, Asier, Artist -- Webster, Simone, Artist -- Riou, Gaelle, Artist -- Ballesteros, Anjara, Artist -- Pantastico, Noelani, Artist -- Sabourin, Maude, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">Jean-Christophe Maillot revisits &lt;i&gt;Swan Lake&lt;/i&gt; with writer Jean Rouaud (Winner of the 1990 Prix Goncourt)! Filmed in a studio at Monaco's Grimaldi Forum, this modern interpretation of the classic ballet sheds new light on the mythic tale of Siegfried and Odette. Conceived by the cutting edge visual artist Ernest Pignon-Ernest, &lt;i&gt;Le Lac&lt;/i&gt; features costumes by Philippe Guillotel and Bertrand Maillot's musical adaptation of &lt;i&gt;Tchaikovsky's&lt;/i&gt; original score performed by the Saint Louis Symphony Orchestra under Leonard Slatkin. An impressive production and winner of the 2013 Golden Prague prize for "Best Performing Arts Program"!
 
The young prince Siegfried is set to become king, and must choose his future wife at the celebration of his 21st birthday. Unhappy that he cannot marry for love, he visits the nearby forest, where he sees a group of swans pass by, and then he pauses at the sight of a woman dressed in white swan feathers. He learns that she is none other than the Princess Odette, who suffers under the curse of the sorcerer Rothbart: during the daytime, she is transformed into a white swan, and at night she returns to her natural form as a beautiful young woman. Unable to kill Rothbart and risk making the curse irreversible, the prince decides to marry Odette, with whom he has fallen madly in love, in order to break the spell. The next day at the birthday celebrations, after the prince has met the other princess candidates, Rothbart sends up his daughter Odile, magically transformed into Odette, but dressed in black. Tricked by the disguise, Siegfried declares his love to her. But at the moment the wedding is going to be celebrated, the real princess Odette appears; horrified, Siegfried runs toward the swan lake...

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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/OA1148D.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1148D</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/OA1148D</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">BELARBI, K.: Bête et la Belle (La) [Ballet] (Theatre du Capitole, 2013) (NTSC)</marc:subfield>
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            <marc:subfield code="a">La bete el la belle (Theatre du Capitole, 2013) (NTSC) ( 01 hrs., 45 min. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Watanabe, Takafumi, Artist -- Loria, Julie, Artist -- Ballet du Capitole de Toulouse, Ensemble -- Akhmedyarov, Kazbek, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;La Bete et la Belle&lt;/i&gt; is renowned French choreographer Kader Belarbi's compelling reimagining of the classic fairy tale &lt;i&gt;Beauty and the Beast&lt;/i&gt; - a psychological drama that explores the rejection or acceptance of difference, centring around Beauty's discovery of the depth of true love. First performed by the Grands Ballets Canadiens de Montreal in 2005, Theatre du Capitole's reprise of Belarbi's acclaimed production has confirmed its status as among the best of modern ballets, combining stunning set and costume designs with striking choreography that reflects the unique soundscape of the Ligeti-dominant musical score. Takafumi Watanabe and Julie Loria assume the lead roles in a production that instantly transport us into the beautiful dream world of this timeless masterpiece reinterpreted.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1157D</marc:subfield>
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            <marc:subfield code="a">YATES, M: Elizabeth (Royal Ballet, 2016) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Elizabeth (Royal Ballet, 2016) (NTSC) ( 01 hrs., 33 min. ) / Yates</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Wallfisch, Raphael, Artist -- Acosta, Carlos, Artist -- Yanowsky, Zenaida, Artist -- Kempster, David, Artist -- Caldow, Laura, Artist -- Cullingford, Sonya, Artist -- Righton, Julia, Artist -- Middleton, Alasdair, Lyricist -- Yates, Martin, Composer</marc:subfield>
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            <marc:subfield code="a">Opulent and intimate, this enchanting chamber piece combines dance, text and music in a fascinating exploration of the life and loves of &lt;i&gt;Queen Elizabeth I&lt;/i&gt;. Choreographer Will Tuckett and playwright and librettist Alasdair Middleton co-direct this special performance, which brings together Royal Ballet Principals Zenaida Yanowsky and Carlos Acosta with actors Laura Caldow, Sonya Cullingford and Julia Righton in an atmospheric and nuanced tribute to the remarkable nature of this extraordinary woman. &lt;i&gt;Martin Yates's&lt;/i&gt; original score recalls the structures and harmonies of Elizabethan music, in a modern reimagining of a typical Tudor-period ensemble, deftly  performed by world-renowned cellist Raphael Wallfisch and acclaimed baritien David Kempster.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/OA1214D.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1214D</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Entführung aus dem Serail (Die) (Glyndebourne, 2015) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
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            <marc:subfield code="a">Die Entführung aus dem Serail (Abduction from the Seraglio), K. 384 (Glyndebourne, 2015) (NTSC) ( 02 hrs., 48 min. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Matthews, Sally, Artist -- Glyndebourne Chorus, Choir -- Orchestra of the Age of Enlightenment, Orchestra -- Montvidas, Edgaras, Artist -- Gunnell, Brenden Patrick, Artist -- Ticciati, Robin, Conductor -- Eriksmoen, Mari, Artist -- Kehrer, Tobias, Artist -- Saurel, Franck, Artist -- Cradock, Jonas, Artist -- Mozart, Wolfgang Amadeus, Composer -- Bretzner, Christoph Friedrich, Lyricist</marc:subfield>
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            <marc:subfield code="a">Director David McVigar's original-period vision for this Mozartian gem allows its genius to speak for itself, offering a 'mesmerizing, sensitive... outstanding' portrayal of Enlightenment-era fascination with the East that is both 'exquisitely acted and sung', featuring a Konstanze and a Belmonte sung with 'finesse and bravura' and a 'sensationally voiced' Osmin (The Guardian).

Comic relief in Glyndebourne's 'brilliant production' is provided by 'beautifully sung live-wire performances' of Pedrillo and Blonde, and Robin Ticciati leads the Orchestra of the Age of Enlightenment through a restored, authentic rendition of the critical score with 'lovely fizz' and 'poignant gravitas' (The Independent).</marc:subfield>
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            <marc:subfield code="a">Bretzner, Christoph Friedrich</marc:subfield>
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            <marc:subfield code="a">Croft, Richard, Artist -- Bayley, Clive, Artist -- Glyndebourne Chorus, Choir -- Coote, Alice, Artist -- Orchestra of the Age of Enlightenment, Orchestra -- Ticciati, Robin, Conductor -- Stéphany, Anna, Artist -- Losier, Michèle, Artist -- Harvey, Joelle, Artist -- Mozart, Wolfgang Amadeus, Composer -- Metastasio, Pietro, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Mozart's&lt;/i&gt; final opera returns to Glyndebourne after an absence of nearly 20 years in a stark, compelling and very well acted' production directed by Claus Guth. Richard Croft sings the title role 'with exemplary stylistic poise and tonal sweetness', and Anna Stephany is a Sesto 'touchingly full of angst and remorse... with terrific elan and immaculate technical control' in the arias (The Telegraph) - her "Parto, Parto" 'simply breathtaking' (The Guardian). Guth's vision sets the 1st-century Roman story in a two-storey office suite bureaucracy 'exquisitely lit by Olaf Winter', aptly framing the scheming of Vitellia, sung by Alice Coote 'in terrific form'. The OAE under Robin Ticciati 'brings out the sheer beauty' of Mozart's score (Express).</marc:subfield>
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            <marc:subfield code="a">BARANOWSKI, A.: 1984 [Ballet] (Northern Ballet, 2015) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Widely lauded by critics, choreographer &lt;i&gt;Jonathan Watkins' 1984&lt;/i&gt; is an awe-inspiring retelling of George Orwell's masterpiece.

Winston Smith lives in a world of absolute conformity, his every action scrutinized by Big Brother. However, when Winston meets Julia, he dares to rebel by falling in love.

Danced by Northern Ballet - the UK's foremost narrative ballet company - to a score by Tony-nominated composer &lt;i&gt;Alex Baranowski&lt;/i&gt;, this thoroughly modern take on &lt;i&gt;Nineteen Eighty-Four&lt;/i&gt; will change the way you think about ballet.</marc:subfield>
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            <marc:subfield code="a">Sutherland, Gavin, Conductor -- English National Ballet, Ensemble -- Rojo, Tamara, Artist -- English National Ballet Philharmonic, Orchestra -- Streeter, James, Artist -- Cirio, Jeffrey, Artist -- Quagebeur, Stina, Artist -- Cao, Begoña, Artist -- Reimair, Fabian, Artist -- Lamagna, Vincenzo, Composer</marc:subfield>
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            <marc:subfield code="a">Acclaimed dancer-choreographer &lt;i&gt;Akram Khan&lt;/i&gt; 'speaks tremendously of tremendous' (Financial Times) and this new &lt;i&gt;Giselle&lt;/i&gt;, commissioned by English National Ballet, re-imagines the classic narrative ballet for the 21st century. Giselle has become a former garment factory migrant worker, Albrecht, a member of the wealthy factory-owing class. An abandoned 'ghost factory' haunted by the memory of female migrant workers, many of them victims of industrial accidents, replaces the traditional glade of Act II. There, Giselle's desire to break the cycle of violence will lead to her reconciliation with Albrecht and his release from the retributive justice of the Wilis.</marc:subfield>
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            <marc:subfield code="a">MACMILLAN, K.: Histoire de Manon (L') [Ballet] (Royal Ballet, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Sarah Lamb and Vadim Muntagirov star as tragic lovers Manon and Des Grieux in this performance of &lt;i&gt;Kenneth MacMillan's Manon&lt;/i&gt;, a classic of the Royal Ballet repertory. Nicholas Georgiadi's period designs set the ballet in the contrasting worlds of Paris luxury and Louisiana swampland, while the intense emotion of MacMillan's choreography is complemented by a score drawn from Massenet's music. The impassioned pas de deux for Manon and Des Grieux drive this tragic story, and make Manon one of MacMillan's most powerful dramas.</marc:subfield>
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            <marc:subfield code="a">One of &lt;i&gt;Mozart's&lt;/i&gt; most enchanting works, &lt;i&gt;Die Zauberflote&lt;/i&gt; is a fairy tale that uses familiar archetypes to ask provocative and difficult questions about religion, the nature of power, the bonds of family, and of course love.

Premiered just months before Mozart's death, Die Zauberflote in many ways represents a new departure for the composer. Catching the spirit of revolution in the air, Mozart turned his attention for the first time from court opera to popular opera, writing this singspiel ('sung play') for a new and much broader audience.

Celebrated Canadian directing duo Barbe and Doucet make both their  British and Glyndebourne debuts here with their new Die Zauberflote, a veritable "theatrical feast of eccentricity." (The Guardian). Ryan Wigglesworth conducts an outstanding cast including Russian soprano Sofia Fomina as Pamina, David Portillo as her beloved Tamino, Brindley Sherratt as Sarastro, and the ebullient Bjorn Burger as Papageno.</marc:subfield>
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            <marc:subfield code="a">Don Quixote (arr. J. Lanchbery) (Studio Production, 1973) (NTSC) ( 01 hrs., 42 min. ) / Minkus</marc:subfield>
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            <marc:subfield code="a">Lanchbery, John, Conductor -- Nureyev, Rudolf, Artist -- Orchestra Victoria, Orchestra -- Helpmann, Robert, Artist -- Powell, Ray, Artist -- Aldous, Lucette, Artist -- Peasley, Colin, Artist -- Coe, Kelvin, Artist -- Croese, Francis, Artist -- Australian Ballet, The, Ensemble -- Rowe, Marilyn, Artist -- Minkus, Ludwig, Composer</marc:subfield>
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            <marc:subfield code="a">This spectacular film of &lt;i&gt;Don Quixote&lt;/i&gt;, choreographed after Marius Petipa and directed for the screen by Russian ballet superstar Rudolf Nureyev, is recognised as one of the finest ballet performances ever caught on camera and cinematic triumph in its own right.

Filmed in Melbourne with The Australian Ballet in 1972, the cast includes Nureyev as Basilio, Sir Robert Helpmann as the deluded knight and Lucette Aldous as Kitri. This timeless story of love, gallantry and misadventure - all unfolding with Minku's exhilarating Spanish-flavoured music - has stood the test of time as one of the world's most popular ballets.</marc:subfield>
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            <marc:subfield code="a">Lanchbery, John</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/OA1350D.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1350D</marc:subfield>
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            <marc:subfield code="a">KELLY, G.: Starstruck [Ballet] (Scottish Ballet, 2021) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Micchiardi, Bruno, Artist -- Leney, Roseanna, Artist -- Scottish Ballet, Ensemble -- Scottish Ballet Orchestra, Orchestra -- Picard, Jean-Claude, Conductor -- Martin, Sophie, Artist -- Harrison, Christopher, Artist -- Andreu, Javier, Artist -- Shoesmith, Nicholas, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">Inspired by Gene Kelly's iconic work in Hollywood, &lt;i&gt;Starstruck&lt;/i&gt;, winner of the 2022 Best Dance Film Award at the National Dance Awards, brings an immersive, theatrical experience, in which audiences around the world can escape with us to the glamour and grace of Paris, 1960.

One of the first choreographers to bring the 'American style' to Europe, the legendary Gene Kelly was invited to create an original work for the Paris Opera Ballet in 1960. His jazzy, joyful &lt;i&gt;Pas de Dieux&lt;/i&gt; was highly acclaimed at the time as 'a breath of fresh air' but has been rarely performance since. It has now been given a new set of wings for its life on stage and screen.

In collaboration with Kelly's widow, Patricia Ward Kelly, Scottish Ballet's CEO/Artistic Director Christopher Hampson and designer Lez Brotherson &lt;i&gt;(The Snow Queen, The Secret Theatre)&lt;/i&gt; have lovingly revived the original ballet and added a delightful new twist. You'll be transported into the world where jazz meets ballet, and the stars align.

Combining live performance capture with cinematic filming techniques and additional elements not seen in the stage production, Starstruck is directed for screen by Oscar Sanson &lt;i&gt;(Dive)&lt;/i&gt;, and produced in partnership and beyond, and we honour his creative legacy with this playful new ballet.

Set to &lt;i&gt;Gershwin's&lt;/i&gt; effortlessly cool &lt;i&gt;Concerto in F&lt;/i&gt;, with extracts from &lt;i&gt;Chopin&lt;/i&gt;, Starstruck is exactly the evening of entertainment you've been longing for.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/OA1364D.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1364D</marc:subfield>
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            <marc:subfield code="a">HAMPSON, Christopher / DARRELL, Peter: Secret Theatre (The) [Ballet] (Scottish Ballet, 2020) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The Secret Theatre (Scottish Ballet, 2020) (NTSC) ( 57 min. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">Sutherland, Gavin, Conductor -- Devernay, Constance, Artist -- Tarantolo, Kayla-Maree, Artist -- Micchiardi, Bruno, Artist -- Horler, Grace, Artist -- Barnes, Jerome Anthony, Artist -- Kawalek, Alice, Artist -- Vigier, Constant, Artist -- Edwards, Thomas, Artist -- Paulley, Grace, Artist -- Scottish Ballet, Ensemble -- Scottish Ballet Orchestra, Orchestra -- Picard, Jean-Claude, Conductor -- Martin, Sophie, Artist -- Harrison, Christopher, Artist -- Andreu, Javier, Artist -- Shoesmith, Nicholas, Artist -- Letsosa, Samuel, Artist -- Tetteh, Leo, Artist -- Benjamin, Rishan, Artist -- Parsons, Melissa, Artist -- Patron, Rimbaud, Artist -- Laurence, Jamiel, Artist -- Reid, Jamie, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">In a deserted city, a young boy stumbles into a theatre. He wanders through the audition, where rows of velvet chairs, draping curtains and chandeliers seem to lie in lovely wait for audiences to return. The theatre may be empty, but the show will go on...

Starring characters from Scottish Ballet's most popular festive ballets, the worlds of the Snow Queen and the Sugar Plum Fairy collide when the theatre bursts into life. In this spectacular, hour-long film, you'll be treated to an extraordinary show filled with acrobats, snowflakes, clowns, princes and - of course - beautiful ballerinas.

&lt;i&gt;The Secret Theatre&lt;/i&gt; features the choreography of Scottish Ballet founder Peter Darelle and CEO/Artistic Director Christopher Hampson, co-directed for the screen by Jess and Morgs. With set and costumes designed by Lez Brotherston, music by &lt;i&gt;Rimsky-Korsakov&lt;/i&gt; and &lt;i&gt;Tchaikovsky&lt;/i&gt; recorded live by the Scottish Ballet Orchestra, new additional composition by &lt;i&gt;Frank Moon&lt;/i&gt;, and performances from the full Scottish Ballet Company, this Christmas special is an unforgettable adventure for the whole family</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OA1367D</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/OA1367D</marc:subfield>
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            <marc:subfield code="a">DONIZETTI, G.: Lucia di Lammermoor [Opera] (Royal Opera House, 2016) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Lucia di Lammermoor (Royal Opera House, 2016) (NTSC) ( 02 hrs., 29 min., 28 sec. ) / Donizetti</marc:subfield>
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            <marc:subfield code="a">Youn, Kwangchul, Artist -- Damrau, Diana, Artist -- Tézier, Ludovic, Artist -- Castronovo, Charles, Artist -- Oren, Daniel, Conductor -- Royal Opera House Orchestra, Covent Garden, Orchestra -- Royal Opera Chorus, Choir -- Hoare, Peter, Artist -- Lloyd, Rachael, Artist -- Stayton, Taylor, Artist -- Cammarano, Salvadore, Lyricist -- Donizetti, Gaetano, Composer</marc:subfield>
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            <marc:subfield code="a">Diana Damrau sings the title role in Donizetti's tragic masterpiece &lt;i&gt;Lucia di Lammermoor&lt;/i&gt;. Director Katie Mitchell compellingly draws Lucia as a strong and independent woman who fiercely fights against her brother's machinations, and Vicki Mortimer's spectacular split-screen set metes out with devastating precision the events of Walter Scott's famous story. Daniel Oren conducts a thrilling cast, the Orchestra of the Royal Opera House and the Royal Opera Chorus is on the &lt;i&gt;Donizetti's&lt;/i&gt; most beautiful and dramatically potent operas.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Opera</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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            <marc:subfield code="a">Cammarano, Salvadore</marc:subfield>
            <marc:subfield code="e">Lyricist</marc:subfield>
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            <marc:subfield code="a">Donizetti, Gaetano</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/OADV0114dv.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=OADV0114dv</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/OADV0114dv</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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