At the English National Opera, Deborah Warner has been directing Benjamin Britten's final opera, Death in Venice, conducted by Edward Gardner.

Time: The 1820s Place: St Petersburg and surrounding countryside Act 1 Scene 1: The garden of the Larin country estate Madame Larina and the nurse Filippyevna are sitting outside in the garden. They can hear Madame Larina's two daughters, Tatyana and her younger sister Olga, singing a love song. Madame Larina begins to reminisce about her own courtship and marriage. A group of peasants enter, and celebrate the harvest with songs and dances. Tatyana and Olga watch. Tatyana has been reading a romantic novel and is absorbed by the story; her carefree sister, on the other hand, wants to join in the celebrations. Madame Larina tells Tatyana that real life is very different from her novels. Filippyevna announces that visitors have arrived: Olga's fiancé Lensky, a young poet, and his friend Eugene Onegin, visiting the area from St Petersburg. The pair are shown in and Lensky introduces Onegin to the Larin family. Onegin is initially surprised that Lensky has chosen the extrovert Olga rather than her more subtle elder sister as his fiancée. Tatyana for her part is immediately and strongly attracted to Onegin. Lensky expresses his delight at seeing Olga and she responds flirtatiously. Onegin tells Tatyana of his boredom in the country and describes the death of his uncle and his subsequent inheritance of a nearby estate. Filippyevna recognizes that Onegin has had a profound effect on Tatyana. Scene 2: Tatyana's room Tatyana is dressed for bed. Restless and unable to sleep, she asks her nurse Filippyevna to tell her about her youth and early marriage. Tatyana confesses that she is in love. Left alone, Tatyana pours out her feelings in a letter to Onegin. She tells him that she loves him and believes that she will never feel this way about anyone else, and begs him to understand and help her. She finishes writing the letter at dawn. A shepherd's pipe is heard in the distance. Filippyevna enters the room to wake Tatyana. Tatyana persuades her to send her grandson to deliver the letter to Onegin. Scene 3: Another part of the estate Servant girls pick fruit and sing as they work. Tatyana waits anxiously for Onegin's arrival. Onegin enters to see Tatyana and give her his answer to her letter. He explains, not unkindly, that he is not a man who loves easily and is unsuited to marriage. He is unworthy of her love and can only offer her brotherly affection. He warns Tatyana to be less emotionally open in the future. The voices of the servant girls singing are heard again. Tatyana is crushed and unable to reply. Act 2 Scene 1: The ballroom of the Larin house A ball is being given in honour of Tatyana, whose name day it is. Onegin is dancing with her. He grows irritated with a group of neighbours who gossip about him and Tatyana, and with Lensky for persuading him to come to the ball. He decides to avenge himself by dancing and flirting with Olga. Lensky is astounded and becomes extremely jealous. He confronts Olga but she cannot see that she has done anything wrong and tells Lensky not to be ridiculous. Onegin asks Olga to dance with him again and she agrees, as "punishment" for Lensky's jealousy. The elderly French tutor Monsieur Triquet sings some couplets in honour of Tatyana, after which the quarrel between Lensky and Onegin becomes more intense. Lensky renounces his friendship with Onegin in front of all the guests, and challenges Onegin to a duel, which the latter is forced, with many misgivings, to accept. Tatyana collapses and the ball ends in confusion. Scene 2: On the banks of a wooded stream, early morning Lensky is waiting for Onegin with his second Zaretsky. Lensky reflects on his life, his fear of death and his love for Olga. Onegin arrives with his manservant Guillot. Both Lensky and Onegin are reluctant to go ahead with the duel, reflecting on the senselessness of their sudden enmity. But it is too late; neither man has the courage to stop the duel. Zaretsky gives them the signal and Onegin shoots Lensky dead. Act 3 Scene 1: The house of a rich nobleman in St Petersburg Five years have passed, during which Onegin has travelled extensively around Europe. Standing alone at a ball, he reflects on the emptiness of his life and his remorse over the death of Lensky. Prince Gremin enters with Tatyana, his wife, now a grand, aristocratic beauty. She is greeted by many of the guests with great deference. Onegin is taken aback when he sees Tatyana, and deeply impressed by her beauty and noble bearing. Tatyana, in turn, is overwhelmed with emotion when she recognizes him, but tries to suppress it. Gremin tells Onegin about his great happiness and love for Tatyana, and re-introduces Onegin to his wife. Onegin, suddenly injected with new life, realizes that he is in love with Tatyana. He determines to write to her and arrange a meeting. Scene 2: A room in Prince Gremin's house Tatyana has received Onegin's letter, which has stirred up the passion she felt for him as a young girl and disturbed her. Onegin enters. Tatyana recalls her earlier feelings and asks why Onegin is pursuing her now. Is it because of her social position? Onegin denies any cynical motivation: his passion is real and overwhelming. Tatyana, moved to tears, reflects how near they once were to happiness but nevertheless asks him to leave. He asks her to have pity. Tatyana admits she still loves Onegin, but asserts that their union can never be realized, as she is now married, and determined to remain faithful to her husband despite her true feelings. Onegin implores her to relent, but she bids him farewell forever, leaving him alone and in despair.

一个古老的传说。莎士比亚悲剧的巅峰之作。 　　王被浮夸的辞藻蒙蔽了心灵，邪恶的女儿们得到了王国与财富，唯独诚实的小女儿郁郁远嫁。当她们曾经的信誓旦旦转眼之间化为不屑与厌恶时，王不得不流落荒野，在风雨交加中明白了何谓真情。只是，他已然疯了。善良的小女儿乔装回到父亲身边，以爱与宽恕唤回了父亲缥缈的理智。一场关乎手足、计谋、背叛的战争爆发了。女儿们一个个死去。黑暗中，王抱着小女儿的尸体，仰天大恸…… 　　此剧由多位英美职业话剧演员加盟。他们在莎剧演出方面具有极为丰富的经验，代表了英美话剧表演的较高水平。其中格雷夫斯、麦可当纳德和迈克菲勒密已在英美话剧界活跃三十多年，熟悉并演出过每一部莎翁剧作，饰演过一百多个莎剧角色。奥考奈尔则为美国青年话剧演员中的佼佼者。四人的鼎力加盟不仅大大提升了此次制作的艺术水准，并为国内外莎剧表导演的交流提供一个良好契机。 　　美国纽约的雪城大学戏剧系六位毕业班学生也受邀参加此次演出，与北京大学外国戏剧与电影研究所的六位学生在剧中共同饰演角色，届时将分别登台亮相，为此剧注入不同的中西表演特色与理解。

The play is set in the 17th century in Europe during the Thirty Years' War. The Recruiting Officer and Sergeant are introduced, both complaining about the difficulty of recruiting soldiers to the war. A canteen woman named Anna Fierling (Mother Courage) enters pulling a cart that she uses to trade with soldiers and make profits from the war. She has three children, Eilif, Kattrin, and Swiss Cheese. The sergeant negotiates a deal with Mother Courage while Eilif is led off by the recruiting officer. One of her children is now gone. Two years from then, Mother Courage argues with a Protestant General's cook over a capon, or chicken. At the same time, Eilif is congratulated by the General for killing peasants and slaughtering their cattle. Eilif and his mother sing "The Fishwife and the Soldier". Mother Courage scolds her son for taking risks that could have got him killed and slaps him across the face. Three years later, Swiss Cheese works as an army paymaster. The camp prostitute, Yvette Pottier, sings "The Fraternization Song". Mother Courage uses this song to warn Kattrin about involving herself with soldiers. Before the Catholic troops arrive, the Cook and Chaplain bring a message from Eilif. Swiss Cheese hides the regiment's paybox from invading soldiers. Mother Courage & co. hurriedly switch their insignia from Protestant to Catholic. Swiss Cheese is captured by the Catholics while attempting to return the paybox to his General. Mother Courage deals her cart to get money to try and barter with the soldiers to free her son. She takes too long trying negotiate small amount of money for herself, the Chaplin, and Kattrin to live from and Swiss Cheese is shot dead with 11 bullets. To acknowledge the body could be fatal, so Mother Courage does not acknowledge it and it is thrown into a pit. Later, Mother Courage waits outside the General's tent in order to register a complaint and sings the "Song of Great Capitulation" to a young soldier waiting for the General as well. The soldier is angry that he has not been paid and also wishes to complain. The song persuades the soldier that complaining would be unwise, and Mother Courage (reaching the same conclusion) decides she also does not want to complain. When Catholic General Tilly's funeral approaches, Mother Courage discusses with the Chaplain about whether the war will continue. The Chaplain then suggests to Mother Courage that she marry him, but she rejects his proposal. Mother Courage curses the war because she finds Kattrin disfigured after being raped by the clerk while collecting more merchandise. At some point about here Mother Courage is again following the Protestant army. Two peasants wake Mother Courage up and try to sell merchandise to her while they find out that peace has broken out. The Cook appears and creates an argument between Mother Courage and the Chaplain. Mother Courage departs for the town while Eilif enters, dragged in by soldiers. Eilif is executed for killing peasants but his mother never finds out. When the war begins again, the Cook and Mother Courage start their own business. The seventeenth year of the war marks a point where there is no food and no supplies. The Cook inherits an inn in Utrecht and suggests to Mother Courage that she operate it with him, but he refuses to harbour Kattrin. It is a very small inn. Mother Courage will not leave her daughter and they part ways with the Cook. Mother Courage and Kattrin pull the wagon by themselves. The Catholic army attacks the small Protestant town of Halle while Mother Courage is away from town, trading. Kattrin is woken up by a search party that is taking peasants as guides. Kattrin fetches a drum from the cart, climbs onto the roof, and beats it in an attempt to awake the townspeople. Though the soldiers shoot Kattrin, she succeeds in waking up the town. Early in the morning, Mother Courage sings to her daughter's corpse, has the peasants bury her and hitches herself to the cart. The cart rolls lighter now because there are no more children and very little merchandise left.

King Richard banishes his noblemen and seizes their land to fuel his own wars. As anger mounts, a battle for the soul of England begins and one man's divine right to rule is called into question. Shakespeare's poetic masterpiece is an epic tale of destruction, ruin and decay that casts light on the decline of a kingdom and the solitude of power.

A film version of a performance by Fiona Shaw of T.S. Eliot's poem.

Deborah Warner's beautiful and evocative production of Britten's final operatic masterpiece has been acclaimed as an ‘exquisitely achieved marriage of music, drama and design’ (The Independent). In Britten's luminous and compelling interpretation of Thomas Mann's classic novella, the aging writer Gustav von Aschenbach's infatuation with the Polish boy Tadzio and his subsequent decline are portrayed in a ‘remarkable and harrowingly believable’ performance (The Guardian) by John Graham-Hall, who had already won golden opinions for singing the role of Aschenbach at La Scala. The superb ENO chorus and orchestra are conducted by Edward Gardner, a long-standing champion of Britten's music. Filmed in High Definition and recorded in true Surround Sound.

圣彼得堡的贵族青年奥涅金，曾经有过和一般贵族青年相似的奢靡生活，但他逐渐开始厌倦上流社会的空虚无聊，抱着对新生活的向往来到乡村。然而，华而不实的贵族教育没有任何帮助，奥涅金四处碰壁，整日苦闷彷徨。在乡下的庄园，他和连斯基及其未婚妻奥尔迦成为好友。奥尔迦的姐姐塔吉扬娜纯朴 、多情，爱上了奥涅金，并勇敢地写信向他倾诉自己纯洁的爱情，但遭到拒绝。经历重重波折之后，二人再次相遇，当年他拒绝她的爱，再遇才知真情谁属，然而一切已物是人非…… When Deborah Warner’s production of Eugene Onegin opened the Met season in 2013, soprano Anna Netrebko had only recently begun singing the role of Tatiana; however, when she returned to the part at the Met a few years later, her dramatic approach, like that of the character herself, had grown over time. With a smoldering vocal performance, Netrebko embodies the nuanced aspects of Tatiana’s personality—growing from a girl in the blossom of youth into an elegant, cosmopolitan princess. Opposite her, Peter Mattei sings the title role, a nonplussed aristocrat who discovers the power of love too late, with a rich, supple baritone. As the ardent poet Lenski, bright-voiced tenor Alexey Dolgov offers a heartbreaking portrayal. Elena Maximova is Lenski’s carefree lover Olga, and bass Stefan Kocán delivers a moving performance as the aging Prince Gremin. Maestro Robin Ticciati leads the Met Orchestra and Chorus in a textured reading of Tchaikovsky’s beloved score. Cast & Creative CONDUCTOR Robin Ticciati TATIANA Anna Netrebko LENSKY Alexey Dolgov ONEGIN Peter Mattei GREMIN Stefan Kocán

Hedda Gabler is a beautiful woman married to the solid and respectable academic George Tesman. Then an old flame, the dreamer Eilert Lovborg, turns up on the scene with tragic results

The incompetent Richard II is deposed by Henry Bolingbroke and undergoes a crisis of identity once he is no longer king.

In 1920s Ireland, an elderly couple reside over a tired country estate. Living with them are their high-spirited niece, their Oxford student nephew, and married house guests, who are trying to cover up that they are presently homeless. The niece enjoys romantic frolics with a soldier and a hidden guerrilla fighter. All of the principals are thrown into turmoil when one more guest arrives with considerable wit and unwanted advice.