The love story of young Countess Natasha Rostova and Count Pierre Bezukhov, is intertwined with the "Great Patriotic War" of 1812 against the invading Napoleon's Armies. People of Russia from all classes of society stand up united against the enemy. Both sides suffer tremendous losses during the war, and Russian society is left irrevocably changed.
While the rest of the Hebrews bewail their fate, Samson alone trusts in God's promise of liberty. Abimelech, the Philistine satrap of Gaza, enters to mock the Hebrews' God, proclaiming the superiority of Dagon, and the Hebrews are afraid of him. But calls them to show some defiance, so Abimelech attacks Samson with his sword. Samson seizes the sword and strikes him dead. The Hebrews scatter and the High Priest of Dagon appears, cursing the Hebrews. When a messenger reports that the Hebrews are ravaging the harvest, the High Priest forms a plan to use Delilah to overcome Samson's strength. Delilah's beauty is such that Samson can't resist her for long. She begs to know the secret of his supernatural strength, but he refuses, though he says he loves her. Delilah betrays Samson by having some Philistine soldiers seize him and throw him into a prison in Gaza, where his hair is cut off.
The embittered widow, Kostelnicka, drowns her infant grandson to save her beloved stepdaughter Jenufa from the shame and hardship of raising an illegitimate child.
This live version of Puccini s superbly dramatic opera was recorded in Rome in the exact locations and at the precise times of day as Puccini had written into his score. The action opens in Rome's beautiful 16th-century church of Sant Andrea della Valle, where Cavaradossi (Plácido Domingo) is innocently painting, moves to the Farnese Palace where Tosca (Catherine Malfitano) dramatically stabs the lustful Scarpia (Ruggero Raimondi), and finally to the battlements of the Castle Sant Angelo at dawn the following day where Cavaradossi is cruelly killed, and Tosca takes her own life.
Joan Sutherland's farewell performance to the operatic stage offsets this story of the St. Bartholomew's Day massacre and the magnificence of 16th century France.
Scottish poet Robert Burns’ works are known and loved wherever the English language is read. Burns touched with his own genius the traditional folk songs of Scotland, transmuting them into great poetry, and he immortalized its countryside and humble farm life. He was a keen and discerning satirist who reserved his sharpest barbs for sham, hypocrisy, and cruelty. His satirical verse, once little appreciated, has in recent decades been recognized widely as his finest work. He was also a master of the verse-narrative technique, as exemplified in Tam O’Shanter. His love songs, perfectly fitted to the tunes for which he wrote them, are, at their best, unsurpassed.
An indefatigable experimenter who participated in the Cubist, Dadaist and Surrealist art movements, Man Ray (1890-1976) created a new photographic art that emphasized chance effects and juxtapositions. Ray used solarization, grain enlargement and cameraless prints (called "Rayographs") -- made by placing objects directly on photographic paper and exposing them to light.
