Opera in Cinema
Thank you for your patience! Our Opera in Cinema Series at Camera 3 Entertainment is back with a new partner, Rising Alternative. And best of all, all productions are now screened as they were meant to be experienced -- in dazzling Sony Digital Cinema 4K (the highest resolution available) with Dolby Digital surround sound, in our spacious large auditorium.
Camera 3 Entertainment is located at 288 S. Second Street in the heart of downtown San Jose, Silicon Valley's center of arts and culture. See acclaimed new productions monthly of popular European based operas -- and sometimes ballets -- featuring the world's greatest stars and companies, Sundays at 12 noon with encore screenings the following Tuesday at 7:15pm.
Tickets are just $18.50, the lowest price for theatrical opera presentations in the South Bay. Partake in specialty coffees or beer and wine in the lobby before and after the show. And of course, we offer FREE validated parking in the attached, covered parking garage (just present your same day ticket purchase at the box office). Please note that these are special events, and no discount cards, group discount booklets, passes or re-admits will be accepted.
Click on film title below to purchase tickets now, or purchase day of show at box office
- July 10 (12 noon) & 12 (7:15pm)
- Turandot (Puccini) -- Bregenzer Festspiele (2015)
Genre: OPERA (new production)
Running time: 2 hrs, 30 mins (Sung in Italian)
Conductor: Paolo Carignani
Director/Set Designer: Marco Arturo Marelli
Costume Designer: Constance Hoffman
Video Designer: Aron Kitzig
Lighting Designer: Davy Cunningham
Choreographer: Ran Arthur Braun
Video Director: Felix Breisach
Vienna Symphony Orchestra, Prague Philharmonic Choir, Bregenz Festival Chorus
Cast: Mlada Khudoley, Riccardo Massi, Guanqun Yu, Manuel von Senden, Michael Ryssov, Andre Schuen
Synopsis: No man shall ever possess her – the Chinese princess Turandot sets three riddles for every man that comes to woo her. So far none have been able to solve the riddles, and have paid with their heads. Then an unknown prince achieves the impossible: he correctly answers all three questions. But Turandot is still unwilling to surrender to him. So the Prince is ready to lay down his life if she can find out his name by morning. Throughout the night, no one may sleep: everyone must try to discover his name...It is this aria sung by Calaf, ‘Nessun dorma‘, that made Giacomo Puccini‘s opera Turandot world famous. On the Bregenz stage it‘s delivered against the imposing backdrop of a dragon-shaped wall on Lake Constance, inspired by the Great Wall of China. There are Chinese elements in the music, too, but however Chinese Puccini‘ s last opera might appear, the plot is adapted from a Persian tale and the score is full-blown Italian opera.
- August 14 (12 noon) & 16 (7:15pm)
- Rigoletto (Verdi) -- Opera National de Paris (2016)
Genre: OPERA (new production)
Running time: 2 hrs, 15 mins (sung in Italian)
Conductor: Nicola Luisotti
Director: Claus Guth
Sets: Christian Schmidt
Costumes: Christian Schmidt
Lighting: Olaf Winter
Choir Director: Jose Luis Basso
Cast: Michael Fabiano, Quinn Kelsey, Olga Peretyatko, Rafal Siwek, Vesselina Kasarova, Isabelle Druet, Mikhail Kolelishvili, Michal Partyka, Christophe Berry, Tiago Matos, Andreea Soare
Synopsis: Verdi was already working on an adaptation of Shakepeare's classic tragedy "King Lear" when he read Victor Hugo's drama "Le Roi s'amuse". On discovering in the works of the French writer to whom he would owe Ernani, the greatest triumph of his “difficult years”, a parallel with the triangle formed by the King, his daughter and the jester, it was “like a thunderbolt, an inspiration”. Between the frivolous, licentious Duke, and Gilda, a victim of the ignorance which holds her captive, stands the double-faceted character of the hunchback, both buffoon and curse-obsessed father. Monstrous and heartrending, grotesque and sublime, the title role reaches its apogee in the aria “Cortigiani, vil razza dannata”, whose descending movement, from the explosion of rage to the moment of entreaty, confirms the composer’s ability to adapt a form inherited from bel canto to theatrical realism.