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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.

OPERA Schedule
Click on film title below to purchase tickets now, or purchase day of show at box office

February 14 (12 noon) & 16 (7:15pm)
Der Rosenkavalier (R. Strauss) -- Salzburg Festival, Austria (2014)
Genre: OPERA (new production)
Running time: 3 hrs, 35 mins (sung in German, with English subtitles)
Conductor: Franz Welser-Most
Director: Harry Kupfer
Sets: Hans Schavernoch
Costumes: Yan Tax
Lighting: Jurgen Hoffmann
Chorus Master: Ernst Raffelsberger
Chorus Master (Children’s Choir): Wolfgang Gotz
Cast: Sophie Koch, Krassimira Stoyanova, Mojca Erdmann, Silvana Dussmann, Wiebke Lehmkuhl, Gunther Groissbock, Adrian Erod, and Kresimir Spicer
Synopsis: Beneath the surface of its lightly flowing dialogue and sumptuous music, Der Rosenkavalier explores the progress of human relations, both personal and societal. Beginning with the scandalous love affair of young Octavian and the older, yet enchanting Marschallin, the opera examines Octavian’s metamorphosis, as youthful entanglements transform into romantic commitment. The Marschallin embodies our wistful nostalgia at the passage of time, serving as a counterpoint to the Octavian’s dreamy and impetuous youthful romance. In the world of Der Rosenkavalier, Strauss and his librettist, Hugo von Hofmannsthal, summon a half-imaginary, half-real Vienna of 1740, capturing both the intricacies of aristocratic ceremony and the temporality of human existence..

March 27 (12 noon) & 29 (7:15pm)
Tosca (Puccini) -- Opera Royal de Wallonie -- Liege (2015)
Genre: OPERA (new production)
Running time: 2 hrs, 5 mins (sung in Italian, with English subtitles)
Conductor: Paolo Arrivabeni
Director: Claire Servais
Sets: Carlo Centolavigna
Costumes: Michel Fresnay
Lighting: Olivier Wery
Chorus Master: Marcel Seminara
Cast: Rugero Raimondi, Barbara Haveman, Marc Laho, Roger Joakim, Giovanni Iovino, Marc Tissons, Laurent Kubla, and Pierre Gathier
Synopsis: Puccini’s fifth opera, Tosca marks an important transition in Puccini’s work. His previous opera, La Boheme, considered by many to be his first masterpiece, is at the same time, the last of Puccini’s work portray the struggles and dreams of society’s lower classes. With Tosca, Puccini returns to the purest tragedy, focusing on the violent and tragic downfall of three historic figures. Tosca is a highly focused opera, concentrated around the complex and fully developed psychologies of its three main characters. Inspired by the riveting performance of Sarah Bernhardt in the play by Victorien Sardou, Puccini artfully crafted the jealousy, turmoil and despair of the entrancing Floria Tosca. After a period of tormented and stormy writing with his librettists, Puccini finalized his composition just days before the opera’s premiere on January 14, 1900 at Teatro Constanzi in Rome.

April 24 (12 noon) & 26 (7:15pm)
La Damnation de Faust (Berlioz) -- Opera Nationale de Paris (2015)
Genre: OPERA (new production)
Running time: 2 hrs, 40 mins (sung in French, with English subtitles)
Conductor: Philippe Jordan
Director: Alvis Hermanis
Cast: Jonas Kaufmann, Sophie Koch, Bryn Terfel
Synopsis: Faust, an aging scholar, impulsively makes a bargain with Mephistopheles who promises him the restoration of his youth, knowledge, and the fulfillment of all of his wishes. After a series of dreamy incidents, including a trip to Auerbach's Cellar, Faust is lured to sleep by the sylphs and dreams of Marguerite. On awakening, he meets Marguerite in her room, and the two declare each other's love. When Faust learns of Marguerite's trouble and begs Mephistopheles for help, he is forced to sign away his soul and rides with the devil prince to hell, while Marguerite is saved in heaven through her repent.

May 15 (12 noon) & 17 (7:15pm)
Il Trovatore (Verdi) -- Opera National de Paris (2016)
Genre: OPERA (new production)
Running time: 2 hours, 35 mins. (sung in Italian)
Conductor: Daniele Callegari
Director: Alex Olle
Sets: Alfons Flores
Costumes: Lluc Castells
Lighting: Urs Schonebaum
Choir Director: Jose Luis Basso
Cast: Anna Netrebko, Marcelo Alvarez, Ludovic Tezier, Ekaterina Semenchuk, Roberto Tagliavini, Marion Lebegue, Oleksiy Palchykov, Constantin Ghircau and Cyrille Lovighi
Synopsis: In the aftermath of Rigoletto, Verdi’s sole desire was to do something new. However, he became impatient, angry even, when the project to adapt El Trovador, the play by the Spanish dramatist Antonio García Gutierrez, aroused only guarded enthusiasm from Salvatore Cammarano, his librettist, and the man to whom Donizetti owed in part the success of Lucia di Lammermoor. Despite the urgings of the irrepressible Verdi, Cammarano would not yield. Herein lays the paradox of Il Trovatore: in the eyes of its detractors it was the epitome of melodrama and yet the formal constraints imposed by Cammarano fanned the flames of the composer’s passions. Rather than true characters – excepting perhaps Azucena the Gypsy, who guards the secret that will destroy them all – the music portrays almost abstract figures consumed by passion. Originally intended by Verdi to be a secondary role, Leonora takes on the status of a sacrificial heroine. Her fourth-act cavatina “D’amor sull’ali rosee” is not so much a farewell as an Assumption.

June 12 (12 noon) & 14 (7:15pm)
Lucia di Lammermoor (Donizetti) -- Gran Teatre del Liceu, Barcelona (2015)
Genre: OPERA (new production)
Running time: 3 hours (sung in Italian)
Conductor: Marco Armiliato
Stage Director: Damiano Michieletto
Sets: Paolo Fantin
Costumes: Carla Teti
Lighting: Martin Gebhardt
Chorus Master: Peter Burian
Symphony Orchestra and Chorus of the Gran Teatre del Liceu
Cast: Elena Mosuc, Juan Diego Florez, Marco Caria, Simon Orfila, Albert Casals, and Jorge Rodríguez Norton
Synopsis: World debut for Juan Diego Florez in the role of Edgardo, in the second most performed Donizetti opera (the first is L’ Elisir D’Amore). The staging is based on a leaning glass tower in a landscape of destruction and desolation, recalling that the country is at war, torn by the ambitions of rival clans. The opera premiered on the 9th of September 1835 at the Teatro San Carlo n Naples, with the first performance at Barcelona’s Liceu on September 15th 1859. In Scotland, among two enemy clans, a love is born. Lucia and Edgardo secretly vow to marry each other. Nevertheless, Lucia’s brother convinces her that Edgar has forgotten her and she is forced to marry another man. She becomes crazy, kills her husband and finally dies herself. Hearing the news, Edgardo commits suicide so that he can rejoin his lover.

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.

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