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
- May 15 (12 noon) & 17 (7:15pm)
- Il Trovatore (Verdi) -- Salzburg Festival (2014)
Running time: 2 hours, 35 mins. (sung in Italian)
Conductor: Daniele Gatti
Director: Alvis Hermanis
Chorus Master: Ernst Raffelsberger
Chorus: Konzertvereinigung, Wiener Staatsopernchor
Orchestra: Wiener Philharmoniker
Cast: Anna Netrebko, Placido Domingo, Fracnesco Meli, Marie-Nicole Lemieux, Riccardo Zanellato, Diana Haller, Gerard Schneider and Raimundas Juzuitis
Synopsis: Since her sensational success in La Traviata, the soprano Anna Netrebko, at the height of her popularity, returns regularly to the great festival hall of the Salzburg Festival. This time, Netrebko shines as Leonora in Giuseppe Verdi’s tragic opera Il Trovatore with Plácido Domingo as Count di Luna. The strong cast is complemented by Francesco Meli as the troubadour Manrico, and Marie-Nicole Lemieux who, as the gypsy Azucena, provides spine-chilling and dramatic moments. The “most hotly anticipated spectacle of the Salzburg Festival” (Corriere della Sera) has exceeded all expectations, with Alvis Hermanis staging and sets, “in their opulent adherence to detail and fantastically illuminated atmosphere (…) offering much more than just a decorative sight for sore eyes“ (Salzburger Nachrichten).
- 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.