Si eres editor de vídeo y necesitas crear DVDs o Blurays con interactividad y que resulten atractivos este es el curso que necesitas.
Adobe Encore es en la actualidad el programa líder en cuanto a autoría de DVDs y Blurays se refiere. Con este curso video2brain aprenderás a manejar el programa y a crear esos atractivos menús interactivos que podemos ver en los DVDs comerciales.
In spring 2011, the first-ever performances at New York's Metropolitan Opera of Rossini's Le Comte Ory brought standing ovations and critical-acclaim. The spectacular trio of Juan Diego Florez, Diana Damrau and Joyce DiDonato ignited vocal and theatrical fireworks. Le Comte Ory tells the story of a libidinous and cunning nobleman who disguises himself first as a hermit and then as a nun ("Sister Colette") in order to gain access to the virtuous Countess Adele, whose brother is away at the Crusades. The 2011 Met production was directed by the Tony Award-winning Broadway director Bartlett Sher, who in recent years has also staged Il barbiere di Siviglia and Les Contes d'Hoffman for the Met. Sher presented the action as an opera within an opera, updated the action by a few centuries and giving the costume designer, Catherine Zuber, the opportunity to create some particularly extravagant headgear. Juan Diego Florez starred as the title role while Diana Damrau plays his love interest, Countess Adele, and Joyce DiDonato was in breeches as his pageboy Isolier. The trio had appeared in Sher's production of Rossini's Il barbiere di Siviglia.
Based on Gogol’s fantastical and comic story of the Devil’s antics on Christmas Eve, this magical blend of opera and ballet is brought to vivid life in Francesca Zambello’s colourful production. Magnificent set designs (Mikhail Mokrov) and costumes (Tatiana Noginova), and an excellent, largely Russian cast provide authenticity. Splendid dancing by The Royal Ballet and Cossack dancers completes the spectacle.
In 1974, British choreographer Kenneth MacMillan in turn decided to focus on the two protagonists for an ambitious ballet that could translate the feelings and emotions of two souls abused by the accidents of life and their own personal weaknesses. In short, how a young girl on her way to a convent manages to elope with the young student with whom she has just fallen in love, only to leave him to escape destitution and finally allow herself to be persuaded by her brother Lescaut to yield to the advances of wealthy “protectors”. Accused of prostitution and deported to Louisiana, Manon is rescued by Des Grieux. Driven to murder by Manon’s jailer, he escapes with her into the marshes where the young girl ultimately succumbs. Although sincere, the love that Manon and Des Grieux share for each other cannot stand up to the vagaries of existence. As a result, neither is able to escape moral or social decline. Rather than reuse the score of Massenet’s opera, MacMillan entrusted Leighton Lucas with the task of arranging a series of extracts taken from a selection of the French composer’s operatic, symphonic and vocal scores… The end result was a huge success from its debut performance in London in 1974 onwards.
Glyndebourne has brought to light a long-overlooked winner in Donizetti’s Poliuto, delivering ‘a superb musical performance’ (The Telegraph) offering ‘lucent accounts of the principal roles and an incandescent London Philharmonic Orchestra, under Enrique Mazzola’ (New York Times). This first ever professional UK staging of the story of third-century Armenian martyr St Polyeuctus features a ‘trio of world-class young singers’ with Fabiano, winner of the Beverly Sills and Richard Tucker awards, displaying a ‘thrilling, vibrant tone’ in the title role, Martínez providing Paolina with ‘pinging coloratura’ and Golovatenko giving a ‘radiant-toned’ voice to Severo. (The Guardian)
Andrea Chénier presents a fictionalized account of the last years of the French poet André Chénier, guillotined during the Reign of Terror in 1794. It is the greatest of Giordano’s operas and shows why Puccini sometimes feared Giordano as a rival. Taking the starring role of Chénier, with its three marvellous arias, is Jonas Kaufmann. Soprano Eva-Maria Westbroek sings the role of Chénier’s beloved Maddalena and baritone Željko Lučić stars as Carlo Gérard – the servant-turned-revolutionary who is Chénier’s rival for the love of Maddalena. David McVicar brings Giordano’s thrilling historical drama back to the Royal Opera House for the first time since 1985 in a stunning new production.
On New Year’s Eve 2012 Joyce DiDonato became the first singer to take the title role in Donizetti’s Maria Stuarda at New York’s Metropolitan Opera. With her at its heart, the production became, in the words of Opera magazine, “a high point of the season and of the company’s performance history of bel canto operas”.