Best movies like Macbeth

Cissy, Reggie, and Wilf are in a home for retired musicians. Every year, there is a concert to celebrate Composer Giuseppe Verdi's birthday and they take part. Jean, who used to be married to Reggie, arrives at the home and disrupts their equilibrium. She still acts like a diva, but she refuses to sing. Still, the show must go on, and it does.

A gangster's wife drives him to kill as she pushes him to the top.

One fateful night in a small English regional theatre during World War II a troupe of touring actors stage a production of Shakespeares King Lear. Bombs are falling, sirens are wailing, the curtain is up in an hour but the actor/manager Sir who is playing Lear is nowhere to be seen. His dresser Norman must scramble to keep the production alive but will Sir turn up in time and if he does will he be able to perform that night? The Dresser is a wickedly funny and deeply moving story of friendship and loyalty as Sir reflects on his lifelong accomplishments and seeks to reconcile his turbulent friendships with those in his employ before the final curtain.

Hymn of the Nations, originally titled Arturo Toscanini: Hymn of the Nations, is a 1944 film directed by Alexander Hammid, which features the "Inno delle nazioni," a patriotic work for tenor soloist, chorus, and orchestra, composed by Italian opera composer Giuseppe Verdi in the early 1860s. (For this musical work, Verdi utilized the national anthems of several European nations.) In December 1943, Arturo Toscanini filmed a performance of this music for inclusion in an Office of War Information documentary about the role of Italian-Americans in aiding the Allies during World War II. Toscanini added a bridge passage to include arrangements of "The Star-Spangled Banner" for the United States and "The Internationale" for the Soviet Union and the Italian partisans. Joining Toscanini in the filmed performance in NBC Studio 8-H, were tenor Jan Peerce, the Westminster Choir, and the NBC Symphony Orchestra. The film also included the overture to Verdi's opera La Forza del Destino.

Hallmark Hall of Fame's second version of Shakespeare's classic play, with the same two stars and the same director as its first version, but a different supporting cast.

Renowned Shakespearean actor Patrick Stewart features as the eponymous anti-hero in this Soviet-era adaptation of one of Shakespeare's darkest and most powerful tragedies.

Fantasy-comedy about a young man who lives as if it is 1928 or so, and his encounters with modern-day women and modern-day criminals.

A womanizing opera star is smitten by a young music student.

Entirely shot on green screen, Shakespeare’s Macbeth has been reinvented by director Kit Monkman (The Knife That Killed Me) in an exciting new film adaptation. Starring Mark Rowley, (The Last Kingdom, Luther). Monkman’s unique adaptation successfully bridges the gap between theatre and film to create a wholly new type of imaginative space. This radical new adaptation puts the audience’s engagement with the story centre-stage, amplifying the theatrical context of the original and creating truly innovative and thrilling cinematic vistas, whilst maintaining the language and themes of Shakespeare’s original play. Using background matte painting and computer modelling to generate the world in which the action plays out, the green screen allows Monkman to create his vision of a multi-tiered globe in which the characters play out their various fates.

To help out his exact double, George Formby (in a dual role) takes the place of a noted South American tenor. This way he can help the opera star fulfill contract obligations and also win the heart of the man's lovely press agent, Linden Travers.

Jeanine, an earnest theatre director, has been given the task of remounting her former mentor’s most famous work, the opera Salome. Haunted by dark and disturbing memories from her past, she allows her repressed trauma to color the present as she re-enters the opera world after so many years away.

The award-winning show is re-imagined as a live concert event, featuring an all-star cast of recording artists, set during the last week of Jesus' life as he deals with betrayal, love and jealousy, and told from the perspective of Judas.

Performing from within the walls of a deconsecrated Manchester church, Kenneth Branagh takes the lead role in this ambitious production of William Shakespeare's tragic tale of ambition and treachery.

Macbeth is a 1978 videotaped version of Trevor Nunn's Royal Shakespeare Company production of the play by William Shakespeare. Produced by Thames Television, it features Ian McKellen as Macbeth and Judi Dench as Lady Macbeth. The TV version was directed by Philip Casson. The original stage production was performed at The Other Place, the RSC's small studio theatre in Stratford-upon-Avon. It had been performed in the round before small audiences, with a bare stage and simple costuming. The recording preserves this style: the actors perform on a circular set and with a mostly black background changes of setting are indicated only by lighting changes.

The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness. Shakespeare’s most intense and terrifying tragedy, directed by Rufus Norris, sees Rory Kinnear and Anne-Marie Duff return to the National Theatre to play Macbeth and Lady Macbeth.

Director Werner Herzog, one of the most highly acclaimed German film makers, joins forces with the great Italian conductor Riccardo Chailly to effect a masterful rendition of this rarely-performed opera involving spectacular scenes of alternating light and dark, pageantry and intimacy. Staged and recorded at Teatro Comunale di Bologna in Bologna, Italy.

Anthony Sher and Harriet Walter star in a highly-acclaimed screen version of William Shakespeare's classic story of tyranny and ambition. On the stage this Royal Shakespeare Company presentation was universally lauded. Following sell-out seasons at Statford's Swan Theatre and in London, the production played Japan and in the United States, where The New York Times praised director Gregory Doran's interpretation as a "harrowing and disturbingly funny parable for the dawn of the 21st century". To make this compelling screen version, Gregory Doran worked with all of the original cast and filmed at London's Roundhouse. Brilliantly shot by director of photography Ernie Vincze, the production uses the edgy techniques of fly-on-the-wall documentaries. The effect is raw, intimate and strikingly dynamic.

Antoni Cimolino’s chilling production of Macbeth takes you back to the stark reality of the 11th century, when the murderous king clawed his way to power. It has been praised as “a thrilling terror,” (Globe and Mail) “a bold and brutal take on the Scottish King’s tragic tale” (Toronto Star), and “a brilliant, terrifying show” that leaves people “gasping in the dark” (Chicago Tribune). Starring Ian Lake in “a galvanizing performance as an unusually young and sexually magnetic Macbeth” (New York Times) and Krystin Pellerin as “a standout Lady Macbeth … at once adorable yet devious” (Postmedia), this is a production that will haunt your dreams and leave you tingling. All hail Macbeth!

Young Austrian Archduke Paul "Gustl" Gustave is in an arranged engagement but his uncle, the emperor, decides to let Gustl carry on a fling with ballet dancer Lisl Gluck.

Massenet composed his opera about Cenerentola nearly 80 years after Rossini did his. And if you are looking for the outburst of the non-stop hilarity and the musical jokes of Rossini, you won't find it here. Also, while the Cendrillon was highly successful and popular in its time, it does not reach up to the artistic and musical levels offered by Massenet's other operas, like Manon, or Thais or Werther. Nevertheless, this is a delightful opera and it is well presented by The Royal Opera. Laurent Pelly created a ingenious setting with movable walls which are covered [in French] with the story of Cinderella, and which open and close book-like.

Giacomo Puccini's bittersweet opera of high-spirited bohemians and the doomed love between Rodolfo, the idealistic poet and Mimi, the consumptive flower-maker, is a beautifully balanced series of tableaux depicting the infectious joie de vivre of youth and the tragic waste of disease and separation. The legendary and incomparable partnership of Mirella Freni and Luciano Pavarotti as the two lovers has been captured in this special live recording from stage of the San Francisco Opera. Brian Large has adapted Francesca Zambello's production for video, further illuminating the fascinating interaction of Puccini's characters. Gino Quilico sings Marcello, the colorful and moody painter, whose tempestuous relationship with the flirtatious Musetta (sung by Sandra Pacetti), comically mirrors the more profound love of Rodolfo and Mimi. Nicolai Ghiaurov sings Colline.

A look back at NBC's iconic 1968 special that put Elvis Presley back on the map featuring an all-star group of music superstars who will pay tribute to Elvis, recreating the spectacle - even the staging - of that legendary night.

Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.

tt0255782. Aida (1981) San Francisco. Verdi / Italian. An Egyptian military commander, Radamès, struggles to choose between his love for the enslaved Ethiopian princess Aida, and his loyalty to the Pharaoh. To complicate the story further, the Pharaoh's daughter Amneris is in love with Radamès, although he does not return her feelings.

The star singers in this revival of the 2006 production were Angela Gheorghiu, Jonas Kaufmann and Bryn Terfel; the Royal Opera Chorus and the Orchestra of the Royal Opera House were under the baton of Antonio Pappano, the Music Director of the Royal Opera House. The pageantry of church ritual, the darkness of a brooding study with its hidden torture chamber and the false optimism of the light of a Roman dawn - all throw into relief the love of the beautiful diva Tosca, the idealism of her lover Cavaradossi and the deadly, destructive obsession of the malevolent Chief of Police, Scarpia. Drama, passion and fabulous music.

La traviata (Italian: [la traˈviaːta], "The Fallen Woman"[1][2]) is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.[3]

The complete version of Verdi's Otello performed by Placido Domingo and Kiri Te Kanawa, at the Royal Opera House, Covent Garden. Gala Performance in honour of Sir Georg Solti's 80th birthday.. 27 October 1992. BBC 2 Television live relay.

Live recording at Royal Opera House, 22 September, 2001. Television live relay. In one of the Royal Opera’s most celebrated and popular productions, director David McVicar mixes lavish historical costumes and dark stylized settings to highlight the savagery and excitement of Verdi’s tale of misdirected revenge. Paolo Gavanelli is vocally and theatrically electrifying as the hunchback anti-hero, acclaimed soprano Christine Schäfer is his doomed daughter, and superstar tenor Marcelo Alvarez is her fickle lover. With superb playing from the Orchestra of the Royal Opera House, it adds up to a thrilling Rigoletto for both opera aficionados and newcomers.

Taped live at the Mariinsky Theater in St. Petersburg, Valery Gergiev conducts this landmark production of Giuseppe Verdi's operatic masterpiece. This opera premiered at the Mariinsky Theatre in 1862, and is performed here in its original St. Petersburg version using reconstructions of the magnificent painted scenery.

Since its debut in 1934 the Glyndebourne Festival has put a focus on Mozart operas and developed a great competence in staging them. Mozart s operas seem to be made for the small but fine opera house in Glyndebourne and it's not surprising that the 1977 Don Giovanni, one of Mozart's great masterpieces, was a huge success. This production is conducted by Bernard Haitink, who holds the opinion, that no other composer had more opera in his blood than Mozart. It has been proven, for example, that Mozart had no overture for Don Giovanni until the evening before the premiere in Prague and wrote it down in just one night. Like the premiere's success of the opera in Prague in 1787 the Glyndebourne's version staged by Peter Hall was praised by audience and critics alike: We witness a lively and wide-awake ensemble piece that has easily survived all these decades, and still manages to teach many directors the art of playing theatre.

Rolando Villazón Triumphantly Returns To The Stage As Don Carlo In The 2007/2008 Royal Opera House'S Producton Of Don Carlo. National Theatre director Nicholas Hytner's new staging of Verdi's grandest-- and arguably greatest -- opera, Don Carlo, was the highlight of the 2007/2008 Royal Opera House season. This new production marked Rolando Villazón's much anticipated and triumphant return. Set amidst the political, religious and sexual intrigue of the 16th century Spanish court, this epic work tells the tragic story of Don Carlo, a virtuous young prince who is pitted against the powers of a dominant, corrupt society. First staged at The Royal Opera House in 1886, this new production is the first new version of the 5-Act complete opera to be staged at Covent Garden in 50 years. With sets and costumes by Bob Crowley, direction by Nicholas Hytner, and an enviable cast, this production of Don Carlo is worthy of the greatness of Verdi's original, masterful work.

Robert Lepage’s landmark staging of Wagner’s Der Ring des Nibelungen, unveiled over the course of the 2010–11 and 2011–12 seasons, was the first new Met production of the complete cycle in more than 20 years. Combining state-of-the-art technology with traditional storytelling, it brings Wagner’s vision into the 21st century. In this first part of the epic, the theft of the Rhinegold treasure sets in motion the course of events that will change the world and end the rule of the gods. Met Music Director James Levine conducts a cast of some of the greatest Wagnerian singers of our time, including Bryn Terfel as Wotan, Stephanie Blythe as Fricka, and Eric Owens as Alberich.

Recorded live at the Royal Opera House, December 2012. Daniel Oren conducting Royal Opera House Orchestra and Chorus. A grand opera that dominated the stages of Europe for most of the 19th century, Robert le diable is a masterpiece. Director Laurent Pelly breathes new life into Giacomo Meyerbeer's great spectacle and audaciously entertaining moral fable, in this colourful new staging for The Royal Opera.

The first revival of David Bösch’s new production for The Royal Opera, with two casts including Maria Agresta, Lianna Haroutounian and Anita Rachvelishvili.

In their unrelenting quest for power, Macbeth and Lady Macbeth engage in murder and mayhem to attain the Crown and keep it, in this modern-day version of Shakespeare's famous story. Drink a cup of evil - blood will have blood.