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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.

The town goldsmith announces that the winner of the Midsummer's Day song contest will win his daughter, but must also be or become a Mastersinger. The cobbler Hans Sachs (an actual historical figure) helps Walther compose a Mastersong with which to defeat his rival Beckmesser and win Eva.

Giuseppe Verdi's \"Luisa Miller\" is an opera in three acts based on Schiller's \"Kabale und Liebe\" (Intrigue and Love). Just before Christmas 2012, it was recorded at the Malmö Opera, the leading opera house in the expansive region of Öresund in Sweden. \"Luisa Miller\" is the story of the lovers Luisa and Rodolfo. Their love is challenged by class distinctions between their families. Despite the couple's struggle, the story eventually ends in inevitable tragedy.

Black, red, cream and gold are the colours that define Phyllida Lloyd's Royal Opera House staging of Verdi's robust, yet penetrating setting of Shakespeare's Scottish play. Manipulated by a whole coven of cunning, scarlet-turbanned witches, the characters often evoke figures in a splendid Gothic fresco. With Simon Keenlyside making his British debut, as an athletic, brooding Macbeth and Liudmyla Monastyrska as his Lady, both imperious and subtle, this performance, masterfully conducted by Antonio Pappano, goes far beyond mere sound and fury.

Obsessive in gambling and in love, the soldier Hermann is the protagonist of Tchaikovsky's Pique Dame, based on a story by Pushkin. He is smitten with the aristocratic Lisa and fixated on learning the winning secret of 'the three cards' from her grandmother, the Countess, played by iconic contralto Ewa Podles. This opulent production from Barcelona's Liceu captures St Petersburg in the era of Catherine the Great, while the house's Music Director Michael Boden conducts a large and impressive cast.

The vulnerable young woman at the heart of Janacek's breakthrough opera is a signature role for the English soprano Amanda Roocroft. Here, in Stephane Braunschweig's clear but deeply affecting production, she is partnered by the Slovak tenor Miroslav Dvorsky, as the man through whom she finds redemption, love and hope. The complex figure of the Kostelnicka becomes both tormentor and tormented in this fearless interpretation by the great dramatic soprano Deborah Polaski.

Les vepres siciliennes, like the similarly epic Don Carlos, was conceived as a grand opera for Paris and is driven by the tensions between private passions and public politics. Originally set during Sicily's 13th-century uprising against French rule, in Christof Loy's staging for the Netherlands Opera the action is transposed to a 1940s world of sudden violence and shadowy double-dealing. Imaginatively cast and idiomatically conducted, the performance presents this magnificent score in its entirety, including the allegorical ballet The Four Seasons.

Conducting from the keyboard just as Handel himself did, Ottavio Dantone leads a youthful cast of today's luminaries in the dramatic art of Baroque opera, the 'affecting' Sonia Prina, the 'unadorned intensity' of Anett Fritsch and 'fire-breathing flair' (The Observer) of Brenda Rae. Rinaldo is given a contemporary new twist through the eyes of Director Robert Carsen, who made his Festival debut with L'incoronazione di Poppea in 2008.

Wolf-Ferrari wrote La vedova scaltra as pure amusement, a portrayal of fine intrigue that is, in itself, without any idealistic echoes, following the uncritical line of eighteenth-century comedy – nostalgia for a civilization with ancient roots, which the musician still felt he was part of.

This hilarious contemporary version of Francesco Cavalli's baroque opera Hercules in Love was commissioned on occasion of the marriage of Louis XIV, the Sun King, to Maria Theresa of Spain. The original production took two years to complete and was at the time the greatest show ever performed in Europe. Directed by David Alden, this surreal production is a triumph of commedia buffa resplendent with decorative and symbolic elements, and complemented by Constance Hoffman's exceptional costumes. Led by Ivor Bolton, a master of baroque music, the chorus of De Nederlandse Opera and Concerto Köln give a sublime performance. With Luca Pisaroni's (Ercole) singing being heroic and melodious in turn, and Veronica Cangemi as a splendid Iole, this is an outstanding production by the DNO.