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A man leaves his home unannounced, and spends four days wandering around France.

French performance of Die lustige Witwe (The Merry Widow) operetta created by the Austro-Hungarian composer Franz Lehár, an international success since its 1905 premiere in Vienna, by the Orchestre de l'Opéra National de Lyon.

A new governess arrives at a country house to take care of two seemingly angelic young children. But she begins to suspect that the house is haunted, and that the ghosts mean harm to the children.

Carmen, a wild Spanish gypsy, is unscrupulous in matters of the law and of the heart. A knife fight breaks out between Carmen and another woman, and José, an incorruptible constable in Seville, is ordered to arrest Carmen.

In the prologue Fortune, Virtue and Cupid argue about their respective powers. Love sets out to demonstrate his supremacy, in what follows. In the street outside Poppaea's house, Otho complains at her infidelity. He was her lover, but now she is sleeping within with Nero, the Emperor, while his two soldiers guard the house. The couple emerge, as dawn breaks, and sing of their love. With her nurse Arnalta Poppaea reveals her ambition to become Empress, while elsewhere Octavia, Empress, wife of Nero, and of the imperial family of Augustus, laments her husband's desertion. Seneca tries to comfort her, mocked by her page, and is warned by Pallas Athene of his coming death. Nevertheless he dares to advise his old pupil, Nero, that he should not cast aside Octavia. Nero insists that he will go his own way. Otho overhears Nero and Poppaea, he promising to make her Empress and she urging the discarding of Seneca, whose death Nero now orders. Otho is definitively rejected by Poppaea

The program of this special concert brings together music that could be heard in the 17th century, in Paris, when the Louvre was still the royal palace and the Palace of Versailles had not yet been built by Louis XIV. A rich page of music.

When Sir John Falstaff decides that he wants to have a little fun he writes two letters to a pair of Window wives: Mistress Ford and Mistress Page. When they put their heads together and compare missives, they plan a practical joke or two to teach the knight a lesson. But Mistress Ford's husband is a very jealous man and is pumping Falstaff for information of the affair. Meanwhile the Pages' daughter Anne is besieged by suitors.

Preceded by a solemn prologue in which Iride admonishes mortals that they should not offend the gods, the story of Cavalli's Didone comes to life thanks to numerous solo passages of highly varied character and structure, designed both for simple basso continuo support and for a more complex instrumental accompaniment, for five real parts which enjoy some independent moments and which create a diversion from the action or blend in with it in a wholly logical way, intensifying it in a studied, evocative manner. The tragic story of the Carthaginian queen is thus unfolded with extreme attention in a framework that had already been adopted by Monteverdi, of whom Cavalli is considered a worthy successor. In this case it is enlivened and, we might say, given a more popular, direct appeal as it aims to communicate with a public that is gradually expanding. The composer is sincere when he states: "My spirit has always been far from the printing press: I have preferred to allow my weaknesses to run where fortune takes them with the pen rather than the press." He identifies with the torment of Didone and with the "force of nature" (Prunières) that is his and the brilliance of some of his solutions, he creates one of the most tragic, tormented operas of the entire seventeenth century.