Families are wonderful things, until they’re not, and many of the most dysfunctional families have made to the stage. We’re looking at the beginnings of one of them on this week’s Sunday Opera (3/30 3:00 p.m.) with Gaetano Donizetti’s “Rosmonda D’ Inghilterra.”

Antonin Dvorak is the featured composer on this week’s Sunday Opera (3/23 3:00 p.m.), and it’s not “Rusalka”! Instead, we’re turning to his “pastoral comedy” entitled “Die Jakobiner” (“The Jacobin”). This intimate look at the relationship between a father and son which has been soured by false information and innuendo.

We’re featuring an American opera on this week’s Sunday Opera (3/16 3:00 p.m.) in Lori Laitman’s 2016 treatment of Nathaniel Hawthorne’s “The Scarlet Letter” featuring a libretto by David Mason. Hawthorne’s 1850 novel is a moral allegory centering on Hester Prynne’s affair with the Reverend Dimmesdale, the birth of her illegitimate daughter, Pearl, and her strength and determination to make a life for them in the face of hatred and prejudice.

Join us for an afternoon of the music of Richard Strauss on this week’s Sunday Opera (3/9 3:00 p.m.) and his opera completed in 1940, “Die Liebe der Danae” (“The Love of Danae”). The opera is in three acts with the final act containing what Strauss considered to be some of his finest music.

“La Juive,” a tragic tale of religious intolerance by Fromental Halevy, will air on this week’s Sunday Opera (3/2 3:00 p.m.). Eugene Scribe wrote the libretto for this opera which became one of the most popular of the 19th century after its premier in Paris on 23 February 1835. It deals with the plight of Jews in Switzerland in the 15th century, particularly Rachel and her adoptive father Eleazar who are persecuted by the Catholic Church and are arrested after it is found that Rachel’s love Samuel is actually a Christian.

The name Ottorino Respighi probably brings to mind his three “Roman” pieces: Fountains of… (1916), Pines of… (1924), and Roman Festivals (1928). His nine operas are often overlooked, but on this week’s Sunday Opera (2/23 3:00 p.m.), we’re turning to one of his lush “late-Romantic” pieces that was completed in 1914 but not premiered until 2004 because of the intervention of the First World War. The work is “Marie Victoire” and follows the life of title character who narrowly escapes execution during the French Revolution only to have to fight for the life of her falsely accused husband.

Because of a technical glitch, last month’s presentation of Tchaikovsky’s rarely performed opera “The Enchantress” ended before the final act and supplementary pieces could air. Because many of you let us know that you wanted to hear the end of the opera, we’re re-airing it on this week’s Sunday Opera. Enjoy!

Although you may not know the opera on this week’s Sunday Opera (2/9 3:00 p.m.), we have no doubt you’ll recognize one of the arias as it’s been a mainstay of concert performances for many years. The opera is “Mignon” by Charles Ambroise Thomas, the thirteenth of his twenty-three operas.

We’re turning to another often-overlooked composer on this week’s Sunday Opera (2/2 3:00 p.m.). It’s Ermanno Wolf-Ferrari, and the only verismo opera he wrote in his catalogue of approximately fifteen: “I gioielli della Madonna” (“The Jewels of the Madonna”). It caused quite a stir after it premiered in 1911 (in Berlin as “Der Schmuck der Madonna”) because of its themes implying criticism of the Catholic Church and love between a brother and his adopted sister.

We’re showcasing another forgotten composer on this week’s Sunday Opera (1/26 3:00 p.m.) with the first opera in Italian to be performed in Portugal, Francisco Antonio de Almeida’s “La Spinalba, ovvero il Vecchio matto” (“Spinalba, or the Mad Old Man").