catalogue 2015

Transcription

catalogue 2015

Avant
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CATALOGUE 2015
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Avant
Première
CATALOGUE 2015
OPERA
Gaetano Donizetti: La Favorite HK Gruber: Geschichten aus dem Wiener Wald (Tales from the Vienna Woods) Leoš Janáček: Jenufa Wolfgang Amadeus Mozart: Da Ponte-Cycle Wolfgang Amadeus Mozart: Don Giovanni Aribert Reimann: Lear Gioachino Rossini: Aureliano in Palmira Franz Schubert: Fierrabras Richard Strauss: Arabella Richard Strauss: Elektra Richard Strauss: Feuersnot Richard Strauss: Der Rosenkavalier Giuseppe Verdi: Il trovatore Giuseppe Verdi: La forza del destino Giuseppe Verdi: Un ballo in maschera BALLET
“Cubania” by Carlos Acosta Pyotr Ilyich Tchaikovsky: Swan Lake CONCERTS
Boston Symphony Orchestra – The Inaugural Concert (A. Nelsons) Pretty Yende in Prague 14th Arthur Rubinstein International Piano Master Competition Hector Berlioz: Requiem – Grande Messe des morts (G. Dudamel) Wiener Philharmoniker – Strauss & Staar (A. Nelsons) The last three Mozart Symphonies (N. Harnoncourt) Grafenegg Festival – Midsummer Night’s Gala Red Ribbon Celebration Concert Hollywood in Vienna – A Tribute to Randy Newman Max Raabe & Palastorchester – A Night in Berlin Berliner Philharmoniker
Schumann & Brahms (S. Rattle) Johann Sebastian Bach: Johannespassion (S. Rattle) Czech Philharmonic
Antonín Dvořák: The complete Symphonies (J. Bělohlávek) Bedřich Smetana: Má vlast (J. Bělohlávek) Royal Concertgebouw Orchestra
Gustav Mahler: Symphony No. 4 (A. Prohaska, M. Jansons) Rossini, Shostakovich & Prokofiev (Y. Wang, M. Jansons) Strauss & Brahms (A. Nelsons) Brahms & Shostakovich (L. Prunaru, G. Horsch, A. Nelsons) Flothuis, Strauss & Shostakovich (A. Ogrintchouk, A. Nelsons) 4
8
10
12
14
16
18
20
22
24
26
28
30
32
34
36
38
40
43
43
43
45
45
45
47
47
47
88
49
49
51
51
53
53
53
54
54
Staatskapelle Berlin
Johannes Brahms Piano Concertos (G. Dudamel) Richard Strauss: Ein Heldenleben (D. Barenboim) Staatskapelle Dresden
Emmerich Kálmán: Die Csárdásfürstin, concert performance (A. Netrebko, J. D. Flórez, C. Thielemann) Festive Advent Concert (P. Heras-Casado) Richard Strauss: Elektra, concert performance (C. Thielemann) Richard Strauss: Letzte Lieder & Eine Alpensymphonie (A. Harteros, C. Thielemann) Richard Strauss Gala (C. Goerke, A. Harteros, C. Nylund, C. Thielemann) Symphonieorchester des Bayerischen Rundfunks
The Odeonsplatz Concert: “Russian Night” Ludwig van Beethoven: Missa solemnis (B. Haitink) Haydn, Mendelssohn & Bruckner (J. E. Gardiner) Dmitri Shostakovich: Symphony No. 5 (M. Jansons) Purcell & Mahler (D. Harding) Bartók & Mahler (Y. Nézet-Séguin) The West-Eastern Divan Orchestra & Daniel Barenboim at the Teatro Colón
Martha Argerich & Daniel Barenboim: Piano Duos at the Teatro Colón Mozart, Beethoven, Schumann, Ravel et al. (D. Barenboim) BBC Proms
West-Eastern Divan Orchestra (D. Barenboim) Tonhalle Orchestra Zurich (D. Zinman) World Orchestra for Peace (V. Gergiev) Stars of Tomorrow CHAMBER MUSIC
57
57
59
59
59
60
60
63
63
63
64
64
64
67
67
69
69
69
70
Franz Schubert: Winterreise (M. Goerne, M. Hinterhäuser, W. Kentridge) Benjamin Britten: String Quartets (Belcea Quartet) Tormenti e dolce oblio – Umane passioni e affetti vocali (M. Mauillion, A. Mauillion, F. Heumann) The Complete Beethoven Piano Sonatas (Rudolf Buchbinder) 73
73
73
75
DOCUMENTARIES
Anna the Great Don Giovanni – A Night at the Opera Backstage From War to Peace Nikolaus Harnoncourt – Between Obsession and Perfection A Trio for Schubert Nine Sketches of Dvořák Christian Thielemann – My Strauss Richard Strauss – At the End of the Rainbow The Symphonieorchester des Bayerischen Rundfunks in South America 77
77
77
79
79
79
81
81
81
UPCOMING PRODUCTIONS 83
INDEX 86
5
P R O U D LY R E P R E S E N T S T H E I N T E R N AT I O N A L T V D I S T R I B U T I O N O F
T H E R OYA L O P E R A H O U S E
LONDON
CUBANĺA | GISELLE
L’ ELISIR D’ AMORE | THE WINTER’S TALE
DON GIOVANNI | I DUE FOSCARI
LES VÊPRES SICILIENNES | PARSIFAL
Photo: Bill Cooper/Royal Opera House 2014
LA FAVORITE
OPERA
G A ET ANO D ONIZETTI
G A ETANO D ONIZETTI
LA FAVORITE
( T H E FAVO U R E D O N E )
Kate Aldrich
Shi Yijie
Ludovic Tézier
Giovanni Furlanetto
Orchestre National du Capitole
Conducted by Antonello Allemandi
Staged by Vincent Boussard
Théâtre du Capitole Toulouse
Conductor
Orchestra
Chorus
Chorus Master
Stage Director
Costume Designer
Antonello Allemandi
Orchestre National du Capitole
Chœur du Capitole
Alfonso Caiani
Vincent Boussard
Christian Lacroix
Léonor de Guzman
Fernand
Alphonse XI
Balthazar
Don Gaspar
Inès
Kate Aldrich
Shi Yijie
Ludovic Tézier
Giovanni Furlanetto
Alain Gabriel
Marie-Bénédicte Souquet
Produced by CLC productions
Video Director Olivier Simonnet
A production of CLC productions
in co-production with Théâtre du Capitole de Toulouse and
UNITEL with the participation of France Télévisions and
Centre national du cinéma et de l’image animée
Length: 152'
Cat. no. A 010 50031
“Each note a masterpiece”, said Arturo Toscanini of Donizetti’s La Favorite.
Something of a seldom-performed rarity today, it was rarely out of the Paris
opera repertoire in the decades that followed its premiere. It is considered
one of the composer’s most cogent works of music drama and shows
Donizetti at the height of his powers as an orchestrator. The opera is the first
original French opera by the Italian bel canto composer - a happy congruence
of the Italian and French operatic traditions.
“The Favourite” is set in 14th-century Spain,
where the young novice Fernand falls in love
with young noblewoman Léonore, leaves the
monastic order and enlists in the army, unaware
that the love of his life is the King’s favourite
mistress …
The young Chinese tenor Yijie Shi in the leading
role of Fernand emerges as the discovery of
the evening. “His singing leaves nothing to be
desired and he plays the part with a full and complete richness of voice from
the very first scene” (Forum Opera). His aria “Ange si pur” in the fourth
act, a big number for the great tenors since the days of Caruso, earned
him tumultuous applause. At his side, Kate Aldrich impressed with her “rich
mezzo timbre, effortless high notes, a supple voice” (La Depeche). Ludovic
Tézier as the King “is quite simply indispensable
in the role of Alphonse XI to which he brings a
vocal colour and presence that are magnificent”
(Concert Classic).
Vincent Boussard’s staging catches the eye
with a simple clarity that shows off the elegant
and colourful robes by Christian Lacroix, one
of the most successful and influential Paris
fashion designers of our age – “a spectacle
of extreme aesthetic coherence” (Concert
Classic). The Théâtre du Capitole in Toulouse
was regarded in Donizetti’s time as one of the most important centres of bel
canto and remains one of France’s most important opera houses to this day.
Photos: atrice Nin
9
HK Gruber
GESCHICHTEN
AUS DEM
WIENER WALD
Geschichten
aus dem
Wiener Wald
based o
(TALES FROM THE VIENNA WOODS)
Orchestra
Conductor
Chorus
Chorus Master
Stage Director
n
vá
“t
froales
m tH
vien
e
Wo o n a
ds ”
r
e
tH
Marianne
Alfred
Oskar
Valerie
Zauberkönig
Mutter
Großmutter
Erich
r
Hor
Ilse Eerens
Daniel Schmutzhard
Jörg Schneider
Angelika Kirchschlager
Anja Silja
OPERA
HK GRUBER
’s b e s t s e l
l
Wiener Symphoniker
Wiener Symphoniker
HK Gruber
Vokalensemble Nova
Colin Mason
Michael Sturminger
Ilse Eerens
Daniel Schmutzhard
Jörg Schneider
Angelika Kirchschlager
Albert Pesendorfer
Anke Vondung
Anja Silja
Michael Laurenz
et al.
Produced by Felix Breisach
Medienwerkstatt
Video Director Felix Breisach
conducted by
HK Gruber
A co-production of ORF and UNITEL CLASSICA
in cooperation with Bregenz Festival
Bregenz Festival
Length: approx. 160'
Cat. no. A 040 50037
Ödön von Horváth’s 1931 play “Tales from the Vienna Woods” takes a twisted view
of Johann Strauss Jr’s 1868 waltz of the same title. During his lifetime, he considered
teaming up with Kurt Weil to make an opera of the work. Three-quarters of a century
later, the Bregenz Festival has finally accomplished this job, by asking Viennese
composer Heinz Karl Gruber to write the opera – and “Gruber is a worthy substitute
for Weil” states the Financial Times.
Horváth’s tale is a timeless satire of gossipy hypocrisy: On the day of her betrothal,
fun-loving Marianne leaves her fiancé, the honest butcher Oskar, and elopes with a
rogue from Vienna, has his child, is abandoned by the child’s father, finds work as a
nude dancer in a bar, steals from one of the guests and ends up in prison. The staunchly
Catholic community is highly critical of the young woman. Finally, the butcher deigns
to make an “honest woman” of her and provide her with a middle-class home.
The libretto and staging,both by Michael Sturminger, adhere closely to Horváth’s
original. The protagonist emerges from the fog on an empty stage and disappears
into the mist again at the end. The action in between is a clever programme of
cross-fade images: the Vienna Woods gives way to the River Danube, which in turn
becomes a block of council flats; the cathedral of St. Stephen mutates into a night
club. In connection with the direction of the very human characters, this produces an
incredibly dense, timeless work.
The music is as captivating as the staging: “With his breathtaking instrumentation
HK Gruber creates multi-faceted moods and virtuoso tone colours. The large-scale
Vienna Symphony sounds incredibly soft and all-enveloping one minute, then rears up
like a wild animal the next.” (Neue Vorarlberger Tageszeitung)
“This work really plucks at your heart strings” (Süddeutsche Zeitung). HK Gruber’s opera
“Tales from the Vienna Woods” deserves equal status with Horváth’s masterpiece,
“and is perhaps even more oppressive and powerful. Result: a triumph!” (Kurier). Or
as the Financial Times summarized: “Tales from the Vienna Woods is a well-crafted,
weighty, and wordy.”
Photos: Karl Forster
11
OPERA
Leoš Janáček
Jenůfa
Conductor Donald Runnicles
Orchestra Orchester der
Deutschen Oper Berlin
Chorus Chor der Deutschen Oper Berlin
Chorus Master William Spaulding
Stage Director Christof Loy
Grandmother Buryjovka
Laca Klemeň
Števa Buryja
Kostelnička Buryjovka
Jenůfa
Foremen
Mayor
Mayor’s Wife
Karolka
Herdswoman
Barena
Jano
Hanna Schwarz
Will Hartmann
Ladislav Elgr
Jennifer Larmore
Michaela Kaune
Simon Pauly
Stephen Bronk
Nadine Secunde
Martina Welschenbach
Fionnuala McCarthy
Jana Kurucová
Alexandra Hutton
Produced by Bernhard Fleischer
Moving Images
Video Director Brian Large
Jenůfa
A production of UNITEL in cooperation with
Deutsche Oper Berlin and CLASSICA
Leoš Janáček
Length: 130'
Cat. no. A 050 50153
“Sometimes all that is needed is to match the right director with the
right piece: Christof Loy and Janáček’s Jenufa are evidently just such
a happy case, giving the Deutsche Oper Berlin the rare example of an
opera production as intelligent as it is modern” (Opernglas). Jenufa,
still Janáček’s most successful and most often performed opera, is
a musical study of the social milieu. The psychologically precise role
management of Christof Loy (“exemplary”, said the Frankfurter
Allgemeine Zeitung) results in “a staging with an authentically tragic
aura” (NY Times).
Loy moves the action of Janáček’s drama, revolving around the strict
sacristan (the Kostelnicka) who – from fear of gossip and concern for
the future of her stepdaughter Jenufa – drowns Jenufa’s illegitimate
child, to a bare white room in which the passage of the seasons is only
hinted at – “a wonderful concentration on the essence of the story”
(Der Neue Merker). At the very beginning, we see a white prison cell
– the sacristan goes over past events and the observer is thrust into the
story seen in retrospective – “ a riveting new production” (NY Times).
Before the orchestra of the Deutsche Oper Berlin stands Donald
Runnicles “who neatly balances churning intensity and textural
refinement” (NY Times). Jennifer Larmore as the Kostelnicka “endows
the role with singing of uncommon beauty and vulnerability while never
slighting its more dramatic moments” (NY Times). Michaela Kaune
sings the title role of Jenufa with warm soprano, her despair at her
situation palpable at every moment, culminating finally in the discovery
of her dead son. A “convincing and moving performance” (Der Neue
Merker). The remaining cast too is top-drawer, with Will Hartmann
as the jealous Laca, Ladislav Elgr as good-for-nothing Steva and stage
veteran Hanna Schwarz in the part of the old mill-owner Buryja.
Michaela Kaune Will Hartmann Ladislav Elgr Jennifer Larmore
Orchester der Deutschen Oper Berlin conducted by Donald Runnicles
staged by Christof Loy
Deutsche Oper Berlin
Photos: Monika Rittershaus, Bettina Stöß
13
HARNONCOURT
THE MOZART
DA PONTE
CYCLE
OPERA
Harnoncourt
The Mozart
Da Ponte
CyCle
Conductor Nikolaus Harnoncourt
Orchestra Concentus Musicus Wien
Chorus Arnold Schoenberg Chor
Chorus Master Erwin Ortner
Stage Director Felix Breisach
LE NOZZE DI FIGARO
Conte di Almaviva Bo Skovhus
Contessa di Almaviva Christine Schäfer
Susanna Mari Eriksmoen
Figaro Andrè Schuen
Cherubino Elisabeth Kulman
Marcellina Ildikó Raimondi et al.
Length: 206'
Cat. no. A 040 50028
DON GIOVANNI
Don Giovanni Andrè Schuen
Leporello Ruben Drole
Donna Anna Christine Schäfer
Don Ottavio Mauro Peter
Donna Elvira Maite Beaumont
Zerlina Mari Eriksmoen et al.
Length: 196'
Cat. no. A 040 50029
COSÌ FAN TUTTE
Bo Skovhus
andrè Schuen
christine Schäfer
elisabeth Kulman
Markus Werba
Concentus Musicus Wien
Conducted by Nikolaus harnoncourt
Staged by Felix Breisach
Theater an der Wien
Fiordiligi Mari Eriksmoen
Dorabella Katija Dragojevic
Guillelmo Andrè Schuen
Ferrando Mauro Peter
Despina Elisabeth Kulman
Don Alfonso Markus Werba
Length: 193'
Cat. no. A 040 50030
A production of UNITEL and ORF III in cooperation with Theater an der Wien
“He was out to create something ‘unheard-of’,” observed conductor
Nikolaus Harnoncourt beforehand. And true to form: What the
conductor had to offer as he commenced his Mozart/Da Ponte cycle
in the Theater an der Wien was something we “had never before
heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period
performance practice, realized a project that had long been one of his
dearest wishes: for the first time, he and his “original-sound orchestra”
Concentus Musicus and his personal choice of singers were presenting
the complete Mozart/Da Ponte cycle and harvesting the fruits of his
Mozart research – an “enthusiastically acclaimed cycle!” (news.at).
During an intensive phase of rehearsal and preparation, he was in search
of a Mozart hermeneutic resting on historical sources and yet anchored
in our own time, in order to stage the whole Da Ponte “trilogy” – Le
nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere
six weeks. “This concentration – perceptible minute by minute – proved
equally rewarding for the singers: the Concentus followed them like a
silver shadow, and those singers must have felt singularly elated to have
been carried along like that,” wrote Der Standard. Nikolaus Harnoncourt
has once again lived up to his name as a “Mozart rebel”: “True to his
reputation as a provocateur, Harnoncourt takes at a fast speed what we
are accustomed to hear slow, while reining in what we expected to be
lively” (Forum Opera).
“BETWEEN OBSESSION
AND PERFECTION”
ACCOMPANYING DOCUMENTARY
SEE PAGE 79
Photos: Herwig Prammer
15
OPERA
WOLFGANG AMADEUS MOZART
D O N G I OVA N N I
Orchestra
Conductor
Chorus
Chorus Master
Stage Director
WoLfGAnG AmADEuS moz Art
D o n G I ovA n n I
Donna Anna
Donna Elvira
Zerlina
Don Giovanni
Leporello
Il Commendatore
Don Ottavio
Masetto
Lenneke Ruiten Anett Fritsch Valentina Naforniţa
Ildebrando D‘ Arcangelo Luca Pisaroni
Wiener Philharmoniker Christoph Eschenbach
staged by Sven-Eric Bechtolf
Wiener Philharmoniker
Christoph Eschenbach
Philharmonia Chor Wien
Walter Zeh
Sven-Eric Bechtolf
Lenneke Ruiten
Anett Fritsch
Valentina Naforniţa
Ildebrando D'Arcangelo
Luca Pisaroni
Tomasz Konieczny
Andrew Staples
Alessio Arduini
Produced by BFMI
Video Director Andreas Morell
A production of ServusTV in coproduction with UNITEL CLASSICA
in cooperation with Wiener Philharmoniker and Salzburg Festival
Length: 184'
Cat. no. A 040 50033
“A NIGHT AT THE OPERA
BACKSTAGE”
SEE PAGE 77
The first D minor chords thunder ominously from the orchestra pit, while
on the stage, the entrance hall of an elegant hotel appears, symbolic of
a place of non-committal encounters. Luxury seeps from every pore of
the stairs, galleries and mysterious doors. This is the present residence
of Don Giovanni and his servant Leporello. The Don meets couples from
high society (Donna Anna and Don Ottavio), he encounters lonely,
unhappy women like Donna Elvira and he makes the acquaintance of
the hotel staff such as chambermaid Zerlina. The Commendatore is an
impenetrable hotel director, the Devil a barman. In a word, the perfect
place for Don Giovanni’s exercises in seduction.
Director Sven-Eric Bechtolf pulls off a brilliant coup with the high
aesthetics of his intrigue, a masterful parody of the “everything is
possible” of our time - flanked by an ensemble of exquisite vocal talents:
Ildebrando D’Arcangelo, testosterone-charged Latin lover, amounts
“with his splendid timbre and his stunningly virile magnetism to what
must be an ideal realization of Don Giovanni” (Neue Zürcher Zeitung).
Seldom does one see such an insatiable seducer. With his finely balanced
voice, Luca Pisaroni as an intellectually bespectacled Leporello is the
perfect foil to his master. “The powerful bass of Commendatore Tomasz
Konieczny is a true sensation” (Frankfurter Rundschau) and Alessio
Gardini’s Masetto conveys his Mediterranean jealousy with a bewitching
bel canto baritone. Meanwhile, the female roles are all realized with
elegantly lean voices: Anett Fritsch highly dramatic as Elvira, the Donna
Anna of Lenneke Ruitens supple in her vocal line and Valentina Naforniţa
“a wonderful Zerlina who radiates strong vocal sensuality” (Opernnetz).
Christoph Eschenbach at the rostrum of the Vienna Philharmonic
injects the necessary sense of threat into the atmosphere: “Largesymphony blackness climbs out of the pit” (Deutschlandfunk).
Photos: Michael Poehn
17
OPERA
Aribert reimAnn
Orchestra Philharmoniker Hamburg
Conductor Simone Young
Chorus Herrenchor der
Staatsoper Hamburg
Chorus Master Eberhard Friedrich
Stage Director Karoline Gruber
Bo Skovhus
Katja Pieweck
Hellen Kwon
Siobhan Stagg
König Lear
Goneril
Regan
Cordelia
Narr
Graf von Gloster
Edgar
Edmund
Philharmoniker Hamburg
conducted by Simone Young
staged by Karoline Gruber
Staatsoper Hamburg
Bo Skovhus
Katja Pieweck
Hellen Kwon
Siobhan Stagg
Erwin Leder
Lauri Vasar
Andrew Watts
Martin Homrich
Produced by Favo Filmproduktion
Video Director Marcus Richardt
A co-production of
Unitel classica and Staatsoper Hamburg
Length: 155'
Cat. no. A 050 50164
Aribert Reimann’s “Lear” is a milestone in the tragic opera of the 20th century.
Ever since its 1978 premiere at the Bavarian State Opera in Munich, it has made
its triumphal progress around the world in more than thirty productions as the
most successful Shakespeare opera of our time. The remorseless logic of the
action and plot and the primal force of irresistible sonic fantasies give this work
the power to hold the attention of its listeners and viewers from the first moment
to the last. The great theme of self-deception is imaginatively portrayed in this
captivating stage production by Karoline Gruber with a retreat into the interior
of a far from frail old man. It is not senility that drives Lear, brilliantly sung by
Bo Skovhus, into isolation but his hyperactive ego. The action of Shakespeare’s
highly politicised material is moved into the present day, in a power struggle
within a major business conglomerate. Between black walls, on coffin-like
platforms and metal gangways, a Lear still at the height of his powers hands over
his kingdom to two greedy daughters - without recognising the love of the third.
Aribert Reimann’s interpretation of the characters’ psychology, his lust for
power, self-delusion and brutality in sound is impressive and gives musical
expression to loneliness and despair. But the pitch-black clumps of sound
and shrieking clusters are contrasted with tender melodic curves, gentle
instrumental reassurances, dreamy monologues.
The first Hamburg performance of “Lear” is a musical achievement of the
highest order. “The orchestra of the State Opera under its GMD Simone Young
is on absolutely top form.” No less fantastic is Bo Skovhus, “who in his starring
role in shirt-sleeves and riding-boots mutates by his vocal and expressive power
into a dangerous Everyman. A concentrated charge of monstrous megalomania,
obstinacy and self-centredness: that is how this violent Hamburg Lear - with his
shaven-headed companions as surreally sinister mirror images - steers a course
towards shipwreck.” (Handelsblatt)
Also available, an interview with Simone Young and Aribert Reimann introducing
and explaining the opera (Length 19').
Photos: Bernd Uhlig
19
OPERA
GiOaChinO ROSSini
auRelianO
in PalMiRa
Gioachino Rossini
auReliano
in PalmiRa
Orchestra Orchestra Sinfonica G. Rossini
Conductor Will Crutchfield
Chorus Coro del Teatro Comunale
di Bologna
Chorus Master Andrea Faidutti
Stage Director Mario Martone
Aureliano
Zenobia
Arsace
Publia
Oraspe
Licinio
Gran sacerdote
Un Pastore
Michael Spyres
Jessica Pratt
Lena Belkina
Raffaella Lupinacci
Dempsey Rivera
Sergio Vitale
Dimitri Pkhaladze
Raffaele Constantini
Produced by Metisfilm Classica
Video Director Tiziano Mancini
A production of UNITEL CLASSICA
in co-production with Rossini Opera Festival
Cat. no. A 000 50019
Since 1980 Pesaro, the Italian town at the Adriatic Sea, is celebrating
its most famous son: Gioachino Rossini. Beside the well known and
famous Works of the master, in the intimate setting of the Teatro Rossini
also the creations which fell into oblivion were performed. In 2014
“Aureliano in Palmira” was for the very first time part of the repertoire.
“Aureliano in Palmira” celebrated its first premiere on the 26th of
December 1813 at the Scala In Milan. Soon afterwards the work was
played in different theatres all over Europe. Nevertheless Rossinis piece
felt into oblivion more and more compared to the great competitors
like Tancredi or the Barber of Seville for which Rossini recycled musical
parts of Aureliano. But since a few years there are ambitions to play this
work about love, war, jealousy, loyalty and magnanimity more frequently.
The direction in Pesaro was in the proven hands of the famous film
director Mario Martone. He approached the piece of the realistic side,
with marvellous, picturesque pictures and tableaux. The conductor of the
rediscovery was Will Crutchfield. He decisively espoused the performance
of this new edited work and directed masterfully the Orchestra Sinfonica
G. Rossini. Also the choir of the Teatro Comunale Bologna was in perfect
shape. From the soloist’s ensemble particularly Michael Spyres protruded
in the title role. “The American showed immediately that his tenor with
marvelous top notes has not only flexibility and agility, but also enough
body, to provide the Roman emperor great vocal authority” (opera glass).
“Jessica Pratt, making her role debut, is more than a match as the Syrian
Queen, and went straight to the heart with an astonishing lengthy and
penetrating top E that would stop any Roman Emperor in his tracks”
(Express). Lena Belkina as Arsace was also convincing in her role and gave the
performance that brillant shine, that is neccesary for Festivals like Pesaro.
Michael Spyres
Jessica Pratt
lena Belkina
Raffaella lupinacci
Orchestra Sinfonica G. Rossini
conducted by Will Crutchfield
staged by
Mario Martone
Photos: studio amati bacciardi
21
OPERA
Franz Schubert
Michael Schade Julia Kleiter
Benjamin Bernheim Dorothea Röschmann
Wiener Philharmoniker
conducted by Ingo Metzmacher
staged by
Peter Stein
Franz Schubert
FIERRABRAS
Orchestra Wiener Philharmoniker
Conductor Ingo Metzmacher
Chorus Konzertvereinigung
Wiener Staatsopernchor
Chorus Master Ernst Raffelsberger
Stage Director Peter Stein
Fierrabras
Emma
Eginhard
Florinda
Roland
König Karl
Boland
Maragond
Brutamonte
Ogier
Michael Schade
Julia Kleiter
Benjamin Bernheim
Dorothea Röschmann
Markus Werba
Georg Zeppenfeld
Peter Kálmán
Marie-Claude Chappuis
Manuel Walser
Franz Gruber
et al.
Produced by BFMI
Video Director Peter Schönhofer
A production of UNITEL CLASSICA in co-production with ZDF/3sat
in cooperation with Salzburg Festival and Wiener Philharmoniker
Length: 163'
Cat. no. A 040 50032
The heroic-romantic opera “Fierrabras” of 1823 is the last of Franz
Schubert’s fifteen stage works. Still seldom performed to this day, this
masterwork has been staged for the first time ever at the Salzburg Festival
by master director Peter Stein in a brilliant performance.
Based on an old French twelfth-century heroic epic, the plot depicts the
military conflict between Christians and Moors at the time of Charlemagne.
Emma, the Christian emperor’s daughter, becomes engaged against her
father’s wishes with the knight Eginhard, who is not equal to her in social
status. She has an admirer, Fierrabras, the eponymous hero and son of the
prince of the Moors. After a monumental battle, the taking of prisoners and
scenes from a military court, grandiose marches and victory celebrations,
the noble Moor Fierrabras renounces his suit, which brings peace to the
warring factions and happiness for the lovers.
Presented also in the highest vocal quality, including the “marvellously
expressive miracle Dorothea Röschmann” (Die Zeit). Not to mention
“Michael Schade who exudes his exceptional tenor in Fierrabras’s heroic
arias” (Der neue Merker). Under the baton of lngo Metzmacher, the velvety
tones of the Vienna Philharmonic unfold in romantic flair.
Set builder Ferdinand Wögerbauer fits into this concept in producing
the black-and-white aesthetic scenery in the style of old engravings and
sumptuous nineteenth-century book illustrations in order to provide this
slight work with rooms of stylish beauty and austere elegance for the Western
world and sumptuous luxury for the Orient. Dressed in decoratively lavish
costumes, the Franks in delicately patterned lily-white garments, the Moors
in similar black attire, the singers dovetail completely into this extraordinary
staging. The result is a homogeneous melodrama like something from a lost
world in which “the melos, the poetry, the sweetness and the dramatic force
of Schubert’s highly refined and atmospheric sound worlds” (Kleine Zeitung)
unfold in a unique manner.
Photos: Bernheim Kleiter, Monika Rittershaus
23
OPERA
RichaRd StR auSS
ArAbellA
RichaRd StRauSS
ArAbellA
Orchestra
Conductor
Chorus
Chorus Master
Stage Director
Renée Fleming
thomas hampson
hanna-Elisabeth Müller
daniel Behle
Staatskapelle dresden
conducted by
Arabella
Mandryka
Zdenka
Count Waldner
Countess Adelaide
Matteo
Staatskapelle Dresden
Christian Thielemann
Staatsopernchor Dresden
Wolfram Tetzner
Florentine Klepper
Renée Fleming
Thomas Hampson
Hanna-Elisabeth Müller
Albert Dohmen
Gabriela Beňačková
Daniel Behle
et al.
Produced by BFMI
A co-production of UNITEL CLASSICA, ORF/3sat and NHK
in cooperation with Salzburg Easter Festival
christian thielemann
Length: 168'
Cat. no. A 040 50027
Salzburg Easter Festival
“Arabella”, the final collaboration between Hugo von Hofmannsthal and Richard
Strauss, gives Christian Thielemann another opportunity to show his class as a Strauss
specialist, captivating his audience at the rostrum of the Dresden Staatskapelle in
his second season as Artistic Director of the Salzburg Easter Festival. “The music is
dreamily opulent”, concluded the Frankfurter Allgemeine newspaper (FAZ).
Inspired by the resounding success of “Der Rosenkavalier” a few years earlier,
Strauss and Hofmannsthal once again placed the action of the opera, premiered at
the Dresden Semperoper in 1933, in late-19th-century Vienna. Director Florentine
Kleppers’ sensitive handling of the characters, in a fin-de-siècle stage set by Martina
Segna, and the elegant costumes by Anna Sofie Tuma provide well-nigh ideal
conditions for the brilliant vocal ensemble, in which Renée Fleming as Arabella excels
with her unique powers of character portrayal. “She is a pure-bred Straussian, as was
evident on Saturday from start to finish of the performance in a master class of vocal
style adapted to the music of Strauss that was simply amazing”, we read in leading
Spanish daily El Pais, and the FAZ went into raptures: “But scarcely has Renée
Fleming taken the stage (…) scarcely has she begun to sing than she radiates her own
personal aura (…) The brightest, most comforting soprano heaven opens up before
us when Müller joins Fleming in the famous sisters’ duet”. Hanna-Elisabeth Müller as
an “intensive Zdenka proved to be, alongside the orchestra’s excellent Strauss sound,
the highlight of the evening”, reported Vienna newspaper Kurier. Thomas Hampson is
convincing as a “reserved, delicate Mandryka” (Opernglas) and together with Renée
Fleming he does more than justice to the designation of “vocal dream team” (orf.at).
And Christian Thielemann? Once again, his conducting is an inspiration. He provides
affectionate support at the rostrum of the Dresden Staatskapelle, which premiered
nine of Strauss’s 15 operas and is deservedly famous world wide. “The Strauss of
the Dresden Staatskapelle conducted by Christian Thielemann has no equal today
for full-bodied sound, elegance and suppleness” (Ogni Giorno). An Arabella simply
Photos: Roman Zach-Kiesling
25
OPERA
ElEktra
RichaRd StRauSS
ElEktra
RichaRd StRauSS
Orchestra NorrlandsOperan’s
Symphony Orchestra
Conductor Rumon Gamba
Staged by Carlus Padrissa,
La Fura dels Baus
Elektra
Chrysothemis
Klytaemnestra
Orestes
Aegisthus
Ingela Brimberg
Susanna Levonen
Ingrid Tobiasson
Thomas Lander
Magnus Kyhle
et al.
Video Director Ola Gerhardsson
A production of SVT in cooperation with Norrlands Operan
and UNITEL CLASSICA
Ingela Brimberg
Susanna Levonen
Ingrid Tobiasson
Thomas Lander
Magnus Kyhle
Length: 110'
Cat. no. A 060 50002
The city of Umeå not only host the worlds most northern opera house,
but is also the European Culture Capital of 2014, for which occasion the
NorrlandsOperan and the dramatic art collective La Fura Dels Baus have
create a unique monumental outdoor performance of Richard Strauss’ oneact opera Elektra.
Cranes, mechanical giants with singers standing inside their chests, skips
filled with Blood – Elektra is NorrlandsOperan’s biggest and most complex
production ever, including many ‘special-effects’: “Suddenly, the front of
the large containers opened up. Bloody water came gushing out in copious
amounts. The water level on the graveyard rose and turned red. It was macabre,
shocking and powerful in its great simplicity.” (Kulturkorren).
The opera itself is based on the ancient myth about a woman who does
everything in her power to revenge the murder of her father Agamemnon,
while waiting in vain for the return of her presumed dead brother Orest.
The unique outdoor stage, where the opera takes place, is two hundred metres
long and erected on the old military command centre near the heart of Umeå
city. It represents the palace in which Elektra’s dysfunctional family lives with
their servants.
The NorrlandsOperan’s Symphony Orchestra is lead by conductor and
grammy award nominee Rumon Gamba, gives the music its powerful and
expressive note. Strauss’ courage inspired Carlus Padrissa of La Fura Dels
Baus in his staging of Elektra’s wrath and vindictiveness and for giving the
atmosphere for that, West Bothnian twilight is the perfect background for the
burning forest and the river of blood. Elektra is sung by Ingela Brimberg who’s
“powerful voice filled soul, earth and sky” (Kulturkorren).
“There may of course be other Elektra interpretations of great interest, from
La Scala or the Semperoper Dresden, but the unique performance in Umeå is
simply unmatched”, summarizes the leading Spanish newspaper El Pais.
NorrlandsOperan
conducted by Rumon Gamba
staged by Carlus Padrissa
La Fura dels Baus
Photos: Mats Bäcker
27
OPERA
d
r
a
h
ric ss
u
a
r
t
s
Feuersnot is Richard Strauss’s second opera and made up for
the failure of his first when its 1902 Dresden premiere was a
resounding success. It is a lively one-act drama about the
ancient Bavarian tradition of celebrating midsummer night with
bonfires, songs and dances at the summer solstice – a work full
of allusions, whether to the person and the music of Richard
Wagner or to Strauss’s own life and times.
t
o
n
s
r
e
u
e
F
RichaRd StRauSS
FeueRSnot
(Fire Famine)
one
b
r
a
C
r
Belle
a
l
o
c
i
N
chel
s
n
e
H
Dietrich oretti
Am
Rubén Knorren
e
Christin
simo
s
a
M
o
r
Teat
l
e
d
a
r
t
Orches Gabriele Ferro
ted by
Conduc
ante
D
a
m
by Em
rmo
e
l
a
Staged
P
o
ssim
a
M
o
r
t
Tea
Conductor
Orchestra
Chorus
Chorus Master
Stage Director
Ortolf Sentlinger
Diemut
Elsbeth
Wigelis
Margret
Kunrad
Jörg Pöschel
Hämmerlein
Kofel
Kunz Gilgenstock
Ortlieb Tulbeck
Ursula
Ruger Asbeck
Walpurg
Ein großes Mädchen
Gabriele Ferro
Orchestra del Teatro Massimo
Coro del Teatro Massimo
Piero Monti
Emma Dante
Rubén Amoretti
Nicola Beller Carbone
Christine Knorren
Chiara Fracasso
Maria Sarra
Dietrich Henschel
Michail Ryssov
Nicolò Ceriani
Paolo Battaglia
Paolo Orecchia
Cristiano Olivieri
Irina Pererva
Francesco Parrino
Valentina Vitti
Francesca Martorana
The rather strange magician Kunrad falls in love with the wellbrought-up burgomaster’s daughter Diemut and kisses her in
front of all the passers-by. In revenge, she invites him to travel
to her room in a big basket that she will pull up to her window. He
is left half way, hanging in the air, to the amusement of all. Now
Kunrad takes his own revenge, thanks to the magical tricks he has
learned from his Master Reichart, and all the bonfires go out …
The score has quotations from Wagner and echoes of
contemporary composers such as Mahler and Bruckner.
Nonetheless, it is genuine Strauss – from racy waltzes to
enchanting love duets. The male lead, young magician Kunrad,
is a coded reference to Strauss himself, while Kunrad’s mentor
Meister Reichart represents Wagner, venerated by Strauss and,
like sorcerer Reichart, once expelled through intrigue from the
city of Munich.
The Teatro Massimo, one of Italy’s finest and most respected
opera houses and with its 3200 seats the country’s biggest, is
opening this Strauss anniversary year with the revival of his early
opera. In Italy, it was last staged in 1938 in Genoa with Strauss
himself in the pit. Conductor Gabriele Ferro acquits himself
well in handling the complex score and keeping the balance
between the pit and the crowded stage – “the orchestra sounds
marvellous” (Forum Opéra), “the choruses are splendid” (Milano
Finanza). “Nicola Beller Carbone triumphs magnificently in the
role of Diemut” (Forum Opéra) and “tackles the difficult passages
with aplomb” (Operaclick). Dietrich Henschel, in the role of her
suitor Kunrad, sings a “full-voiced baritone” (Tagesspiegel), “a
baritone of refined voice” (Corriere della sera).
in co-production with Fondazione Teatro Massimo
Length: 113'
Cat. no. A 000 50016
Photos: Studio Camera
29
OPERA
Der
KRASSIMIRA STOYANOVA ∙ GÜNTHER GROISSBÖCK
SOPHIE KOCH ∙ MOJCA ERDMANN
WIENER PHILHARMONIKER ∙ FRANZ WELSER-MÖST
STAGED BY HARRY KUPFER
TH
E
F
TH
FOR
RICHARD STRAUSS
RICHARD STRAUSS
T TIME I N
IR S
(The Knight of the Rose)
E
Rosenkavalier
Der
Rosenkavalier
GED D
BRID
UNA ENSORE
C
N
&U
V E R SI O
N
Conductor Franz Welser-Möst
Chorus Masters Ernst Raffelsberger
Wolfgang Götz
Stage Director Harry Kupfer
Feldm. Fürstin Werdenberg
Octavian
Sophie
Jungfer Marianne Leitmetzerin
Annina
Baron Ochs auf Lerchenau
Herr von Faninal
Valzacchi
Krassimira Stoyanova
Sophie Koch
Mojca Erdmann
Silvana Dussmann
Wiebke Lehmkuhl
Günther Groissböck
Adrian Eröd
Rudolf Schasching
et al.
A co-production of UNITEL CLASSICA,
ORF, BR and NHK in cooperation with
Salzburg Festival and Wiener Philharmoniker
Length: 214'
Cat. no. A 040 50031
“‘It is a dream, cannot be really true …’ – These heartfelt final words by the
talented poet Hugo von Hofmannsthal, set in even more moving strains by
his imaginative musical partner Richard Strauss, perfectly describe the high
quality of the new production of their masterpiece Der Rosenkavalier at
the Salzburg Festival. It is certainly the best and most universally satisfying
staged opera of this summer, and that applies to direction, presentation,
singers, conductor and orchestra alike.” (Opernnetz)
Familiar as the work may be, the 150th anniversary of Richard Strauss’s
birthday is marked with an innovation. For the first time at the festival,
the opera is presented without the cuts made since the 1911 premiere, as
demanded by the censor, on account of excessive frivolity. The figures stand
out in sharper profile, with the most significant change being to the first-act
monologue of Baron Ochs, which now clearly defines his high position.
The roles are brilliantly cast: Günther Groissböck’s singing is “of the
finest, with a juicy lightness that lends him an irresistible roguish charm.”
(Morgenpost) Krassimira Stoyanova as Marschallin “was simply breathtaking
with her vocal and dramatic presence, her consummate voice control and
exemplary clarity of enunciation.” (Drehpunkt Kultur) The Octavian of
the experienced Sophie Koch is a delightful young nobleman and Mojca
Erdmann portrays a self-confident young bourgeoise seeking to improve
herself; together, they are “the perfect Strauss dream”. (Neue Musikzeitung)
Franz Welser-Möst is the audience’s darling at the rostrum of the Vienna
Philharmonic. “The audience purred. They took delight in a fascinating
transparency, a refinement worthy of chamber music.” (SZ)
On the stage, the peerless master director Harry Kupfer and his set designer
Hans Schavernoch recreate the 18th-century narrative in the era of the opera’s
1911 premiere. Vienna’s imperial edifices, parks, palaces and grand salons are
imposingly projected aslant on the backdrop, opening up grand vistas on the
widened stage. In this luxuriously elegant setting in black, white and grey,
Harry Kupfer applies all his directorial artfullness to bring out the hopelessness
of his precisely delineated characters and the tensions in their relationships.
We sense “the aura of the eternally valid, timeless Gesamtkunstwerk, (…)
dedicated to opulently sensual beauty. (…) Simply masterful!” (Nachrichten.at)
Photos: ORF/Roman Zach-Kiesling, Monika Rittershaus
31
OPERA
GIuseppe verdI
Il trovatore
Francesco MelI anna netrebko plácIdo doMInGo
WIener phIlharMonIker conducted by danIele GattI
staGed by alvIs herManIs
GIuseppe verdI
Il trovatore
Conductor Daniele Gatti
Chorus Master Ernst Raffelsberger
Stage Director Alvis Hermanis
Manrico
Leonora
Il Conte di Luna
Azucena
Ferrando
Ines
Ruiz/ Un messo
Un vecchio zingaro
Francesco Meli
Anna Netrebko
Plácido Domingo
Marie-Nicole Lemieux
Riccardo Zanellato
Diana Haller
Gérard Schneider
Raimundas Juzuitis
Video Director Agnes Méth
A co-production of ORF, UNITEL CLASSICA and ZDF/Arte
Length: 149'
Cat. no. A 040 50025
“Anna Netrebko – better than Maria Callas” (Süddeutsche Zeitung) – Since
her sensational success in “La Traviata” the soprano Anna Netrebko, now even
more popular than ever before, returns regularly to the great festival hall at the
Salzburg Festival. This time she shines as Leonora in Giuseppe Verdi’s tragic
opera “Il Trovatore” at the side of Placido Domingo and the critics go wild: “A
triumph” writes the New York Times, while the Neue Zürcher Zeitung speaks of
“truly divine sounds”.
Francesco Meli as the troubadour Manrico whom Leonora loves is brilliant at
her side: “He sings clearly and elegantly and has such vocal presence” (Der
Standard). The Tagesspiegel is wowed by the enduring stage presence of Plácido
Domingo as his rival, Count Luna: it “never fails to amaze people when they
experience Plácido Domingo live, with his stage presence, the way he takes it
all in his stride, how he now sings baritone parts without sounding different.”
The strong cast is complemented by Marie-Nicole Lemieux, who as the gypsy
Azucena provides spine-chilling and dramatic moments. The “most hotly
anticipated spectacle of the Salzburg Festival” (Corriere della Sera) exceeds all
expectations by a mile.
Alvis Hermanis staged the plot that revolves round two rival brothers who love
the same woman and only learn they are related at the moment of her death,
using sets that “in their opulent adherence to detail and fantastically illuminated
atmosphere (…) offer much more than just a decorative sight for sore eyes“
(Salzburger Nachrichten).
On the rostrum of the Vienna Philharmonic is none other than Daniele
Gatti, who elicits undreamt-of cascades of sound from the orchestra:
“employing the most fabulous colours, which the Vienna
Phil savour in virtually impressionist manner,
diligently and tenderly heeding every
characteristic and every chord with skill”
(Salzburger Nachrichten).
Photos: ORF/Roman Zach-Kiesling, Karl Forster
33
OPERA
JONAS KAUFMANN ANJA HARTEROS
LUDOVIC TÉZIER NADIA KRASTEVA
Orchestra
Conductor
Chorus
Chorus Master
Stage Director
Donna Leonora
Don Alvaro
Don Carlo di Vargas
Il Marchese di Calatrava/
Padre Guardiano
Preziosilla
Fra Melitone
Curra
Un alcade
Mastro Trabuco
Un chirurgo
Bayerisches Staatsorchester
Asher Fisch
Chor der Bayerischen Staatsoper
Sören Eckhoff
Martin Kušej
Anja Harteros
Jonas Kaufmann
Ludovic Tézier
Vitalij Kowaljow
Nadia Krasteva
Renato Girolami
Heike Grötzinger
Christian Rieger
Francesco Petrozzi
Rafał Pawnuk
Produced by Gemini Quint
Video Director Thomas Grimm
in co-production with BR/Arte in cooperation
with Bayerische Staatsoper
Length: 179'
Cat. no. A 050 50169
Ever since their magnificent and hugely successful performance in
Wagner’s “Lohengrin” at the Bavarian State Opera, Anja Harteros and
Jonas Kaufmann have come to be regarded as the world of opera’s perfect
couple. In Giuseppe Verdi’s “La forza del destino”, the two returned and
once again played two lovers desperately trying to be together but kept
apart by the forces of destiny. Their performance at the Munich Opera
Festival met with “explosive outbursts of applause for the new heights
reached in singing” (dpa).
Verdi’s opera brings together three themes which have always been central
to the history of mankind and which still retain their topicality today: class
arrogance, racial prejudice and hysterical warmongering. The noble Leonora,
daughter of a marquess, is forbidden to be with Alvaro, the man she loves,
because he is a Mestizo of Incan descent and therefore regarded not equal
to her in social status. The third element, aggressive military frenzy and the
horrors of war, quickly reveal themselves not to be the least bit as entertaining
and merry as the gypsy Preziosilla would have everyone believe. In a world
as cruel as this, the two despairing and desolate lovers finally conclude,
not even the church can offer a way out. With “La forza del destino” Verdi
created a pioneering masterpiece with regards to both form and content.
Anja Harteros formed, as it were, the radiant centrepiece of the production,
“the effect of her angel-like ‘piano’ is overwhelming” (Münchner Merkur). By
virtue both of her wonderful voice and the sheer power of her magnificent
performance, she was able to celebrate nothing short of a triumph: “No
one else today can die so beautifully, can act with such intensity. And no
contemporary singer can hold a candle to her” (SZ). Jonas Kaufmann is
the ideal choice for Alvaro: “At the present time, he is deservedly called
unique because there is no other tenor who sings, acts, and creates so
consummately” (Die Welt). French baritone Ludovic Tezier’s portrayal of
Don Carlo was “a dramatic and dark, fundamental event” (Der Standard).
Under the insightful, circumspective, and psychological direction of Martin
Kušej, the choir of the Bavarian State Opera sang with “elegance and
precision”. The Bayerisches Staatsorchester, conducted by Asher Fisch,
played beautifully and with accomplished sonority, “drawing forth superb
details” (FAZ). Vitalij Kowaljow as the noble Padre Guardiano/Marquess of
Calatrava, Nadia Krasteva as the fiery Preziosilla, und Renato Girolami as
the tragi-comical Fra Melitone complete this first-class ensemble, leaving
absolutely nothing to be desired for opera lovers.
MARTIN KUŠEJ
BAYERISCHE STAATSOPER
STAGED BY
Photos: Wilfried Hösl
35
OPERA
FRANCESCO MELI
LUCA SALSI
HUI HE
ELISABETTA FIORILLO
Orchestra Arena di Verona
Orchestra and Chorus
Conductor Andrea Battistoni
Stage Director Pier Luigi Pizzi
CONDUCTED BY
Riccardo
Renato
Amelia
Ulrica
Oscar
Silvano
Samuel
Tom
A judge
Amelia's servant
ANDREA BATTISTONI
STAGED BY
PIER LUIGI PIZZI
Francesco Meli
Luca Salsi
Hui He
Elisabetta Fiorillo
Serena Gamberoni
William Corrò
Seung Pil Choi
Deyan Vatchkov
Antonio Feltracco
Saverio Fiore
“First night provides a firework display”, raved the press over the new
staging of “Un ballo in maschera” (A Masked Ball). And indeed, the
performance at the Arena di Verona was a spectacle for the eyes and
ears! Doyen of theatre directors Luigi Pizzi deployed “visually stunning
characters” in “colourful, splendid costumes” (Kurier), all framed by
gigantic colonnades and illuminated by pyrotechnic effects in order to
captivate his audience.
The music too, performed “with vitality and at the same time a great
intimacy” under the baton of “shooting star” Andrea Battistoni (Kurier),
delighted all: Francesco Meli as Riccardo and Hui He as Amelia were
“two singers to die for” (Kurier). Meli sings “with wonderful, wellrounded timbre, highly nuanced and with effortless top notes” (Kurier),
and is complemented by Hui He, who wins over her audience “with her
warmly timbred and forceful soprano” (Merker).
Un ballo in maschera, originally written based on the life of the Swedish
King Gustav III (1746-1792) as a life-and-death drama, is given here
in the revised “Boston version”. As a result of papal censorship, Verdi
changed the names of various characters and moved the location of the
plot one hundred years back and from Stockholm to Boston.
A production of Unitel Classica and Classica Italia
in co-production with Fondazione Arena di Verona
Length: 144'
Cat. no. A 000 50018
Photos: Fondazione Arena di Verona
37
BALLET
CARLOS ACOSTA
FROM THE
R O YA L O P E R A H O U S E
LONDON
CUBANIA
DERRUMBE
Choreography Miguel Altunaga
Music by Eduardo Martin
LA ECUACIÓN
Choreography George Céspedes
Music by X Alfonso
FLUX
Choreography Russell Maliphant
Music by Frank Bretschneider
and Taylor Deupree
SIGHT UNSEEN
Choreography Edwaard Liang
Music by Michael Convertino
TOCORORO SUITE
Choreography Carlos Acosta
Music by Miguel Nuñes
Soloists Carlos Acosta
Pieter Symonds
Zenaida Yanowsky
Alexander Varona
Verónica Corveas
Dance Company Danza Contemporánea de Cuba
Video Director Ross MacGibbon
A production of Royal Opera House/Como No! production
in association with BBC and Unitel Classica
Cat. no. A 025 50135 0000
His energy is infectious, his passion scorching, his grace a gift
to the eye: when Cuba’s Carlos Acosta bounds onto the stage,
the audience becomes putty in his hands. “One of the greatest
ballet dancers of his generation” (The Sunday Times), Acosta
has been organizing his own Cuban-inspired shows for many
years now, and “Cubanía”, the program recorded here, proudly
celebrates “Cuban-ness.”
The first part opens with “Derrumbe”, a new work by Cuban
dancer Miguel Altunaga; Flux, an “electrifying” (The Guardian)
solo by Royal-Ballet alumnus Russell Maliphant for Alexander
Verona; and Edwaard Liang’s “Sight Unseen” danced by Acosta
and Royal Ballet principal Zenaida Yanowsky.
The second half of the program “is a sheer celebration” (The
Telegraph), the “Tocororo Suite”, Acosta’s revised version of his
take on his “rags-to-riches” rise to stardom, which he performs
with the Danza Contemporanea de Cuba.
Photos: Royal Opera House Enterprises 2014
39
y
O
t
r
i
l y
i
c
h
t
c
h
a
i
k
O
V
s
k
y
P y o t r
c h O r E O g r a p h y
b y
r u d O l f
n u r E y E V
I l y I c h
t c h a I k o v s k y
Choreographers Marius Petipa
Lev Ivanov
Rudolf Nureyev
Ballet Director Manuel Legris
Ballet Company Wiener Staatsballett
Conductor Alexander Ingram
Orchestra Orchester der Wiener Staatsoper
Prince Siegfried
Odette/Odile
Sorcerer Rothbart
Companions of the Prince
Vladimir Shishov
Olga Esina
Eno Peci
Alice Firenze
Kiyoka Hashimoto
Masayu Kimoto
Greig Matthews
et al.
Produced by ORF
Video Director Michael Beyer
A co-production of ORF and UNITEL
in cooperation with Wiener Staatsoper and CLASSICA
Length: 132'
Cat. no. A 040 50026
Olga Esin a
BALLET
p
It is the one ballet that everyone knows, has heard of or seen, and
it is one of the loveliest and most frequently performed works
in the ballet literature. No other ballet is capable of conjuring
up such intensive images, dreams and yearnings simply at the
mention of its name as Tchaikovsky’s Swan Lake. Rudolf Nureyev
created a new version of it in 1964 for the Vienna State Opera;
it helped the dancer and choreographer, then 26 years old, to
achieve international fame and also projected the Vienna State
Ballet onto the world stage, where it was to become one of the
company’s greatest successes.
To mark the 50th anniversary of this ballet, the Vienna State
Opera is now reviving it with new sets and costumes designed
by Luisa Spinatelli, whose concept is inspired by the fairytale
phantasy world of King Ludwig II incorporating simple, painted
backdrops and few accessories, to present a new Swan Lake.
The role of the Princess, one of the most difficult (double) roles
in the entire ballet repertoire, and always viewed as the climax of
any prima ballerina’s career, is danced by Olga Esina, who gives
the “impression of never having danced another role” (APA).
Her performance is captivating for its “flawless technique,
poised lightness and elegance” (Kronen Zeitung). In an aura of
dignified grace “her dancing is breathtaking” (Kleine Zeitung)
– “a masterly performance in every respect” (Die Presse).
Together with Vladimir Shishov as Prince Siegfried, she forms “a
dance pair optically made for Hollywood” (Wiener Zeitung). “The
Vienna State Ballet were the stars of the evening once again,
dancing with great skill and energy” (Der Standard) – “a fantastic
evening, a treat for the eyes and the ears” (APA).
cOnductEd by
alEx andEr ingram
Vl adimir shishOV
dirEctEd by
m a nuEl lEgris
W i E n E r s ta at s O p E r
W i E n E r s ta at s b a l l E t t
Photos: ORF/Milenko Badzic, Michael Pöhn
41
CONCERT
CONCERTS
BOSTON SYMPHONY ORCHESTRA ∙ ANDRIS NELSONS
THE INAUGURAL CONCERT
KRISTINE OPOLAIS, Soprano
JONAS KAUFMANN, Tenor
This wide ranging one-night only event celebrates the
start of Andris Nelsons’ tenure as the 15th music director
of the Boston Symphony Orchestra and features two of
the conductor’s close colleagues, the acclaimed Latvian
soprano Kristine Opolais, and the outstanding German
tenor Jonas Kaufmann. Singing’s selections from the
Wagnerian and the Italian verismo repertoires, they
join forces for a powerful duet from Puccini’s Manon
Lescaut. The concert opens with Wagner’s Tannhäuser
Overture – the work that first inspired a five year old
Nelsons to a life in Music – and closes with Respighi’s
spectacular orchestral showcases, “Pines of Rome”.
A production of WNET/PBS, BSO
and UNITEL CLASSICA
Cat. no. A 035 50004 0000
PRETTY YENDE IN PRAGUE
PRETTY YENDE, Soprano
VILÉM VEVERKA, Oboe
PKF – PRAGUE PHILHARMONIA
conducted by CHRISTOPHER FRANKLIN
Pretty Yende, the young South African soprano, who has
reached star status since she won Domingo’s Operalia
competition at the latest, ecstasizes the audience with
great romantic arias by Bellini (“O rendetemi la spe” from
“I Puritani”), Donizetti (“Ah! Tardai troppo” from “Linda
di Chamounix”), Bernstein (“I Feel Pretty” from “West
Length: 76'
Side Story”) and Gounod (“Ah! Je veux vivre” from
“Roméo et Juliette”) Inbetween the arias Czech oboist
Vilém Veverka demonstrates in this cleverly selected
program with works like Morricone’s “Gabriel’s Oboe”
from “Mission” how incredibly close the oboe timbre is
to the human voice.
A production of Czech Television and UNITEL CLASSICA
in cooperation with Nachtigall Artists
Cat. no. A 985 50005 0000
14TH ARTHUR RUBINSTEIN
INTERNATIONAL PIANO MASTER COMPETITION
THE 40TH ANNIVERSARY GALA with D. TRIFONOV, R. RABANOVICH, D. FUNG et al.
featuring works by BARTÓK, STRAVINSKY, MOZART et al.
THE FINALS with A. BARYSHEVKYI, S. LIN, S. J. CHO et al.
featuring piano concertos by PROKOFIEV, RACHMANINOFF, TCHAIKOVSKY et al.
The Rubinstein Competition enjoys a reputation as one of
the world's most prestigious piano competitions. Founded
in 1974 with the aim of linking Arthur Rubinstein’s artistic
heritage with the cultural life of Israel, it is an international
forum for discovering talented, ambitious young pianists.
In the final of the 14th competition, six young pianists
competed against each other in various piano concertos.
BOSTON SYMPHONY ORCHESTRA – THE INAUGURAL CONCERT
Length: 89' (Gala)
Length: approx. 110' (Finals)
Cat. no. A 125 50001 0000
Cat. no. A 125 50002 0000
It was Antonii Baryshevskyi who won over the jury with
his outstanding style of playing, which gained him first
prize. The gala concert to mark the 40th anniversary of
the event featuring prizewinners of previous competitions
provide a fascinating glimpse of the dynamics of the
competition and showcase outstanding, hopeful young
pianists of the new generation.
A co-production of The Arthur Rubinstein International Music Society,
BZ/DV, IBA and UNITEL CLASSICA
Photo: Chris Lee
43
CONCERT
HECTOR BERLIOZ: REQUIEM – GRANDE MESSE DES MORTS
CONDUCTED BY GUSTAVO DUDAMEL
ANDREW STAPLES, Tenor
ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE & SIMÓN BOLÍVAR SYMPHONY ORCHESTRA
CHOEUR DE RADIO FRANCE & MAÎTRISE NOTRE-DAME DE PARIS
“If I was threatened with the destruction of all my works
but one, I would save the Requiem” wrote Berlioz shortly
before his death. The Requiem requires an orchestra
of immense size: 108 strings, woodwind and brass, 16
kettledrums and a battery of percussion instruments
augmented by four remote bands of trumpets,
trombones and tubas and 200 singers. This sacred
Length: 98'
Cat. no. A 010 50030
choral work is one of the boldest and most complex
creations of music history, a vision of judgement. NotreDame Cathedral in Paris provides the ideal spatial and
acoustic conditions for its performance. Under Gustavo
Dudamel’s direction, it was revealed as “a Requiem of the
highest calibre” (El Pais), which set the vault and columns
of Notre-Dame de Paris vibrating.
A co-production of Camera Lucida productions, Radio France and ARTE France
in association with UNITEL CLASSICA, in collaboration with
Musique Sacrée à Notre-Dame de Paris et Notre-Dame de Paris with the participation of the CNC
WIENER PHILHARMONIKER
CONDUCTED BY GUSTAVO DUDAMEL
RICHARD STRAUSS Tod und Verklärung, Op. 24
RENÉ STAAR Time Recycling, Op. 22n
RICHARD STRAUSS Also sprach Zarathustra, Op. 30
Strauss - the co-founder of the Salzburg Festival - is being
celebrated with two of his so called tone poems, “Death
and Transfiguration” and “Thus spoke Zarathustra”. The
concert is complemented by the contemporary work
Length: 93'
Cat. no. A 045 50037 0000
“Time Recycling” by composer and Vienna Philharmonic
violinist René Staar. Under Dudamel’s baton the Vienna
Philharmonic unfold its vast aural splendor: “Gustavo
Dudamel understands how to light a fire” (Die Krone).
A production of UNITEL CLASSICA in co-production with ZDF/Arte
THE LAST THREE MOZART SYMPHONIES
CONDUCTED BY NIKOLAUS HARNONCOURT
WOLFGANG AMADEUS MOZART Symphonies No. 39 in E flat / No. 40 in G minor / No. 41 in C major
CONCENTUS MUSICUS
Mozart’s three last symphonies are not separate works,
but are to be perceived as a single “instrumental
oratorio”! That is the view of “Mozart expert and originalsound past master” (Der Spiegel) Nikolaus Harnoncourt.
At the rostrum of his period-sound orchestra Concentus
Length: 113'
Cat. no. A 045 50035 0000
HECTOR BERLIOZ: REQUIEM
Musicus “which played thrillingly well” (The Guardian),
Harnoncourt excites the audience with his innovative
reading of the three symphonies at the Stefaniensaal in
Graz during the “Styriarte” festival. Standing ovations
for an ultimate Mozart interpretation.
A production of ORF Landesstudio Steiermark
in cooperation with ORF 3, Styriarte and UNITEL CLASSICA
Photo: Jean-François Leclercq
45
CONCERT
GRAFENEGG FESTIVAL – MIDSUMMER NIGHT’S GALA
ANGELA DENOKE, Soprano • RAMÓN VARGAS, Tenor • JEAN-YVES THIBAUDET, Piano
TONKÜNSTLER-ORCHESTER
conducted by JUANJO MENA
Each year, artistic director and pianist Rudolf Buchbinder
manages to lure the biggest stars of classical music to
Grafenegg Festival in Austria. This year’s edition of the
“Midsummer-Night’s-Gala” presents a musical world
tour gliding through space and time – classics from
opera, musical, operetta and film-music, as Ravel’s
Rapsodie espagnole, Puccini’s “E lucevan le stelle”
from Tosca, Ravel’s Concert for Piano and Orchestra
in G major, 3rd movt., Gershwin’s “I got rhythm” et al.
When night finally falls over the castle of Grafenegg, the
orchestra traditionally performs Edward Elgar’s “Pomp
and Circumstances”, accompanied by a spectacular
firework.
Length: approx. 90'
A co-production of ORF and UNITEL CLASSICA
in cooperation with Grafenegg Festival
Cat. no. A 045 50039 0000
RED RIBBON CELEBRATION CONCERT
"GARDEN OF EARTHLY DELIGHTS"
JENNIFER O’LOUGHLIN, Soprano • VESSELINA KASAROVA, Mezzo-soprano
PIOTR BECZALA, Tenor • YUSIF EYVAZOV, Tenor • THOMAS HAMPSON, Baritone
LUCA PISARONI, Baritone • ILDAR ABDRAZAKOV, Bass
ORF VIENNA RADIO SYMPHONY ORCHESTRA conducted by CORNELIUS MEISTER
According to its slogan “United in Difference” and as
a key element of Vienna’s famous Life Ball, the Red
Ribbon Celebration Concert in the reputed Viennese
Burgtheater assembles a unique line-up of artists.
Performing and presenting a gala concert with musical
pieces such as Puccini’s “Nessun Dorma” from Turandot
Length: 66'
Cat. no. A 045 50034 0000
and Mozart’s “Madamina” from Don Giovanni, the
prodigious solo artists such as Thomas Hampson and
Luca Pisaroni make their voices heard at one of the
world’s biggest fund-raising events to further the cause
of those living with HIV or AIDS.
A production of Life Ball
in cooperation with Interspot Film for ORF III and UNITEL CLASSICA
HOLLYWOOD IN VIENNA – A TRIBUTE TO RANDY NEWMAN
RANDY NEWMAN, Composer/Vocals/Piano • ADRIAN ERÖD, Baritone
CASSANDRA STEEN, Vocals • DAVID B. WHITLEY, Vocals • FRANTIŠEK JÁNOŠKA, Piano
ORF VIENNA RADIO SYMPHONY ORCHESTRA conducted by DAVID NEWMAN
In this edition “Hollywood in Vienna” invites you to
an unforgettable gala concert with music from the
biggest and most popular film comedies of all time.
David Newman and the ORF Vienna Radio Symphony
Orchestra set off to discover a fascinating musical world
from the “Muppets”, “Simpsons”, “Monty Python” and
“Pink Panther” to “The Artist”. The second part of the
Length: 88'
Cat. no. A 045 50042 0000
GRAFENEGG FESTIVAL – MIDSUMMER NIGHT’S GALA
concert is dedicated to star composer Randy Newman,
one of the most successful film scorers (two-fold Oscar
winner among other signifying awards) of our time.
“Hollywood in Vienna” is an annual symphonic gala
concert celebrating classic and contemporary masterpieces of film music.
A co-production of Interspot Film and BOFM
for ORF III and UNITEL CLASSICA
Photo: Exceptional Pictures/Alexander Haiden
47
CONCERT
SCHUMANN & BRAHMS
CONDUCTED BY SIMON RATTLE
ROBERT SCHUMANN Symphony No. 4 in D minor, Op. 120 (original version)
JOHANNES BRAHMS Symphony No. 4 in E minor, Op. 98
In a rousing concert under the baton of Sir Simon Rattle
the Berlin Philharmonic present the fourth symphonies
of both Robert Schumann and Johannes Brahms.
The comparison of the two symphonies is based on
the personal and artistic affiliation between the two
composers. It was Brahms who advocated publication
of the original version of Schumann's fourth symphony
Length: 75'
Cat. no. A 055 50429 0000
which Schumann himself had radically revised 10 years
after its premiere. Simon Rattle too, who with the Berlin
Philharmonic has been nominated for a 2015 Grammy
for his CD recording of the Schumann symphony cycle,
has chosen the rarely heard first version, describing the
original symphony as “full of lightness, grace and beauty”.
A production of
Berlin Phil Media and UNITEL CLASSICA
JOHANN SEBASTIAN BACH:
JOHANNESPASSION (ST. JOHN PASSION), BWV 245
CAMILLA TILLING, Soprano
MAGDALENA KOZENÁ, Mezzo-soprano
TOPI LEHTIPUU, Tenor
MARK PADMORE, Tenor
RODERICK WILLIAMS, Baritone
CHRISTIAN GERHAHER, Baritone
RUNDFUNKCHOR BERLIN
conducted by SIMON RATTLE
directed by PETER SELLARS
“A simmering performance that lives up to the high
expectations”, wrote the NY Times of Bach’s St. John
Passion presented by the great American director Peter
Sellars and the star conductor Simon Rattle at the
Berlin Philharmonie. The semicircular stage of the Berlin
Philharmonie is transformed into a magically charged
space: musicians from the right, choir from the left keep
pressing into the centre, where the heart of the action is
Length: 135'
Cat. no. A 050 50158
J. S. BACH: JOHANNESPASSION
located: in the feeble light of a single lamp, the Evangelist
and the other soloists play out a piece of chamber
theatre. “The paradox of a staging for the concert hall is
thus realized” (Berliner Zeitung).
Also available: An introduction interview with Simon
Rattle and Peter Sellars (Length 33')
A production of
Berlin Phil Media, BR and UNITEL CLASSICA
Photo: Monika Rittershaus
49
CONCERT
ANTONĺN DVOŘÁK: THE COMPLETE SYMPHONIES
CONDUCTED BY JIŘÍ BĚLOHLÁVEK
Symphony No. 1 in C minor, Op. 3 (Length: Concert version 47', Introduction version 64’)
Symphony No. 2 in B flat major, Op. 4 (Length: Concert version 54', Introduction version 67')
Symphony No. 3 in E flat major, Op. 10 (Length: Concert version 37', Introduction version 49')
Symphony No. 4 in D minor, Op. 13 (Length: Concert version 43', Introduction version 54')
Symphony No. 5 in F major, Op. 76 (Length: Concert version 46', Introduction version 54')
Symphony No. 6 in D major, Op. 60 (Length: Concert version 45', Introduction version 52')
Symphony No. 7 in D minor, Op. 70 (Length: Concert version 41', Introduction version 54')
Symphony No. 8 in G major, Op. 88 (Length: Concert version 40', Introduction version 55')
Symphony No. 9 in E minor, Op. 95 (Length: Concert version 47', Introduction version 61')
Antonín Dvořák stands alongside Smetana as a founder
of the new Czech music. His nine symphonies, presented
here for the first time as a filmed cycle, show Dvořák
as a thoroughly individual and original composer whose
symphonic concepts and wealth of musical expression
are often surprising. All the symphonies in this cycle
were performed in the Dvořák Hall of the Rudolfinum
Cat. no. A 985 5000 40000
in Prague, where Dvořák conducted the first concert
by today’s Czech Philharmonic in 1896. Jiří Bělohlávek,
chief conductor of the Czech Philharmonic, is
considered an established authority on the Slavic music
of his homeland. Each symphony is available as a pure
concert version and as a version with introductions and
explanations of every movement by Jiří Bělohlávek.
A production of CZECH TELEVISION
and the CZECH PHILHARMONIC in co-production with UNITEL CLASSICA
“NINE SKETCHES
OF DVOŘÁK”
SEE PAGE 79
BEDŘICH SMETANA: MÁ VLAST
CONDUCTED BY JIŘÍ BĚLOHLÁVEK
Is there any more evocative piece of national music than
“Ma Vlast” (My Country)? Smetana’s six orchestral poems
– the most famous of which is “Vltava” (Moldau) with
its instantly recognizable melody and evocation of this
great river – tell of Bohemia’s lands and legends. Under
Length: 82'
Cat. no. A 980 50003
ANTONĹN DVOŘÁK: THE COMPLETE SYMPHONIES
the baton of Jiří Bělohlávek the Czech Philharmonic
manages to perform “something very subtle: a feeling
of great power without aggression, exactitude without
pedantically sharp edges, and a weight and clarity in the
wind and brass” (The Daily Telegraph).
A production of Czech Television, Czech Philharmonic,
Prague Spring Festival and UNITEL CLASSICA in co-production with ZDF/Arte
Photo: Petra Hajská, Ester Havlová
51
CONCERT
GUSTAV MAHLER: SYMPHONY NO. 4 IN G MAJOR
CONDUCTED BY MARISS JANSONS
ANNA PROHASKA, Soprano
According to Jansons Mahler’s fourth symphony “is
surely the best that Mahler has written”. It begins with
sleigh bells and ends in heaven. “Das himmlische Leben”,
a song about the naive (yet also rather morbid) heavenly
visions of a child, is heard in the last movement and forms
a sunny end point to an emotional journey. This concert
marks the extremely impressive RCO debut of soprano
Anna Prohaska, who has established a reputation as a
soloist at such houses as the Berlin Staatsoper.
Length: approx. 70'
A production of RCO
in co-production with UNITEL CLASSICA
Cat. no. A 865 50007 0000
ROSSINI, SHOSTAKOVICH & PROKOFIEV
GIOACHINO ROSSINI Overture to “La gazza ladra”
DMITRI SHOSTAKOVICH Piano Concerto No. 1, Op. 35
SERGEI PROKOFIEV Symphony No. 5 in B flat major, Op. 100
YUJA WANG, Piano
“Mariss Jansons, Yuja Wang and the RCO delight in the
Russian repertoire“ the press proclaims and continues,
that Mariss Jansons is not only in topform, but conducts
“with exuberance and frolic”. And indeed, the programme
consists of a lot of energy and exciting humour and is
surprisingly connected by its playfulness: the exhilarating
percussive energy in Rossini’s overture “La gazza ladra”,
the contagious slapstick passages in Shostakovich’s
Piano Concerto No. 1 for Piano, Trumpet, and Strings,
and Prokofiev’s youthful optimism in Symphony No. 5 in
B minor.
Length: 91'
A production of RCO
Cat. no. A 865 50019 0000
STRAUSS & BRAHMS
CONDUCTED BY ANDRIS NELSONS
RICHARD STRAUSS Till Eulenspiegels lustige Streiche, Op. 28 / Macbeth, Op. 23
JOHANNES BRAHMS Symphony No. 2 in D major, Op. 73
During the 1880s Strauss applied hisself to the genre
of symphonic poems, which Strauss described as “a
completely new path” for him compositionally. One of
his first works in that genre was “Macbeth”, a musical
portrayal of the two main characters of Shakespeare's
play, the Scottish regicide Macbeth and his wicked wife
Lady Macbeth. “Till Eulenspiegels lustige Streiche”
(Till Eulenspiegel's Merry Pranks) chronicles the
Length: 89'
Cat. no. A 865 50016 0000
misadventures and pranks of the German peasant folk
hero Till Eulenspiegel, fully revealing Strauss’s mastery
in the sharp melodic characterisations and brilliant
instrumentation. The work complements Brahms’s
Symphony No. 2, which is imbued with a sunny, lush
atmosphere. The brilliance of the grand finale is a quality
rarely heard in Brahms’s.
A production of RCO
Photo: Peter Meisel
53
BRAHMS & SHOSTAKOVICH
JOHANNES BRAHMS Concerto for Violin and Violoncello, Op. 102
DMITRI SHOSTAKOVICH Symphony No. 4 in C minor, Op. 43
LIVIU PRUNARU, Violin • GREGOR HORSCH, Violoncello
The Royal Concertgebouw Orchestra opened the
Brahms Double Concerto with great fury, after which
the two soloists Liviu Prunaru and Gregor Horsch
took over in their solo parts. “Their interplay seemed
to evolve into one, as if they were both playing one
instrument” romanced the press. The Double Concerto
was complemented by Shostakovich’s fifth symphony,
which he had written when he had been relegated from
the status of a national hero to that of a potential enemy
of Stalin’s state. The audicence was deeply moved: After
the last note was played, the silence of the audience and
the lack of immediate applause revealed the success of
this performance.
Length: approx. 90'
A production of RCO
Cat. no. A 865 50018 0000
FLOTHUIS, STRAUSS & SHOSTAKOVICH
MARIUS FLOTHUIS Cantus amoris, Op. 78
RICHARD STRAUSS Concerto for Oboe and Small Orchestra in D major
DMITRI SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47
ALEXEI OGRINTCHOUK, Oboe
After the Royal Concertbebouw Orchestra’s
performance the press reports impressed: “Nelsons
masterfully“ (De Telegraf). Under the baton of Andris
Nelsons the orchestra presents works by Flothius,
Strauss and Shostakovich. Shostakovich’s symphony
was presented as a public penance in 1937, when the
composer had been rebuked by the Communist regime
Length: 95'
Cat. no. A 865 50017 0000
for producing music that failed to reflect Soviet ideals.
Strauss’s melodic work is dominated by nostalgia for
a world that was lost forever, written shortly after the
Second World War towards the end of his life. With the
“Cantus amoris” by Marius Flothuis (1914–2001), the
orchestra commemorates one of its artistic directors.
A production of RCO
Photo: Anne Dokter
54
CONCERT
DANIEL BARENBOIM & GUSTAVO DUDAMEL
JOHANNES BRAHMS Piano Concerto No. 1 in D minor & No. 2 in B flat major
Daniel Barenboim teams up with Gustavo Dudamel
and the Staatskapelle Berlin for an evening dedicated
to the two piano concertos by Johannes Brahms at the
Philharmonie Berlin. In the D minor concerto Barenboim
focuses entirely on the intimate moments, eschewing a
display of strength which this piece sometimes seems
to encourage. The cello solo in the Andante movement
of the Piano Concerto No. 2 is one of the most moving
moments of the evening: “When Sennu Laine (cello)
Cat. no. A 055 50393 0000
begins to play her hauntingly lovely solo in the Andante
movement and Barenboim (on piano) sinks with her from
that moment into an almost transcendent ‘dialogue�,
we feel the tears welling up; what an exhilarating and
timeless moment!” (Tagesspiegel). “Sustained and
grateful applause” at the end of the concert, especially
for Daniel Barenboim, who gave a Nocturne by Chopin
as an encore: “tender, gossamer fine, not of this world”
(Tagesspiegel).
in cooperation with Staatsoper im Schillertheater and Musikfest Berlin
RICHARD STRAUSS: EIN HELDENLEBEN, OP. 40
CONDUCTED BY DANIEL BARENBOIM
Richard Strauss composed the tone poem “Ein
Heldenleben” (A Hero's Life) in 1898. Generally agreed
to be autobiographical in tone, despite contradictory
statements on the matter by the composer, the work
contains more than thirty quotations from Strauss's
earlier works. Yet “even setting aside the autobiographical
Length: approx. 50'
Cat. no. A 055 50392 0000
DANIEL BARENBOIM & GUSTAVO DUDAMEL
dimension of this rich and opulent composition, any
listener is bound to go into raptures” according to the
Tagesspiegel. “A mellow, rich ‘Hero�s Life’ that yet again
establishes itself as a benchmark performance for the
orchestra and its Principal Conductor for Life, Daniel
Barenboim”, according to Die Welt.
in cooperation with Staatsoper im Schillertheater
Photo: Matthias Creutziger
57
CONCERT
EMMERICH KÁLMÁN: DIE CSÁRDÁSFÜRSTIN
GALA CONCERT PERFORMANCE
ANNA NETREBKO, Soprano • CHRISTINA LANDSHAMER, Soprano
JUAN DIEGO FLÓREZ, Tenor • PAVOL BRESLIK, Tenor
SEBASTIAN WARTIG, Baritone ∙ BERND ZETTISCH, Baritone
conducted by CHRISTIAN THIELEMANN
“A great conductor and great singers in a jewel of the
great operetta tradition” was the verdict of the press,
converging on the Semperoper in Dresden to celebrate
this operetta in grand style. Anna Netrebko sings Sylva
Varescu in a concert performance of Emmerich Kálmán's
popular operetta “Die Csárdásfürstin” (The Riviera
Girl resp. The Gypsy Princess). Accompanied by the
Length: approx. 90'
Cat. no. A 055 50396 0000
Sächsische Staatskapelle Dresden under the direction
of its conductor Christian Thielemann, Anna Netrebko
is teamed with the Peruvian star tenor and darling of
the public Juan-Diego Flórez, also making his role debut
as Sylva�s lover Edwin. Yet again the Semperoper has
produced “deluxe operetta for television” (Die Welt).
A production of ZDF and UNITEL CLASSICA
in co-production with Semperoper Dresden
FESTIVE ADVENT CONCERT
CHRISTIANE KARG, ELĪNA GARANČA, YOSEP KANG
conducted by PABLO HERAS-CASADO
Elina Garanca, the star of this festal Advent concert,
proves once more “that she has one of the loveliest and
finest voices in the whole world”. In Georges Bizet's
“Agnus Dei”, in the “Regina Coeli” from Mascagni's
Cavalleria rusticana, she lets her voice “shine and beam,
bringing tears to many eyes”, the critics enthuse.
Length: approx. 60'
Cat. no. A 055 50397 0000
Meanwhile Christiane Karg captivates us with her crystalclear soprano, winging its way straight to our hearts. The
concert is conducted by maestro Pablo Heras-Casado,
whose sensitive touch and style-conscious precision
brings out to the full the particularly refined sound of the
Staatskapelle. (Der neue Merker)
A production of ZDF in co-production with UNITEL in cooperation with Staatskapelle Dresden
and CLASSICA with the support of Stiftung Frauenkirche Dresden
RICHARD STRAUSS: ELEKTRA
CONCERT PERFORMANCE
EVELYN HERLITZIUS, Soprano ∙ ANNE SCHWANEWILMS, Soprano
WALTRAUD MEIER, Mezzo-soprano ∙ FRANK VAN AKEN, Tenor ∙ RENÉ PAPE, Bass
In this – GRAMMY nominated - concert performance
of Elektra the Staatskapelle Dresden under the baton
of its principal conductor Christian Thielemann does
once again justice to its reputation as Richard Strauss’s
favourite orchestra. The soloists too leave nothing to
Length: 118'
Cat. no. A 05050154
EMMERICH KÁLMÁN: DIE CSÁRDÁSFÜRSTIN
be desired, above all Evelyn Herlitzius, “today’s leading
interpreter of the role. Her vocal power and dramatic
intensity place her ahead of her colleagues as far as
Elektra goes”. “After a few seconds of truly moving
silence the biggest ovations and cheers” writes the press.
in co-production with Semperoper Dresden and Staatskapelle Dresden
59
LETZTE LIEDER & EINE ALPENSYMPHONIE
CONDUCTED BY CHRISTIAN THIELEMANN
WOLFGANG RIHM Ernster Gesang
RICHARD STRAUSS Letzte Lieder / Eine Alpensymphonie, Op. 64
ANJA HARTEROS, Soprano
The friendship between Richard Strauss and the
Staatskapelle Dresden lasted over 60 years. His 150th
birthday was therefore duly celebrated in Dresden. One
highlight of the celebrations was the performance of his
“Alpine Symphony”, which the master dedicated to the
Staatskapelle. The first half of the concert was devoted
to Strauss’s “Four Last Songs” cycle, to which his very
Length: 102'
last song “Malven” was added. This piece, originally set for
piano, was orchestrated by one of today’s most respected
German composers, Wolfgang Rihm, on behalf of the
Staatskapelle Dresden. Soprano Anja Harteros yet again
demonstrated her consummate skill as a leading singer of
Strauss lieder.
A production of Unitel Classica
in co-production with Semperoper Dresden
Cat. no. A 055 50380 0000
RICHARD STRAUSS GALA
CONDUCTED BY CHRISTIAN THIELEMANN
RICHARD STRAUSS Excerpts from all nine operas premiered in Dresden
CHRISTINE GOERKE, Soprano
ANJA HARTEROS, Soprano
CAMILLA NYLUND, Soprano
The relationship between Richard Strauss and the
Staatskapelle Dresden was very special: nine of his 15
operas were premiered at the Semperoper. In celebration
of his 150th anniversary year Christian Thielemann, the
leading Strauss expert, conducts excerpts from all nine of
Strauss's operas premiered in Dresden – including “Der
Length: 100'
Cat. no. A 055 50364 0000
Rosenkavalier”, “Salome”, “Elektra” and “Feuersnot”.
Three leading Strauss sopranos were engaged for this
big event: Christine Goerke, Anja Harteros and Camilla
Nylund, a fact that underlines the special significance of
this concert.
in co-production with MDR/Arte in cooperation with Semperoper Dresden
“MY STRAUSS”
SEE PAGE 81
60
CONCERT
SYMPHONIEORCHESTER
DES BAYERISCHEN
RUNDFUNKS
THE ODEONSPLATZ CONCERT “RUSSIAN NIGHT”
TEREM QUARTET ∙ MARISS JANSONS
For Munich residents, it's the biggest open-air highlight
of the year: “Klassik am Odeonsplatz”. In keeping with
the motto “Russian Night”, the four soloists from the
famous Terem-Quartet join forces once again on this
mild summer evening. The evening features a number
of works by the greatest Russian composers: among
others the “Italian Capriccio” by Peter I. Tchaikovsky,
the “Polovetsian Dances” by Alexander Borodin, Dmitri
Shostakovich's “Festive Overture” and the popular
“Sabre Dance” by Aram Khachaturian. On top of this,
audiences can witness the world premiere of the “Garden
Symphony” by living composer Alexander Tchaikovsky, a
work dedicated to Mariss Jansons.
A production of BR
Cat. no. A 055 50374 0000
LUDWIG VAN BEETHOVEN: MISSA SOLEMNIS IN D MAJOR
CONDUCTED BY BERNARD HAITINK
GENIA KÜHMEIER, Soprano ∙ ELISABETH KULMAN, Mezzo-soprano
MARK PADMORE, Tenor ∙ HANNO MÜLLER-BRACHMANN, Baritone
CHOR DES BAYERISCHEN RUNDFUNKS
Teaming up with the Chor und Symphonieorchester
des Bayerischen Rundfunks, Bernard Haitink devoted
himself to Ludwig van Beethoven’s “Missa Solemnis”. He
managed to find “great nuances and nice timbres of the
orchestra effectively and impressively underlining the
bombastic passages of the piece” (Münchner Merkur).
The Bavarian Radio Choir displayed its exceptional
class especially in the complex fugues and energetic
passages of the piece. The ensemble was completed
by wonderful soloists: in particular “Genia Kühmeier´s
voice floated in the space with celestial ease, Elisabeth
Kulman was beguiling with her incredibly powerful alto”
(Abendzeitung).
Length: 87'
A co-production of BR and UNITEL CLASSICA
Cat. no. A 050 50185
HAYDN, MENDELSSOHN & BRUCKNER
CONDUCTED BY JOHN ELIOT GARDINER
JOSEPH HAYDN “Insanae et vanae curae”, Motet for Chorus and Orchestra, Hob XXI:1 No. 13c
FELIX MENDELSSOHN BARTHOLDY Symphony No. 5 in D major, Op. 107
ANTON BRUCKNER Mass No. 1 in D minor
LUCY CROWE, Soprano ∙ JENNIFER JOHNSTON, Mezzo-soprano
TOBY SPENCE, Tenor ∙ GÜNTHER GROISSBÖCK, Bass
“Sir John Eliot Gardiner is as much a great leader of
orchestras as he is a designer for fine details” (SZ).
Together with the Chor und Symphonieorchester
des Bayerischen Rundfunks , the proven expert for
historically informed performances manages to bring out
Length: 85'
Cat. no. A 055 50378 0000
THE ODEONSPLATZ CONCERT "RUSSIAN NIGHT"
every nuance and subtlety in the music – always with just
the right amount of pathos. Thus, he succeeds in creating
an impressive and profound interpretation of the works.
The Symphonieorchester des Bayerischen Rundfunks
plays in perfect harmony – “full of energy and life” (TZ).
Photo: Goran Nitschke
63
DMITRI SHOSTAKOVICH: SYMPHONY NO. 5 IN D MINOR, OP. 47
In the first concert of their tour through the musical
metropolises of the America starting at the Teatro
Colón in Buenos Aires, the Symphonieorchester
des Bayerischen Rundfunks under the baton of their
musical director Mariss Jansons were celebrated by the
audience for their interpretation of the 5th symphony by
Shostakovich. For many critics Mariss Jansons is THE
Length: approx. 60'
Cat. no. A 835 50002 0000
expert when it comes to the Russian composer. With his
outstanding interpretation of Shostakovich’s oeuvre he
raised the world’s awareness and even helped to give the
composer his well-deserved success. “This Shostakovich
Symphony was energetic, hard-driven and exciting”
(NY Times).
“SOBR IN
SOUTH AMERICA”
in cooperation with Teatro Colón
SEE PAGE 81
PURCELL & MAHLER
CONDUCTED BY DANIEL HARDING
HENRY PURCELL Music for the Funeral of Queen Mary
GUSTAV MAHLER Symphony No. 6 in A minor, “Tragic”
Daniel Harding and the Symphonieorchester des Bayerischen Rundfunks present Mahler’s Symphony No. 6
along with the Music for the Funeral of Queen Mary by
Henry Purcell – an unusual combination considering the
very different time frames of their conception but not
so uncommon when considering the subject matter they
both address: death. “Harding’s greatest achievement is
Length: 105'
Cat. no. A 055 50367 0000
the way he fashions the tragic nature of the pieces without severity, neither prolonged, nor solemn, but with his
head held high” (Abendzeitung). The “fantastic soloists,
Harding’s overview, his control, as well as his fine feel for
tempo, setting, and for the relentless shifts of phases”
(Muenchner Merkur) deserve special appreciation.
BARTÓK & MAHLER
CONDUCTED BY YANNICK NÉZET-SÉGUIN
BÉLA BARTÓK Violin Concerto No. 2 in B minor
GUSTAV MAHLER Symphony No. 1 in D major, “Titan”
GIL SHAHAM, Violin
Canadian conductor Yannick Nézet-Séguin is easily one
of the most promising conductors of his generation.
Employing subtle sophistication as well as supreme
intelligence, he leads the Symphonieorchester des
Bayerischen Rundfunks to an out-of-the-ordinary
performance of Mahler’s first symphony and of Béla
Length: 106'
Cat. no. A 055 50384 000
Bartók’s second violin concerto starring violonist Gil
Shaham. Nézet-Séguin and the orchestra manage to
present Bartók with “thrilling dynamic effects by quietly
backing the soloist, only to flare up the next moment
with all its richness” (Muenchner Merkur).
Photo: Peter Meisel
64
CONCERT
AND DANIEL
BARENBOIM
R E S I D E N CY
AT T H E
MARTHA ARGERICH & DANIEL BARENBOIM
PIANO DUOS AT THE TEATRO COLÓN
WOLFGANG AMADEUS MOZART Sonata for Two Pianos in D major
FRANZ SCHUBERT Variations on an Original Theme in A flat major
IGOR STRAVINSKY Le sacre du printemps (Version for Piano Duet)
ROBERT SCHUMANN Andante and Variations for Two Pianos, Op. 46
SERGEI RACHMANINOFF Suite No. 2, Op. 17 – Waltz
“Martha Argerich and Daniel Barenboim wow their
hometown of Buenos Aires” proclaimed the FAZ. For
the first time the two musicians performed together in
the city of their birth. For this reason the Colón seemed
to burst at the seams. Works by Mozart, Schubert
and Stravinsky were followed by frenetic demands
Length: 120'
Cat. no. A 835 50005 0000
from the audience for encores and so, Argerich and
Barenboim gave Schumann�s Variations for two pianos,
accompanied by three musicians from the West-Eastern
Divan Orchestra, Rachmaninoff's Suite No. 2 and pieces
by Guastavino and Milhaud.
A co-production of Artear and UNITEL CLASSICA
in cooperation with the Teatro Colón and the West-Eastern Divan Orchestra
MOZART, BEETHOVEN, SCHUMANN, RAVEL et al.
WOLFGANG AMADEUS MOZART The Marriage of Figaro – Overture from “Le nozze di Figaro”
LUDWIG VAN BEETHOVEN Piano Concerto No. 1 in C major, Op. 15
ROBERT SCHUMANN Fantasiestücke, Op. 12, Traumes Wirren
MAURICE RAVEL Rapsodie espagnole, Boléro et al.
GEORGES BIZET Carmen Suite No. 1
MARTHA ARGERICH, Piano
“A city in a state of emergency” was the euphoric title
of a FAZ article describing the residency of the WestEastern Divan Orchestra in Buenos Aires. At the
opening concert the musicians enthralled their audience
with Beethoven's Piano Concerto No. 1 – with which
Martha Argerich debuted at the Teatro Colón at the age
Length: 116'
Cat. no. A 835 50003 0000
MARTHA ARGERICH & DANIEL BARENBOIM"
of eight– followed by Ravel�s evergreens like Boléro and
Rapsodie espagnole and Bizet’s popular Carmen Suite
No. 1. In the Ravel in particular, the Divan musicians
were able to prove “their filigree tone, their mastery of
pianissimo through to the barely audible and many other
merits” (FAZ).
A co-production of Artear and UNITEL CLASSICA
in cooperation with the Teatro Colón and the West-Eastern Divan Orchestra
Photo: Arnaldo Colombaroli
67
ROYA L A L B E RT
CONCERT
AT T H E
HALL
WEST-EASTERN DIVAN ORCHESTRA
AT T H E
ROYA L A L B E RT
HAL L
WOLFGANG AMADEUS MOZART The Marriage of Figaro – Overture
KAREEM ROUSTOM Ramal
AYAL ADLER Resonating Sounds
MAURICE RAVEL Rapsodie espagnole, Alborada del gracioso, Pavane pour une infante défunte, Boléro
The West–Eastern Divan Orchestra and Daniel
Barenboim return to the BBC Proms for a colourful
Spanish-flavoured evening. The concert begins just
outside Seville in Mozart’s vivacious Figaro overture,
before drifting into the dreamy Spanish nights of Ravel’s
Rapsodie espagnole. Dreams give way to convulsing,
urgent dance as we reach the Rapsodie’s latter
movements – a preview of the rhythmic intensity of the
composer’s Boléro. Also featured here are two works
newly composed for the orchestra – both exploring the
musical junctions of east and west.
Length: 96'
A BBC production in association with
West-Eastern Divan Orchestra and UNITEL CLASSICA
Cat. no. A 025 50134 0000
TONHALLE ORCHESTRA ZURICH
JULIA FISCHER ∙ DAVID ZINMAN
RICHARD STRAUSS Till Eulenspiegels lustige Streiche, Op. 28
ANTONIN DVOŘÁK Violin Concerto in A minor, Op. 53
LUDWIG VAN BEETHOVEN Symphony No. 6 “Pastoral”, Op. 68
From the pastoral landscapes of Beethoven’s Symphony
No. 6 to the vibrant folk scenes of Strauss’s soundpoem and Dvořak’s violin concerto, this Prom takes
a vivid journey across Central Europe. Celebrated
Straussian David Zinman appears in his final concert as
chief conductor of Zurich’s Tonhalle Orchestra, stepping
down after almost 20 years. Strauss appears at his
playful, joyous best in the exploits of folk-hero/prankster
Till Eulenspiegel, while Julia Fischer makes a welcome
return to the Proms in the last of the great romantic
violin concertos – an inventive and idiosyncratic work
by Dvořak, previously too often neglected in favour of
Mendelssohn or Bruch. “This beautiful Prom marked
the end of an era. David Zinman’s final concert as chief
conductor of the Zurich Tonhalle was a superb example
of his intelligent musicianship” (The Guardian).
Length: approx. 90'
A BBC/Tonhalle Orchestra Zurich co-production
in association with UNITEL CLASSICA
Cat. no. A 025 50133 0000
WORLD ORCHESTRA FOR PEACE
CONDUCTED BY VALERY GERGIEV
ROXANNA PANUFNIK Three Paths to Peace
RICHARD STRAUSS Die Frau ohne Schatten – symphonic fantasia
GUSTAV MAHLER Symphony No. 6 in A minor
The World Orchestra for Peace returns with its
conductor Valery Gergiev for its fourth Proms
appearance. This classical supergroup consisting of
leading players from the world’s finest orchestras
celebrates Strauss with the colourful, fairy-tale
soundscapes of his operatic masterpiece “Die Frau ohne
Schatten”. Fantasy gives way to reality in the prescient
tragedy of Mahler’s Sixth Symphony, the glorious agony
Cat. no. A 025 50132 0000
of its final movement foreshadowing the composer’s own
personal heartbreaks. Roxanna Panufnik’s “Three Paths
to Peace”, commissioned by the orchestra, is a reference
to the words of the orchestra’s founding father Sir Georg
Solti and a statement for peace, for unity in diversity
by “finding and building musical bridges” between the
Christian, Jewish and Muslim faith.
A production of BBC/World Orchestra for Peace Ltd.
in co-production with WDR and UNITEL CLASSICA
“FROM WAR TO PEACE”
SEE PAGE 77
69
ROLANDO
VILLAZÓN
PRESENTS
Four new episodes of the successful German TV series in which Rolando
Villazón presents the new classical music Stars of Tomorrow from singers
and pianists to drummers and combos.
Photo: Thomas Ernst
EPISODE 13
EPISODE 14
Adam Plachetka
Pumeza Matshikiza
Trio Karénine
Nemanja Radulovi
conducted by
Domingo Hindoyan
Giacomo Puccini “Mi chiamano Mimì” from La Bohème
Soloist: Pumeza Matshikiza (South Africa)
EPISODE 15
Sonya Yoncheva
Kit Armstrong
Antonio Poli
Die Chorjungen
conducted by
Domingo Hindoyan
Gioachino Rossini Overture to Il Signor Bruschino
Ludwig van Beethoven Piano Trio in D major, Op. 70/1 “Ghost” –
Allegro vivace e con brio – Trio Karénine (France)
Wolfgang Amadeus Mozart
“Bald prangt, den Morgen zu verkünden” from Die Zauberflöte
Soloists: Die Chorjungen (Germany), Sonya Yoncheva (Bulgaria)
Maurice Ravel Piano Trio in A minor – Pantoum. Assez vif
Trio Karénine (France)
Wolfgang Amadeus Mozart “Ave verum corpus”
Soloists: Die Chorjungen (Germany)
Wolfgang Amadeus Mozart “Rivolgete a lui lo squardo” from
Così fan tutte – Soloist: Adam Plachetka (Czech Republic)
Francesco Paolo Tosti “Marechiare”
Soloist: Antonio Poli (Italy)
Dmitri Shostakovich Romance from The Gadfly
Soloist: Nemanja Radulovic (Serbia/France)
Jules Massenet “Celui dont la parole”
Aria of Salomé from Hérodiade – Soloist: Sonya Yoncheva (Bulgaria)
Niccolò Paganini Caprices Nos. 24 & 5
Soloist: Nemanja Radulovic (Serbia/France)
Joseph Haydn Piano Concerto in D major, Hob. XVIII:11
Rondo all’Ungarese – Soloist: Kit Armstrong (USA)
Richard Strauss “Morgen”
Soloists: Nemanja Radulovic (Serbia/France), Rolando Villazón
Francesco Cilea
“È la solita storia del pastore” (Lamento di Federico) from L’ Arlesiana
Soloist: Antonio Poli (Italy)
Antonín Dvořák Slavonic Dance in E minor, Op. 72 No. 2
Franz Schubert “Erstarrung” from Die Winterreise
Soloist: Adam Plachetka (Czech Republic)
Qongqothwane (Traditional)
Soloist: Pumeza Matshikiza (South Africa)
Length: 53'
Cat. no. A 055 13437 0013
A production of Salve TV for ZDF/Arte
György Ligeti Fanfares – Soloist: Kit Armstrong (USA)
Manuel Penella “Vaya una tarde bonita…Sí! Torero”
Duet of Rafael and Soleá from Il gato montés
Soloists: Sonya Yoncheva (Bulgaria), Rolando Villazón
Length: 46'
Cat. no. A 055 13437 0014
EPISODE 16
Andreas Ottensamer
Kristina Mkhitaryan
German Hornsound
Hwayoon Lee
conducted by
Patrick Lange
Michael Barenboim
Inga Fiolia
Zhengzhong Zhou
Ni Fan
conducted by
Patrick Lange
George Frideric Handel Vivo from Suite No. 1, “Water Music”
Soloists: German Hornsound (Germany)
Felix Mendelssohn Bartholdy Presto from the Piano Concerto No. 1
in G minor – Soloist: Inga Fiolia (Georgia)
Vincenzo Bellini “Care compagne” from “La sonnambula”
Soloist: Kristina Mkhitaryan (Russia)
Giuseppe Verdi “Per me giunto è il dì supremo” from “Don Carlo”
Soloist: ZhengZhong Zhou (China)
Claude Debussy Prélude “La fille aux cheveux de lin”
Soloist: Andreas Ottensamer (Austria)
Georg Philipp Telemann Largo and Presto from Viola Concerto in G major
Soloist: Hwayoon Lee (Korea)
Niccolò Paganini Presto from Caprice No. 16 in G major
Soloist: Hwayoon Lee (Korea)
Edward Grieg “Morning Mood” from Peer Gynt Suite No. 1
Sergei Rachmaninoff Romance No. 10: “Before my Window”
Soloist: Kristina Mkhitaryan (Russia)
Giuseppe Verdi “Sempre libera” from “La traviata”
Soloist: German Hornsound (Germany
Gioachino Rossini La danza from “Les soirées musicales”
Length: 44'
Cat. no. A 055 13437 0015
Wolfgang Amadeus Mozart Rondo in C major
Soloist: Michael Barenboim (Germany)
Ney Rosauro Despedida (Farewell) from Concerto for Marimba and
Orchestra – Soloist: Ni Fan (China)
Alexander Scriabin Préludes No. 9, 14, 17 & 20 from 24 Préludes, Op. 11
Soloist: Inga Fiolia (Georgia)
Francis Poulenc Chanson No. 7 “La Belle Jeunesse” from “Chansons
gaillardes” – Soloist: ZhengZhong Zhou (China)
Béla Bartók Fuga from Sonata for Solo Violin, Sz. 117
Soloist: Michael Barenboim (Germany)
Tobias Boström Arena – Percussion Concerto No. 1
Soloist: Ni Fan (China)
Carlos Gardel “El día que me quieras” (The day that you love me)
Soloist: Rolando Villazón, Inga Fiolia (Georgia), Michael Barenboim (Germ.)
Gioachino Rossini Overture from “Guillaume Tell”
Orchestra: Junge Sinfonie Berlin
Length: 65'
Cat. no. A 055 13437 0016
70
71
CHAMBER MUSIC
CHAMBER MUSIC
FRANZ SCHUBERT: WINTERREISE
MATTHIAS GOERNE, Baritone
MARKUS HINTERHÄUSER, Piano
visualized by WILLIAM KENTRIDGE
“Winterreise” by Franz Schubert engages with its
audience in a new and unexpected form: in a creative
encounter with Schubert’s masterpiece, the celebrated
lieder specialist Matthias Goerne, pianist Markus
Hinterhäuser and South African director, set designer
and theatre artist William Kentridge joined forces on
Length: approx. 85'
Cat. no. A 010 50033
stage and traced newly imagined, deeply moving images.
In short animated films, Kentridge visualises Goerne’s
and Hinterhäuser’s sonic contribution. A memorable
meeting “of melancholy and magic” (La Marseillaise),
infused by the “virile beauty of Goerne�s powerful
baritone” (New York Times).
A production of Idéale Audience in co-production with the Festival d’Aix-en-Provence,
Mezzo and UNITEL CLASSICA in cooperation with Arte France and MUSEEC/medici.tv
with the participation of CNC
“A TRIO FOR SCHUBERT”
SEE PAGE 79
BENJAMIN BRITTEN: STRING QUARTETS
BELCEA QUARTET
BRITTEN String Quartets No. 1 in D major, Op. 25 / No. 2 in C major, Op. 36 / No. 3, Op. 94
The Belcea Quartet is one of the world�s leading
chamber music ensembles, having won many
international accolades. Now, with the string quartets,
the musicians have rediscovered a gem of twentiethcentury chamber music. “Here is a composer moving
gently and magically from the Romantic and Classical
canon towards aural visions of lightness, of sublimated
pain and brooding escapism. Shame on those who do not
know these pieces.” (Süddeutsche Zeitung). The Belcea
Quartet succeeds in an outstanding manner in holding
the balance between the youthful exuberance of the
first two quartets and the lyrical solemnity and sweet
morbidity of the third. Recorded before an audience in
the legendary Davout studio in Paris, these musicians
display huge sensitivity for Britten�s many nuances.
Length: approx. 90'
A production of Heliox Film in co-production
with the Belcea Quartet and UNITEL CLASSICA
Cat. no. A 015 50038 0000
TORMENTI E DOLCE OBLIO –
UMANE PASSIONI E AFFETTI VOCALI
CLAUDIO MONTEVERDI Tempro la cetra, Voglio di vita uscir
FRANCESCO CAVALLI Scene dall’Egisto
CLAUDIO MONTEVERDI Aria di Ulisse, Dormo ancora
TARQINIO MERULA Folle è ben
MARC MAUILLION, Tenor • ANGÉLIQUE MAUILLON, Harp
FRIEDERIKE HEUMANN, Viola da Gamba
Venice – La Serenissima – was long considered the hub
of the Baroque music world and the birthplace of opera.
Composers like Claudio Monteverdi and Francesco
Cavalli took the musical life of the city to unprecedented
heights in the sixteenth and seventeenth centuries.
Length: approx. 70'
Cat. no. A 005 50036 0000
MATTHIAS GOERNE & MARKUS HINTERHÄUSER
During the Festival Monteverdi-Vivaldi the young
French tenor Marc Maullion breathes new life into some
of the loveliest arias of that exciting era and whisking
his audience away in the process to the illustrious
surroundings of the Venetian Palazzo Da Mosto.
A production of Heliox Film in co-production with Venetian Centre for Baroque Music and
Making On in association with ClassicAll/M Media, Mezzo and UNITEL CLASSICA
Photo: Lukas Beck
73
CHAMBER MUSIC
THE COMPLETE BEETHOVEN PIANO SONATAS
RUDOLF BUCHBINDER
1st concert
Sonata No. 1 in F minor, Op. 2/1
Sonata No. 10 in G major, Op. 14/2
Sonata No. 13 in E flat major, Op. 27/1, “Sonata quasi una fantasia”
Sonata No. 17 in D minor, Op. 31/2, “Der Sturm”
Sonata No. 18 in E flat major, Op. 31/3, “Die Jagd”
2nd concert
Sonata No. 5 in C minor, Op. 10/1
Sonata No. 12 in A flat major, Op. 26
Sonata No. 22 in F major, Op. 54
Sonata No. 4 E flat major, Op. 7, “Grande Sonate”
Sonata No. 14 in C sharp minor, Op. 27/2, “Mondschein-Sonate”
3rd concert
Sonata No. 3 in C major, Op. 2/3
Sonata No. 19 in G minor, Op. 49/1
Sonata No. 26 in E flat major, Op. 81a, “Les Adieux”
Sonata No. 7 in D major, Op. 10/3
Sonata No. 28 in A major, Op. 101
4th concert
Sonata No. 6 in F major, Op. 10/2
Sonata No. 24 in F sharp major, Op. 78
Sonata No. 29 in B flat major, Op. 106, “Hammerklavier-Sonate”
5th concert
Sonata No. 2 in A major, Op. 2/2
Sonata No. 9 in E major, Op. 14/1
Sonata No. 15 in D major, Op. 28, “Sonate pastorale”
Sonata No. 27 in E minor, Op. 90
Sonata No. 23 in F minor, Op. 57, “Sonata appassionata”
6th concert
Sonata No. 11 in B flat major, Op. 22
Sonata No. 8 in C minor, Op. 13, “Grande Sonate pathétique”
Sonata No. 25 in G major, Op. 79
Sonata No. 21 in C major, Op. 53, “Waldstein-Sonate”
7th concert
Sonata No. 30 in E major, Op. 109
Sonata No. 31 in A flat major, Op. 110
Sonata No. 32 in C minor, Op. 111
Beethoven’s opus of 32 piano sonatas, known as “the
New Testament of piano music”, is a landmark in piano
literature. Now, for the first time in its history the
complete cycle was performed at the Salzburg Festival.
For this challenge the Festival asked no less than the
world-renowned and influential Beethoven expert and
pianist Rudolf Buchbinder. Buchbinder’s performance
Cat. no. A 045 50038 0000
RUDOLF BUCHBINDER
is “that of a real master, effortless changing between
lightning fast, technically challenging moments and
tender lyrical passages. Where others can pride
themselves in getting through without any accidents,
Buchbinder is a poet, precise in every arpeggio touching
in every keystroke” (Kurier).
A co-production of ORF, Heliox Film and UNITEL CLASSICA
in cooperation with Salzburg Festival
Photo: Silvia Lelli
75
DOCUMENTARY
DOCUMENTARIES
“ANNA THE GREAT”
A film by DMITRY SAPUN
Russia, 2014
A documentary about the great soprano Anna Netrebko
by the russian filmmaker Dmitry Sapun which follows her
at home in Russia and New York and on the road as she
prepares for her performances. It also features interviews
Length: 40'
Cat. no. A 945 50002
with Anna herself, her family, Dmitri Hvorostovsky, Piotr
Beczala and many of her supporters such as Valery
Gergiev and Peter Gelb.
A coproduction of UNITEL CLASSICA
and Fourstudio
“DON GIOVANNI – A NIGHT AT THE OPERA BACKSTAGE”
A film by VOLKER HEISE
Austria, 2014
Corresponding to A 040 50033 p. 16
This documentary presents a unique insight into the
fascinating world of opera: during the live performance
of Mozarts famous Don Giovanni at the Salzburg
Festival. Renown helmer Volker Heise filmed backstage
with four teams the fascinating clockwork of thousand
Length: 180'
Cat. no. A 040 50041
hands bringing together such a live performance. Feel
the adrenalin and anxiety of the singers, musicians and all
performers and discover that the real night of the opera
is behind the curtain!
A production of Servus TV in cooperation with the
Salzburg Festival and UNITEL CLASSICA
“FROM WAR TO PEACE”
A film by CHARLES KAYE & CHRISTOPH ENGEL
Germany, 2014
Corresponding to A 025 50132 0000 p. 69
This documentary, produced on the occasion of the
World Orchestra for Peace’s 20th anniversary, features
rare archive footage of Georg Solti – the orchestra’s
founder – with Richard Strauss (1949), Solti’s 80th
birthday concert at Buckingham Palace (1992) and
Length: 56'
Cat. no. A 055 50383
ANNA NETREBKO
additional contributions from Irina Bokova (UNESCO
Director – General) and many leading players of the
World Orchestra for Peace. The film is complemented
by excerpts from the Concert for Peace at the BBC
Proms.
A production of BBC/World Orchestra for Peace Ltd.
in co-production with WDR and UNITEL CLASSICA
Photo: Alex Molchanovsky
77
DOCUMENTARY
“NIKOLAUS HARNONCOURT –
BETWEEN OBSESSION AND PERFECTION”
A three part documentary by FELIX BREISACH
Austria, 2014
Three documentaries accompanying the development
of Nikolaus Harnoncourts’ “The Mozart Da-Ponte
Cycle” at the “Theater an der Wien” (see page 14).
Through focusing on the concentrated rehearsals in
Harnoncourt’s house in St. Georgen, Austria on six
Length: 3 x 52'
Cat. no. A 045 50033 0000
consecutive days, the documentaries not only give an
in-depth account of Harnoncourt’s vision of Mozart but
also an intimate portrait of what it’s like to be working
with him.
A production of Felix Breisach Medienwerkstatt
in co-production with Vereinigte Bühnen Wien, ORF III and UNITEL CLASSICA
“A TRIO FOR SCHUBERT”
A film by Christian Leblé
France, 2014
Corresponding to A 010 50033 p. 73
Schubert’s masterpiece “Winterreise” through Matthias
Goerne’ s eyes and voice, captured during the Vienna
Premiere and Festival d’Aix en Provence production
Length: 52'
Cat. no. A 015 50040
of the song-cycle, where he worked together with
the world-known South-African visual artist William
Kentridge and pianist Markus Hinterhäuser.
A co-production of Idéale Audience, Arte France and UNITEL CLASSICA
in participation with the Festival d’Aix-en-Provence
“NINE SKETCHES OF DVOŘÁK”
A film by BARBARA WILLIS SWEETE
Czech Republic, 2014
Corresponding to A 985 50004 0000 p. 51
A documentary which follows the “homecoming” of Jiří
Bělohlávek as chief conductor of the Czech Philharmonic.
The film traces the whole recording of Antonín Dvořák's
symphonies and concertos throughout one and a half
years, from live performances to studio work. It captures
Length: approx. 60'
Cat. no. A 980 50002
NIKOLAUS HARNONCOURT
the atmosphere of change in the Czech Philharmonic
as it is perceived by the players, the conductor and the
management, all against the backdrop of Dvořák’s life
and work.
A production of Czech Television, Czech Philharmonic
and UNITEL CLASSICA
Photo: PhotoWerK
79
DOCUMENTARY
“CHRISTIAN THIELEMANN – MY STRAUSS”
A film by ANDREAS MORELL
Germany, 2014
On the occasion of Richard Strauss‘s 150th birthday,
conductor Christian Thielemann reflects in an intensive
portrait about his personal relation to the composer.
While focusing on the composer Strauss with numerous
Length: approx. 45'
Cat. no. A 055 50371
archive recordings also the human being, the opera
director, the festival founder and careerist in times
of National Socialism find their place in this gripping
documentary.
A production of 3B-Produktion in co-production with UNITEL CLASSICA
in cooperation with ZDF/3sat
“RICHARD STRAUSS – AT THE END OF THE RAINBOW”
A film by ERIC SCHULZ
Austria, 2014
Richard Strauss – who regarded himself as the last great
composer ‘at the end of the rainbow’ – for sure is one of
the most interesting artists of his time. This documentary
by Eric Schulz (also known for the film “Karajan – The
Second Life”) gives insight into the personality and
Cat. no. A 040 50038
the works of Richard Strauss with never-released
archive material and interview partners such as Brigitte
Fassbaender, Klaus König, Raymond Holden, Christian
Strauss, Walter Werbeck, Emma Moore and Stefan
Mickisch.
A production of Servus TV
“THE SYMPHONIEORCHESTER DES BAYERISCHEN
RUNDFUNKS IN SOUTH AMERICA”
A film by ECKHART QUERNER
Germany, 2014
The Bavarian Radio Symphony Orchestra as a cultural
ambassador: On tour through South America the
musicians under the baton of Principal Conductor Mariss
Jansons gave several concerts in major cities. Rapturous
applause from their South American fans followed
the program consisting of works by Brahms, Berlioz,
Shostakovich and Adams everywhere the orchestra
Length: approx. 90'
Cat. no. A 050 50213
CHRISTIAN THIELEMANN
went. Filmmaker and cinematographer Eckhart Querner
and cameraman Peter Gillemot accompanied the
tour. Their documentary shows the preparations for
the concerts and the mood and atmosphere with an
unfamiliar audience while giving insight into individual
musicians’ personal experiences.
A production of BR in cooperation
with UNITEL CLASSICA
81
UPCOMING
UPCOMING PRODUCTIONS
AND LIVE EVENTS
We proudly present a fine selection of our upcoming productions and live events
for the next six month. Please note that all information is not contractual and subject to change.
SALZBURG FESTIVAL
18 JULY – 30 AUGUST 2015
UNITEL CLASSICA IS THE EXCLUSIVE
AUDIOVISUAL PARTNER OF THE SALZBURG FESTIVAL
Please contact us for further details and the full line-up.
10/ 11/ 12 FEBRUARY 2015 – FROM THE BARBICAN HALL, LONDON
THE SIBELIUS SYMPHONY CYCLE
BERLINER PHILHARMONIKER ∙ SIMON RATTLE
21 FEBRUARY 2015 – FROM THE TEATRO ALLA SCALA, MILAN
GUISEPPE VERDI: AIDA
CARLO COLOMBARA, ANITA RACHVELISHVILI, KRISTIN LEWIS
FABIO SARTORI, MATTI SALMINEN, GEORGE GAGNIDZE, CHIARA ISOTTON
CORO E ORCHESTRA DEL TEATRO ALLA SCALA
conducted by ZUBIN MEHTA
staged by PETER STEIN
4/ 5 MARCH 2015 – FROM THE CONCERTGEBOUW AMSTERDAM
ROYAL CONCERTGEBOUW ORCHESTRA
ANNE-SOPHIE MUTTER ∙ ANDRIS NELSONS
JEAN SIBELIUS: Violin Concerto
DMITRI SHOSTAKOVICH: Symphony No. 10
8/ 10 MARCH 2015 – FROM THE GOLDENER SAAL, MUSIKVEREIN VIENNA
WIENER PHILHARMONIKER, ZUBIN MEHTA,
RUDOLF BUCHBINDER
JOHANNES BRAHMS – PIANO CONCERTOS NOS. 1 & 2
20 MARCH 2015 – FROM THE CONCERTGEBOUW AMSTERDAM
MARISS JANSONS – THE FAREWELL CONCERT
THOMAS HAMPSON, ROYAL CONCERTGEBOUW ORCHESTRA, MARISS JANSONS
83
UPCOMING PRODUCTIONS & LIVE EVENTS
6 APRIL 2015 – FROM THE SALZBURG EASTER FESTIVAL
24 JULY 2015 – FROM THE BREGENZ FESTIVAL
JONAS KAUFMANN, LIUDMYLA MONASTYRSKA, ANNALISA STROPPA
STEFANIA TOCZYSKA, AMBROGIO MAESTRI, MARIA AGRESTA
KATRIN KAPPLUSCH, RICCARDO MASSI, YITIAN LUAN
All information is not contractual and subject to change
PIETRO MASCAGNI: CAVALLERIA RUSTICANA
RUGGERO LEONCAVALLO: PAGLIACCI
STAATSKAPELLE DRESDEN
directed by PHILIPP STÖLZL
All information is not contractual and subject to change
UPCOMING
UPCOMING PRODUCTIONS & LIVE EVENTS
GIACOMO PUCCINI:
TURANDOT
WIENER SYMPHONIKER
conducted by PAOLO CARIGNANI
directed by MARCO ARTURO MARELLI
AUGUST 2015 (tbd) – FROM THE SALZBURG FESTIVAL
23/ 24/ 25 APRIL 2015 – FROM THE PHILHARMONIE BERLIN
BERLINER PHILHARMONIKER
HÅKAN HARDENBERGER ∙ ANDRIS NELSONS
HK GRUBER: Aerial
GUSTAV MAHLER: Symphony No. 5
9 JUNE 2015 – FROM THE KONCERTHUSET, COPENHAGEN
150TH BIRTHDAY OF CARL NIELSEN
LIVE GALA CONCERT FROM COPENHAGEN
OLLI LEPPÄNIEMI, Clarinet
DANISH NATIONAL SYMPHONY ORCHESTRA
conducted by JUANJO MENA
WOLFGANG AMADEUS MOZART:
LE NOZZE DI FIGARO
LUCA PISARONI, GENIA KÜHMEIER, MARTINA JANKOVA, ADAM PLACHETKA
MARGARITA GRITSKOVA, ANN MURRAY
conducted by DAN ETTINGER
directed by SVEN-ERIC BECHTOLF
13 AUGUST 2015 – FROM THE SALZBURG FESTIVAL
LUDWIG VAN BEETHOVEN:
FIDELIO
JONAS KAUFMANN, ADRIANNE PIECZONKA, TOMASZ KONIECZNY
LUDOVIC TÉZIER, HANS-PETER KÖNIG
19 JUNE 2015 – FROM THE GRAFENEGG FESTIVAL
conducted by FRANZ WELSER-MÖST
directed by CLAUS GUTH
TONKÜNSTLER-ORCHESTER
conducted by YUTAKA SADO
16 AUGUST 2015 – FROM THE SALZBURG FESTIVAL
"MIDSUMMER NIGHT’S GALA"
ELISABETH KULMAN, PIOTR BECZALA, JULIA FISCHER
11 JULY 2015 – FROM THE ODEONSPLATZ, MUNICH
THE ODEONSPLATZ CONCERT "SPANISH NIGHT"
JULIA FISCHER ∙ PABLO HERAS-CASADO
ANNE-SOPHIE MUTTER ∙ RICCARDO MUTI
PYOTR I. TCHAIKOVSKY: Concert for Violin and Orchestra in D major, Op. 35
JOHANNES BRAHMS: Symphony No. 2 in D major, Op. 73
SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS
84
85
INDEX
All numbers refer to pages of this catalogue – “Upcoming” and “Documentaries” are excluded
COMPOSERS:
A Ayal Adler 69 B Johann Sebastian Bach 49 ∙ Béla Bartók 43, 64 ∙ Ludwig van Beethoven 63, 67, 69, 75 ∙ Hector Berlioz 45 ∙ Johannes
Brahms 49, 54, 57 ∙ Benjamin Britten 73 ∙ Anton Bruckner 63 C Francesco Cavalli 73 D Gaetano Donizetti 8 ∙ Antonín Dvořák 51, 69
F Benedetto Ferrari 73 ∙ Marius Flothuis 54 G HK Gruber 10 H Joseph Haydn 63 J Leoš Janáček 12 K Emmerich Kálmán 59 M Gustav
Mahler 53, 64, 69 ∙ Pietro Mascagni 43 ∙ Felix Mendelssohn Bartholdy 63 ∙ Tarquinio Merula 73 ∙ Claudio Monteverdi 73 ∙ Wolfgang Amadeus
Mozart 14, 20, 43, 45, 67, 69 P Roxanna Panufnik 69 ∙ Sergei Prokofiev 43, 53 ∙ Giacomo Puccini 43 ∙ Henry Purcell 64 R Sergei
Rachmaninoff 43 ∙ Maurice Ravel 67, 69 ∙ Aribert Reimann 18 ∙ Ottorino Respighi 43 ∙ Wolfgang Rihm 60 ∙ Gioachino Rossini 20, 53
Kareem Roustom 69 S Franz Schubert 22, 67, 73 ∙ Robert Schumann 49, 67 ∙ Dmitri Shostakovich 53, 54, 64 ∙ Richard Strauss 24, 26, 28,
30, 45, 54, 57, 60, 69 ∙ Igor Stravinsky 67 T Pyotr Ilyich Tchaikovsky 40, 43 V Giuseppe Verdi 32, 34, 36 W Richard Wagner 43
STILL HAVEN’T FOUND
WHAT YOU WERE LOOKING FOR?
CONDUCTORS:
A Antonello Allemandi 8 B Daniel Barenboim 57, 67, 69 ∙ Andrea Battistoni 36 ∙ Jiří Bělohlávek 51 C Will Crutchfield 20 D Gustavo
Dudamel 45, 57 E Christoph Eschenbach 20 F Gabriele Ferro 28 ∙ Asher Fisch 34 ∙ Christopher Franklin 43 G Rumon Gamba 26
John Eliot Gardiner 63 ∙ Daniele Gatti 32 ∙ Valery Gergiev 69 ∙ HK Gruber 10 H Bernard Haitink 63 ∙ Daniel Harding 63 ∙ Nikolaus
Harnoncourt 14, 45 ∙ Pablo Heras-Casado 60 ∙ Domingo Hindoyan 70 I Alexander Ingram 40 J Mariss Jansons 53, 64 L Patrick Lange
105 M Cornelius Meister 43 Juanjo Mena ∙ 47 Ingo Metzmacher 22 N Andris Nelsons 43, 53, 54 ∙ David Newman 47 ∙ Yannick NézetSéguin 64 R Simon Rattle 49 ∙ Donald Runnicles 12 S Stanley Sperber 43 T Christian Thielemann 24, 59, 60 W Franz Welser-Möst
30 Y Simone Young 18 Z David Zinman 69
SINGERS:
A Ildar Abdrazakov 47 ∙ Kate Aldrich 8 ∙ Rubén Amoretti 28 B Maite Beaumont 14 ∙ Piotr Beczala 47 ∙ Daniel Behle 24 ∙ Lena Belkina 20
Nicola Beller Carbone 28 ∙ Benjamin Bernheim 22 ∙ Pavol Breslik 60 ∙ Ingela Brimberg 26 C William Corrò 36 ∙ Lucy Crowe 63 D Ildebrando
D'Arcangelo 20 ∙ Angela Denoke 47 ∙ Albert Dohmen 24 ∙ Plácido Domingo 32 ∙ Katija Dragojevic 14 ∙ Ruben Drole 14 E Ilse Eerens 10
Ladislav Elgr 12 ∙ Mojca Erdmann 30 ∙ Mari Eriksmoen 14 ∙ Adrian Eröd 30, 47 F Renée Fleming 24 ∙ Elisabetta Fiorillo 36 ∙ Juan Diego Flórez 60
Chiara Fracasso 28 ∙ Anett Fritsch 20 ∙ Giovanni Furlanetto 8 G Alain Gabriel 8 ∙ Serena Gamberoni 36 ∙ Elīna Garanča 59 ∙ Christian Gerhaher
49 ∙ Renato Girolami 34 ∙ Christine Goerke 60 ∙ Matthias Goerne 73 ∙ Günther Groissböck 30, 63 H Thomas Hampson 24, 47 Anja Harteros 34,
60 ∙ Will Hartmann 12 ∙ Hui He 36 ∙ Dietrich Henschel 28 ∙ Evelyn Herlitzius 59 J Jennifer Johnston 63 K Yosep Kang 59 ∙ Christiane Karg 59
Vesselina Kasarova 47 ∙ Jonas Kaufmann 34, 43 ∙ Michaela Kaune 12 ∙ Angelika Kirchschlager 10 ∙ Julia Kleiter 22 ∙ Christine Knorren 28
Sophie Koch 30 ∙ Vitalij Kowaljow 34 ∙ Magdalena Kožená 49 ∙ Nadia Krasteva 34 ∙ Genia Kühmeier 63 ∙ Elisabeth Kulman 14, 63 ∙ Hellen
Kwon 18 ∙ Magnus Kyhle 26 L Thomas Lander 26 ∙ Jennifer Larmore ∙ 12 Erwin Leder 18 ∙ Topi Lehtipuu 49 ∙ Marie-Nicole Lemieux 32
Susanna Levonen 26 ∙ Christina Landshamer 59 ∙ Raffaella Lupinacci 20 M Pumeza Matshikiza 70 ∙ Marc Mauillon 73 ∙ Waltraud Meier 59
Francesco Meli 32, 36 ∙ Kristina Mkhitaryan 105 ∙ Hanna-Elisabeth Müller 24 ∙ Hanno Müller-Brachmann 63 N Valentina Naforniţa 20
Anna Netrebko 32, 59 ∙ Randy Newman 47 ∙ Camilla Nylund 60 O Jennifer O’Loughlin 47 ∙ Kristine Opolais 43 P Mark Padmore 49, 63 ∙ René
Pape 59 ∙ Albert Pesendorfer 10 ∙ Mauro Peter 14 ∙ Katja Pieweck 18 ∙ Luca Pisaroni 20, 47 ∙ Adam Plachetka 70 ∙ Antonio Poli 70 ∙ Jessica Pratt 20
Anna Prohaska 53 R Max Raabe 88 ∙ Ildikó Raimondi 14 ∙ Dempsey Rivera 20 ∙ Dorothea Röschmann 22 ∙ Lenneke Ruiten 20 S Luca Salsi 36
Maria Sarra 28 ∙ Michael Schade 22 ∙ Christine Schäfer 14 ∙ Daniel Schmutzhard 10 ∙ Jörg Schneider 10 ∙ Andrè Schuen 14 ∙ Anne Schwanewilms 59
Hanna Schwarz 12 ∙ Bo Skovhus 14, 18 ∙ Marie-Bénédicte Souquet 8 ∙ Toby Spence 63 ∙ Michael Spyres 20 ∙ Siobhan Stagg 18 ∙ Andrew
Staples 45 ∙ Cassandra Steen 47 ∙ Krassimira Stoyanova 30 T Ludovic Tézier 8, 34 ∙ Camilla Tilling 49 ∙ Ingrid Tobiasson 26 V Frank van
Aken 59 ∙ Ramón Vargas 47 ∙ Lauri Vasar 18 ∙ Rolando Villazón 70, 105 ∙ Sergio Vitale 20 ∙ Anke Vondung 10 W Sebastian Wartig 59
Markus Werba 14 ∙ David B. Whitley 47 ∙ Roderick Williams 49 Y Pretty Yende 43 ∙ Shi Yijie 8 ∙ Sonya Yoncheva 70 Z Georg Zeppenfeld
22 ∙ Bernd Zettisch 59 ∙ ZhengZhong Zhou 105
INSTRUMENTALISTS:
A Martha Argerich 67 ∙ Kit Armstrong 70 B Daniel Barenboim 57, 67 ∙ Michael Barenboim 105 ∙ Antonii Baryshevskyi 43 ∙ Rudolf
Buchbinder 75 C Seong-Jin Cho 43 ∙ Die Chorjungen 70 F Ni Fan 105 ∙ Inga Fiolia 105 ∙ Julia Fischer 69 ∙ David Fung 43 G German
Hornsound 105 H Friederike Heumann 73 ∙ Markus Hinterhäuser 73 ∙ Gregor Horsch 54 L Hwayoon Lee 105 ∙ Steven Lin 43 M Angélique
Mauillon 73 O Alexei Orgintchouk 54 ∙ Andreas Ottensamer 105 P Liviu Prunaru 54 R Roman Rabinovich 43 ∙ Nemanja Radulovic
70 S Gil Shaham 64 T Terem Quartet 63 ∙ Jean-Yves Thibaudet 47 ∙ Omar Tomasoni 54 ∙ Trio Karénine 70 ∙ Daniil Trivonov 43 V Vilém
Veverka 43 W Yuja Wang 53
UNITEL CLASSICA Avant Première Catalogue 2015
Editorial Team: Burkhard Grote, Konrad von Soden ∙ Layout: Manuel Messner/luebbeke.com
All information is not contractual and subject to change without prior notice.
Date of print: 23 January 2015
Unitel GmbH & Co. KG Gruenwalder Weg 28d, 82041 Oberhaching, Germany
Geschäftsführer: Jan Mojto – AG München HRA 83109
All trademarks used herein are the property of their respective owners.
Front cover: Anna Netrebko in G. Verdi’s "Il trovatore", Salzburg Festival – Photo: Karl Forster
© Unitel 2015 ∙ All Rights reserved
86
Search the complete UNITEL CLASSICA catalogue which features more than
1500 productions including the legendary productions with Leonard Bernstein
(who died 25 years ago on October 14).
Visit:
www.unitel.de
or simply contact C-Major Entertainment
Tel. +49.30.30306464
mail@cmajor-entertainment.com
&
MAX RAABE
PALAST
ORCHESTER
A NIGHT
IN BERLIN
Max Raabe, the “wry, unsmiling and nonchalantly charismatic vocalist”
(New York Times) who heads the Palast Orchester of Berlin, is internationally
renowned for entertainment at its best. A Night in Berlin blends his hit
interpretations from the 1920’s classics with new songs that are immediately
catchy, written by Annette Humpe and himself. And of course,
Max Raabe made sure, that this concert recording is no
run-of-the-mill recording, but pure indulgence.
Length: 89' & 43' (German version) 47' (English version)'
Cat. no. A 055 50373 0000
A production of UNITEL CLASSICA and Deutsche Grammophon
in co-production with RBB and BR in cooperation with Arte
Photo: Marcus Hoehn

catalogue 2015

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