The Danish National Symphony Orchestra transforms the stage into enchanted musical landscapes inspired by legendary video games such as The Legend of Zelda and League of Legends, with Nordic singer Eivør as special guest in Legends Never Die and more. Experience the captivating sounds of epic game worlds brought to life by 150 musicians and singers at DR Koncerthuset. Featuring the music of Halo, World of Warcraft, League of Legends and much more: enjoy epic choir songs and magical solo tracks with the star from the Faroe Islands, Eivør, as well as Isabel Schwartzbach and Adam Riis.
A political prisoner awaits death in his cell. A woman puts herself in mortal danger to seek justice. With its atmosphere of revolution and tale of devotional romance and a dramatic rescue from captivity, Pierre Gaveaux’s Léonore, ou L’Amour conjugal was the direct forerunner to Beethoven’s Fidelio. Having been entirely overshadowed by its famous successor and lain hidden for centuries, this both darkly somber and entertainingly celebratory opéra comique is seen here in an acclaimed modern premiere whose timeless and inspiring story of female heroism and political injustice is as relevant today as ever. The Washington Post wrote of this production: “Opera Lafayette’s smart, efficient production brought the brief opera comique fully to life with vivid playing and singing… events such as this… are a rarity anywhere and a gift...”
After supporting roles in Flying Down to Rio sent their movie careers soaring, Fred Astaire and Ginger Rogers starred for the first time in this witty and delightful escapade about marriage, divorce and all the romantic complications that come in between. The Gay Divorcee set the style, tone, and behind-the-camera talents for the Astaire/Rogers classics to come and captured five Academy Award nominations including Best Picture.
George Gershwin’s Concerto in F was a response to demands for a ‘proper concerto’ after the success of Rhapsody in Blue, avoiding programmatic content while providing a feast of tunes both uplifting and nostalgic. Originally intended as music for a film, his up-beat Rhapsody No 2 describes the bustling Manhattan cityscape while under construction. Sourced from his hit musical Girl Crazy, I Got Rhythm Variations was Gershwin’s last full score. Pianist Orion Weiss is one of the most sought-after soloists and collaborators of his generation of young American musicians.
A touching evening (BR Classic) A centuries-old tradition. The ghost light is a single lamp that illuminates the stage when the theatre is not in use. Legend has it that the light shines to protect the actors, patrons and the theater from misfortune and ghosts. The Ghost Light shows the solitude that continues to shine on stage while waiting for the audience to return after this unusual season. The Hamburg Ballet was one of the first international companies to return to their studios after the lockdown, with the premiere of John Neumeier's choreography Ghost Light with solo piano music by Franz Schubert, performed live on stage by star pianist David Fray. John Neumeier's new ballet explores the possibilities of dancing among the limitations of the * pandemic. It is developed in fragments with more or less fleeting impressions from the everyday life of dancers. Ghost Light is an ensemble ballet that I develop in fragments. It is comparable to individual instrumental parts of a symphony... How the individual parts ultimately combine to form a work will depend on the moment when we are allowed to come close again on stage. (John Neumeier) Internationally recognized and awarded for his ballet choreography, John Neumeier has been the ballet director and chief choreographer of the Hamburg Ballet since 1973, and since 1996. Ballet Director at the Hamburg State Opera and guest choreographer at other venues. He is also director of the ballet school he founded in Hamburg. Choreography, Stage, Lighting and Costums: John Neumeier Costumes from Lady of the Camellias and The Nutcracker: Jrgen Rose Music by Franz Schubert David Fray piano
Hector Sandoval, Norma Fantini, Scott Hendricks, Tania Kross, and Rosalind Plowright star in this production of the Giordano opera performed by the Vienna Symphony, Bregenz Festival Chorus, and Prague Philharmonic Choir conducted by Ulf Schirmer.
Giordano: Fedora / Dessi, Galli, Carlo Felice Theatre Orchestra [Blu-ray]
Dynamic
Blu-Ray
$36.99Jan 19, 2018
This new release is homage to a great Italian soprano, Daniela Dessì, who passed away last year, just one year after these performances at Teatro Carlo Felice in Genoa. This is a superb interpretation of this signature role of her long artistic career. Daniela Dessì was considered one of the world’s leading sopranos and a reference point for the Verdi, Puccini and Verismo repertoire. Thanks to the beauty of her voice, a strong technique and an intense dramatic talent, she was able to sing from Monteverdi to Prokofiev, performing in more than seventy different operas. This versatility has significantly been underlined when, in 2011, she was awarded with the Prize Belcanto “Celletti”, recognized as an “absolute soprano”. In this production of Umberto Giordano’s Fedora, she is joined by an all-star cast, including Fabio Armiliato and Daria Kovalenko.
Set during the Roman Civil W War (49-45 BCE), Handel's "Giulio Cesare" is an intense drama filled with romance, tragedy and political intrigue. The plot centers on Cleopatra's campaign to seduce Julius Caesar in order to enlist his support in her becoming Queen of Egypt. Handel's music breathes the atmosphere of the Baroque with virtuosic vocal fireworks and subtle arias. This acclaimed production is given a modern setting populated by power-hungry oligarchs who are placed by director Calixto Bieito into 'a digital dream world in a desert paradise'.
The last days of the American icon Walt Disney form a powerful and poignant subject for Philip Glass's latest opera, which was filmed at its first performances in Madrid in January 2013. Phelim McDermott's spectacular production is worthy of Disney's own visual imagination and its definitive influence on American culture, while in the pit is the conductor Dennis Russell Davies, an experienced and authoritative champion of the composer's hypnotically beautiful music, which gives wings to Rudy Wurlitzer's operatic transformation of Peter Stephan Jungk's novel, using both fact and fiction to peer into Disney's troubled psyche as illness forces him to confront his mortality.
What the press said: ''...one of the crowning events of the past year's globe-trotting celebration of Mr. Glass's 75th birthday.'' The New York Times
Philip Glass THE PERFECT AMERICAN (Blu-ray Disc Version)
Walt Disney – Christopher Purves Roy – David Pittsinger Dantine – Donald Kaasch Hazel George – Janis Kelly Lillian Disney – Marie McLaughlin Sharon – Sarah Tynan Diane – Nazan Fikret Lucy / Josh – Rosie Lomas
The Improbable Skills Ensemble Madrid Teatro Real Chorus and Orchestra Dennis Russell Davies, conductor
Phelim McDermott, stage director
Recorded live from the Teatro Real, Madrid, February 2013
Bonus: - Cast gallery
Picture format: 1080i High Definition Sound format: LPCM 2.0 / DTS 5.1 Region code: 0 (worldwide) Subtitles: English, French, German, Spanish, Japanese, Korean Running time: 120 mins No. of Discs: 1 (Blu-ray)
Note: This Blu-ray Disc is playable only on Blu-ray Disc players, and not compatible with standard DVD players.
A film by Yosif Feyginberg
The date is May 2nd, 1957. Stalin died only four years before and perestroika is still a long way off. However, the Canadian pianist Glenn Gould, who is just 24, arrives in Moscow for an exceptional tour: he is the first North American musician to play behind the iron curtain. This is the story that Glenn Gould in Russia tells by revealing documents from the Canadian Ministry of Foreign Affairs that had remained classified for years. Witness accounts from musicians such as Ashkenazy and Rostropovitch, parts of the original recordings of Gould’s concerts in Moscow and Leningrad, as well as a recording that had never been released before of his lecture-recital in Leningrad make this an invaluable documentary revealing an aspect of Glenn Gould’s artistry that few people are aware of.
DETAILS:
Picture format: 1080i High Definition Sound format: PCM 2.0 (Historical material: Mono) Region code: 0 (worldwide) Subtitles: English, German, French, Korean Running time: 60 mins No. of Discs: 1 (Blu-ray)
Gloria in Excelsis Deo / Suzuki, Bach Collegium Japan
BIS
Blu-Ray
$14.99$29.99Save 50%Apr 07, 2017
In June 1995, a virtually unknown group of Japanese musicians embarked on the monumental task of recording the complete sacred cantatas by Johann Sebastian Bach. Almost eighteen years later, on 23rd February 2013, the Bach Collegium Japan and Masaaki Suzuki – by then household names in the international music world – reached their goal when they finished recording the 55th release of a series which, in the meantime, had been met with overwhelming acclaim worldwide. Made in conjunction with the final cantata recording, this film commemorates the occasion. Besides performances of the three last cantatas – Gloria in excelsis Deo, BWV191, Lobe den Herrn, meine Seele, BWV69 and Freue dich, erlöste Schar, BWV30 – the film includes interviews with Masaaki Suzuki and key members of Bach Collegium Japan as well as behind the-scenes footage.
REVIEWS:
This disc is essentially Volume 55 of the Bach Sacred Cantata series with an extra chorus and added video. At least two reviews are elsewhere on the Music Web International site. The addition of 25 minutes or so of interviews with the soloists, chorus members, players, engineers and Suzuki himself make this celebratory issue fascinating to watch and hear. A secondary bonus is the presence of subtitles during the four performances, making it far easier to stay with Bach’s religious message. The air of dedication hanging over all the activity is actually quite inspiring, and rightly so, for this series is a landmark in recording history, up there with the Solti Ring. Not only has a complete set of the sacred cantatas been committed to disc but they are in period style, in SACD surround and they are superbly well documented. Reviewing this has cost me money because I realised that I could no longer resist buying the recently released, complete remastered set on BIS SACD9055, not only for the missing few dozen cantatas I gained, but also for the old CD-only issues being newly minted as SACD surround. And, I might add, for the useful indexes to help navigation around the 55 discs!
The performances of the three cantatas on this Blu-ray are of course superb; from the most prominent soloists to the back desk of the violins, all are now seasoned performers, and it shows. Each cantata appears to be a single performance with only the audio and video team and the microphones as audience. The singers move smoothly out of their place in the chorus to the front to sing their solos and then walk back into place. It is all impressively smooth and unfussy. The addition of the greatDona Nobis Pacemchorus from the B minor Mass acts as a wholly appropriate closing tribute. The surround sound, unusually not in DTS Master Audio but LPCM Surround 5.0, is excellent as always. Even those who have purchased the final volume of the series should obtain this too. You might even be tempted to raise a glass to the series as you watch the performers and engineers do just that on your screen.
Note: This Blu-ray Disc is playable only on Blu-ray Disc players, and not compatible with standard DVD players. Christoph Willibald Gluck IPHIGÉNIE EN AULIDE / IPHIGÉNIE EN TAURIDE (Blu-ray Disc Version)
Iphigénie en Aulide
Iphigénie – Véronique Gens Diane – Salomé Haller Agamemnon – Nicolas Testé Clytemnestre – Anne Sofie von Otter
Picture format: 1080i High Definition Sound format: LPCM Stereo 2.0 / DTS 5.1 Region code: 0 (worldwide) Subtitles: English, French, German, Dutch, Korean Running time: 229 mins (operas) + 39 mins (bonus) No. of Discs: 1
R E V I E W: Of Gluck’s two operas devoted to the character of Iphigénie, it is the latter one that has the overwhelming lion’s share of performances and recordings. I have long found that regrettable; while there is no question for me that Iphigénie en Tauride is Gluck’s greatest operatic masterwork, Iphigénie en Aulide is a marvelous work in its own right that deserves far better than benign neglect. I have sometimes wondered if, somewhat paradoxically, Aulide is slighted because its dramaturgy is somewhat more conventional than that of Gluck’s other major “reform” operas, with its frustrated young lovers, parents of divided sympathies, and so forth. However, this also allows Gluck to employ a more varied musical palette, as he has four major roles in different voice ranges (plus a crucial fifth supporting role) instead of only two or three.
It is therefore a very good thing indeed to have these two operas, whose plots have a fine formal dramatic continuity, brought together in a single set, even if the results are rather mixed. To deliver the bad news first, the production—as one necessarily expects from the Netherlands Opera—is yet another example of the blight of Regietheater. That said, it is thankfully one that is simply jejune rather than offensive. The set consists of two sets of metal bleachers facing one another, on which the characters clamber up and down, or else stand in between them; the majority of personnel are clad in rumpled trenchcoats, generic military uniforms, or leisure suits. (I was first exposed to the bleachers-and-trenchcoats conceit almost 25 years ago at the Oper Unter den Linden in what was then East Berlin, though I suspect that the straitened finances of a collapsing communist economy, rather than any great desire to promote avant-garde aesthetics, were responsible for its use in numerous productions there.) It all looks done on the cheap, though it probably cost an absurd amount of money. There are a few additional silly twists to this drab spectacle as well. Once Iphigénie (in Aulide) is named to be a sacrificial victim to the gods, she appears wearing a suicide bomb belt with an X painted on her forehead, while the minor character of Arcas is the obligatory half-naked hunk in skin-tight pants.
Fortunately, the stage direction largely ignores the costumes and for once has the characters interact in entirely appropriate ways—no orgies, or oral sex, or groping, or armed figures murdering people en masse, etc., etc. The singers seize the opportunity and, particularly in Aulide, give intense, even riveting performances that make one forget the dreary sets and garments and focus instead upon the characters and their respective plights. In Tauride, they are for some reason given much less with which to work, and consequently its dramatic voltage is significantly lower.
There is a very similar split in the musical values, with those for Aulide being very high, and for Tauride somewhat lower. Conductor Marc Minkowski has dedicated himself to promoting the operas of Gluck, and he leads both performances with searing intensity and passion. Compared to Minkowski, John Eliot Gardiner in his 1990 studio recording of Aulide for Erato—until now the only available recording of Gluck’s original score, as opposed to Wagner’s adaptation of it—is correct but somewhat staid. Véronique Gens is a superb Iphigénie, more characterful and potent than Lynne Dawson is for Gardiner, capturing every one of her character’s tormented twists and turns between hope, joy, resignation, and despair. Frédéric Antouin is her worthy partner as Achille, offering impassioned singing in the gleaming tones of a full-bodied lyric tenor. He too is superior to John Aler, his able counterpart under Gardiner. As Clytemnestre, Anne Sophie von Otter reprises her previous assumption of the role for Gardiner. If her voice is not quite as fresh as it was over 20 years before, it remains a remarkably fine instrument; she shows virtually none of the unsteadiness in her top notes that slightly marred her otherwise excellent recording of Swedish songs I reviewed in 36:3, and she has if anything deepened her conception of her role. Nicolas Teste is likewise an excellent Agamemnon, who makes his almost schizophrenic character highly sympathetic and holds his own in comparison with José van Dam under Gardiner. Christian Helmer is an effective Calchas, if not ideally steady vocally and inferior to Gilles Cachemaille under Gardiner. In the comprimario roles, Laurent Alvaro pushes his voice too hard as Thoas, but Martijn Cornet is a decent Patrocle. Salomé Haller is a competent but not arresting Diane in both operas.
There is only one reason I do not give this Iphigénie en Aulide an unqualified endorsement over Gardiner’s CD set as the version of choice; whereas both conductors cut the ballet music that Gluck recycled for his Don Juan, Minkowski also makes further cuts in two choral sections that remove an additional 15 minutes or so of music. Perhaps he believed that to be a painful necessity due to the presentation of both operas in a single evening, but it is greatly to be regretted.
By contrast, Iphigénie en Tauride is presented intact. Here my standard of comparison is the other performance of this opera on DVD, the 2000 performance from Zurich under William Christie. I am in near total agreement with James Camner’s review of it in 30:3, being only even more enthusiastic about Christie’s conducting and less so about Anton Scharinger’s singing as Thoas. While the giant bobble-head costumes used in that Regietheater production are indeed ludicrous, I will grudgingly concede that the pseudo-Freudian conceit behind them has more to offer both visually and conceptually than the drab, sterile setting saddled upon Minkowski, and hence makes for relatively more compelling drama. Also, while three of the four principal singers here are quite solid (those being Mireille Delunsch, Yann Beuron, and Jean-François Lapointe), they all are markedly inferior to Juliette Galstien, Deon van der Walt, and Rodney Gilfrey, their counterparts under Christie, with Galstien and Gilfrey in particular being outstanding in every way, and Alvaro’s wobbly Thoas is a marked liability for Minkowski.
There is a supplemental feature, lasting 38 minutes, on the creation of the two opera productions. Since they come together as a pair, my counsel is to get this for the superb Aulide despite the cuts, and tolerate or ignore the Tauride.
Gluck’s influential Orphée et Eurydice tells the story of Orphée’s descent into the Underworld to retrieve his wife Eurydice. His singing has the power to overcome the guardian Furies, but the path of true love is shadowed by sorrow and tragedy. As a true ‘drama of the soul’ with intense psychological and emotive power, Orphée et Eurydice shook enlightenment Europe to its core. Berlioz, in his 1859 version prepared for the Théâtre Lyrique, exploited the score’s full potential through a synthesis of the versions Gluck prepared for Parma, Paris and Vienna. Aurélien Bory’s Paris production was described as ‘just breathtaking’ by OperaJournal.
The famous traditional Chinese tale of La Fresque (‘The Painting on the Wall’) tells of two travellers who take shelter at a small temple, one of whom becomes so enraptured by the image of a beautiful girl in a fresco that he is transported into another dimension. Angelin Preljocaj, one of France’s leading contemporary choreographers, explores this mysterious relationship between representation and reality with a spectacular and unforgettable ballet filled with dynamic action, emotive lyricism and powerful responses to the music of Nicolas Godin, one half of the celebrated music duo Air. La Fresque has been admired for its ‘breath-taking scenes’ (La Terrasse) and its ‘dark and splendid beauty’ (L’Humanité).
Brazilian composer Antônio Carlos Gomes was among the many musicians who travelled to Italy to master the language and the rules of operatic works. He studied in Milan and succeeded in having a few operas staged at Italian venues, before returning to Brazil where he was hailed as the most famous living national composer. Gomes felt compelled to commit his work to the country’s anti-slave cause, which was still legal practice then. Lo schiavo was therefore conceived as a politically engaged work. However, the issue was rather volatile and the composer had to change the contemporary time setting to a more distant one. In Brazil the opera was a triumph, but elsewhere it failed to gain popularity and soon fell into oblivion. This recording of the Teatro Lirico di Cagliari’s production documents the opera’s first performance in modern times and reveals Gomes’ flamboyant richness of melodic creativity, his sound grasp of construction, and a technical mastery of the theatrical mechanisms that are always of the highest level. “The most popular title of the entire Brazilian repertoire. The most represented and, perhaps, the most loved one.” (John Neschling, conductor)
Gounod: La nonne sanglante / Equilbey, Insula Orchestra, Accentus [Blu-ray]
Naxos AudioVisual
Blu-Ray
$34.99Aug 09, 2019
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Also available on standard DVD The plot of Gounod’s opera La Nonne sanglante (‘The Bleeding Nun’) is drawn from Matthew Lewis’s once famous 1796 novel The Monk. The subject is a Gothic melodrama featuring warring families, two lovers, and the vengeful spectre of the Nun, to which Gounod responds with music that fuses Romanticism with the supernatural on the grandest scale. This ground-breaking production features memorable set pieces enhanced by the stark drama of the stage setting and brilliant cinematic lighting effects. This production was staged by David Bobee and the video director was Francois Roussillon. The recording took place in June 2018 at the Opera Comique in Paris, France.
Charles Gounod was enchanted by the young Provençal-born Frédéric Mistral’s epic love poem Mirèio, and enlisted the distinguished Michel Carré to fashion a libretto. Against the grain of prevailing operatic practice in the 1860s, and its promotion of glamour and spectacle, Gounod relished instead the lives of modest country people and their idyllic world. He utilizes folk dances and a shepherd’s lament to chart the story of his tragic heroine whose desire to marry her true love ends in her death. ‘Everything feels true to the opera’s pastoral spirit’ wrote Gramophone about this production, which marked the opera’s first appearance at the Paris Opera.
GRANDMA'S BOY (1922) starring Harold Lloyd, Anna Townsend and Mildred Davis. In this, Harold's first feature film, he is a coward. He's afraid of the bullying rival for Mildred's affections, he's afraid of tramps, he's even afraid of his own shadow. His loving grandmother takes pity on him and tells him the story of his grandfather (also a coward) who became a Civil War hero with the help of a magic charm which she gives to Harold. As long as Harold has the charm he's afraid of nothing! He marches forth to demonstrate his newfound courage in some of the funniest episodes ever in silent comedy! I DO (1921) starring Harold Lloyd, Mildred Davis and Noah Young. Harold becomes domesticated after his marriage and is soon seen walking down the street with Mildred pushing a baby carriage... full of bootleg hooch! When his brother-in-law drops off his kids at Harold's house, tranquillity comes to an end. Between his nephew sawing apart his furniture, nailing his shoes to the floor and setting off fireworks in the house, Harold has his hands full. At last, late at night, with the kids finally asleep... there's the burglar! Original music scores composed and performed by Ben Model!NR 81 Min.
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