These two pinnacles of Italian opera, Pagliacci and Cavalleria rusticana have it all – love, infidelity, betrayal, jealousy and murder. Both are classic examples of verismo operas that dramatise the lives of ordinary people: Pagliacci fuelled by the tension between everyday life and the aesthetic world of the stage, Cavalleria rusticana juxtaposing unbridled passion with profound faith. Robert Carsen’s widely acclaimed 2019 production plays a masterful game of theatre-in-theatre, avoiding clichés and calling into question the nature of reality.
Premiered on May 21st, 1892 at Milan’s Teatro Dal Verme under the baton of Arturo Toscanini, Pagliacci was immediately a huge success, and today it’s Leoncavallo’s most represented operas as “Vesti la giubba” is perhaps one of the most famous operatic arias of all times. The composer drew inspiration from a real incident that had occurred in a Calabrian town, an incident steeped in love and death, which inspired him to write his personal contribution to the new stylistic-aesthetic trends of Italian opera. In the Prologue, Leoncavallo inserted an outright manifesto of Verismo (“real theatre”). His aim was to “paint a scene from real life” and since “the artist is a person, […] he should write for the people. Therefore, he took inspiration from real life.” In the story of Nedda, Tonio and Canio we therefore find a well combined mix of art and reality, operatic theatre and life, with the second almost taking over the first, to the extent that the chorus, towards the end, exclaims, “This scene seems so real!” This production was recorded at Teatro del Maggio Musicale Fiorentino in September 2019 and it was acclaimed as a great success by the critics. Conductor Valerio Galli “reads the score with the proper technique, succeeding in enhancing all the various shades for each scene … Pagliacci is conducted with passion… a careful eye to the dramatic development of the story and the sound is rendered with a variety of shades and colors”.
Offenbach goes Hollywood: Mariame Clement's production of Les Contes d'Hoffmann transforms ist titular character into a storyteller of a different kind. The different acts, which are based on short stories by E.T.A. Hoffmann, take the audience on a journey through the world of cinema, from a 70s sci-fi flick over a costume drama to a feverish experimental sequence. The three love interests Olympia, Antonia and Giulietta are portrayed by American soprano Kathryn Lewek, who "impresses with brilliantly assertive coloratura, melting cantilenas and pulsating drama" (Drehpunktkultur). At the centre of this tragic tale of unrequited love is Hoffmann himself, stepping into the role of a script writer and film director in this production. The incredibly charismatic Benjamin Bernheim "splendidly cele brates the invasive tragedy of his character. Sound, expression and presence could not be better combined" (Der Standard). Kate Lindsey, who portrays the muse disguised as Hoffmann's friend Niklausse is a joy to watch and listen to as she "absorbs Clement's energy of ideas and gilds her vocal tour de force with scenic exuberance" (Der Standard). An opera evening that spans the emotional spectrum from hilarious comedy to deeply felt heartbreak.
Lettuce with the Colorado Symphony is a genre-defying, electrifying performance that captures the powerhouse fusion of funk, jazz, and orchestral grandeur. Recorded live with the Colorado Symphony in 2018, this album features Lettuce's signature groove-driven sound paired with the rich, sweeping power of a full orchestra. It's a unique and breathtaking experience that showcases the band's improvisational brilliance alongside orchestral precision. Available on digital, vinyl, CD and Blu-ray, this release is a must-have for fans of both Lettuce and orchestral music, offering a fresh, exciting take on the live performance experience. Get ready to groove to the rhythm of symphonic funk like never before!
Royal Ballet Principals Federico Bonelli, Laura Morera and Steven McRae dance the lead roles in Liam Scarlett's new ballet, based on the world's most famous work of horror fiction, Mary Shelley's Frankenstein. This ambitious theatrical collaboration brings the novel to life with spectacular period sets and costumes by John Macfarlane and a newly commissioned score by Lowell Liebermann. Scarlett's choreography draws out the emotional power of this classic story. Passionate encounters between Victor, Elizabeth and the Creature express their torment, regret, anger, yearning and love.
The Wiener Staatsoper presents a Wagner classic staged by duo Jossi Wieler and Sergio Morabito, who showcase Lohengrin as a crime thriller with a twist. At the podium is Christian Thielemann, who more than proves his reputation as the Wagner-expert par excellence. On stage, David Butt Philip as the titular Lohengrin is a "heldentenor with radiance and stamina" (Kleine Zeitung), while Malin Bystrom portrays an Elsa who might not be as innocent as the libretto suggests and convinces with "dramatic furore" (Der Standard). Anja Kampe sings her Ortrud "beautifully, yet so expressively, with such diction" (Kurier) and Martin Gantner's Telramund is "flawless in it's precision" (News). / "When it comes to Wagner, Christian Thielemann really is in a class of his own" (Der Standard) / "The choirs were a force to be reckoned with, and the orchestra proved it's outstanding quality in harmony with the great Wagnerian Thielemann" (Salzburger Nachrichten)
Love's Labour's Lost / Shakespeare's Globe Theatre [Blu-ray]
Opus Arte
Blu-Ray
$34.99Sep 28, 2010
Note: This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
When the King of Navarre and his three courtiers forswear all pleasure – particularly of the female variety – in favour of a life of study, the arrival of the Princess of France and her ladies plays havoc with their intentions. Using every kind of verbal gymnastics to poke fun, Shakespeare’s most intellectual comedy is brought to hilarious life in Dominic Dromgoole’s highly entertaining production, rich in visual humour and sexual innuendo. Jonathan Fensom’s knot garden and original music by Claire van Kampen create the framework for an engaging performance by an excellent cast. Filmed live in High Definition and true surround sound.
King of Navarre: Philip Cumbus Berowne: Trystan Gravelle Longaville: William Mannering Dumaine: Jack Farthing Princess of France: Michelle Terry Rosaline: Thomasin Rand Maria: Jade Anouka Katharine: Siân Robins-Grace Boyet: Tom Stuart Don Armado: Paul Ready Moth: Seroca Davis Holofernes: Christopher Godwin Sir Nathanial: Patrick Godfrey Dull: Andrew Vincent Costard: Fergal McElherron Jaquenetta: Rhiannon Oliver Mercadé: James Lailey
Directed by Dominic Dromgoole Designed by Jonathan Fensom Composed by Claire van Kampen
Recorded live at Shakespeare’s Globe Theatre, London, in October 2009.
Extra features: Cast gallery Famous Speeches
Format: blu-ray Duration: 167 mins Catalog Number: OA BD7071 D Regions: All regions Picture Format: 1080i High Definition / 16:9 Sound Type: 2.0 LPCM & 5.1 DTS-HD Master Audio Subtitles: EN (in Shakespearean English)
"Dominic Dromgoole’s zestful production succeeds in captivating the audience to a degree that I would not have thought possible… It’s a treat." -- The Independent
"With a delightful design and jaunty music it has abundant charm… Entirely enchanting." -- The Times
A performer of fierce integrity and dazzling communicative power, young French pianist Lucas Debargue became the most talked-about artist of the fifteenth International Tchaikovsky Competition. Placed Fourth in the final round, he was however awarded the coveted Moscow Music Critic's Prize as a player whose 'incredible gift, artistic vision, and creative freedom have impressed the critics as well as the audience.' This film offers unique insights into Debargue's life as a musician at the beginning of a remarkable career, with rehearsals and concerts from Moscow to Chicago via Weimar and Salerno, revealing talents as a composer and jazz improvisor and his first-time entry into a world of recording studios, touring and fame, in a crucial year of discoveries. TRACKS on Blu-ray - 1. Lucas Debargue - To Music 2. Caravan 3. Piano Sonata in F Minor, Op. 5 (excerpts)
Lucerne Festival Orchestra, Riccardo Chailly, Allexander Mal
Accentus Music
Blu-Ray
$35.99Aug 15, 2025
In 2024, Riccardo Chailly and the Lucerne Festival Orchestra continued their acclaimed Rachmaninoff cycle with a concert spanning the composer's lifetime: from the youthful freshness of the composer's earliest works like the rarely performed "Youth Symphony" and his Piano Concerto No. 1, to the musical mastery and maturity of his last major work, the "Symphonic Dances". Young piano prodigy Alexander Malofeev, in whose repertoire Rachmaninoff's music occupies a special place, gave his much-lauded Lucerne Festival debut as the soloist of the evening with an electrifying performance.
A manifesto of Italian romanticism, Donizetti's Lucia di Lammermoor is a tale of dark atmosphere and turbulent love. Teatro alla Scala presents it's new production under the signature of stage director Yannis Kokkos, whose sober vision remains faithful to the libretto with elegance, emotion and the expression of passions over any gesture of modernity. Conductor Riccardo Chailly leads a splendid vocal cast: Lisette Oropesa delivers a compelling Lucia of vocal refinement and emotional depth, while Juan Diego Florez brings elegance and lyrical intensity to Edgardo. The Orchestra and Chorus give an exceptional interpretation, creating a 'beautiful, rich, ominous sound' (Bachtrack). 'Riveting. Florez and Oropesa did not disappoint on the opening night... The chemistry between them is electrifying from the opening duet. (FINANCIAL TIMES)
Lully & Campistron: Acis Et Galatee [Blu-ray Video]
Dynamic
Blu-Ray
$36.99May 19, 2023
Having been granted unprecedented authority by Louis XIV, the Sun King, no one could stage operas in France without Jean-Baptiste Lully’s permission. By 1686, however, Lully’s authority was waning and his long-standing librettist deserted him to write sacred works. Despite these setbacks, Lully wrote Acis et Galatée, a pastorale héroïque, and one of his final masterpieces. (Dynamic)
Jean-Baptiste Lully’s Atys, a tragédie en musique, became known as the ‘king’s opera’ due to Louis XIV’s fondness for it. The work stands as a testament to the Sun King’s courtly refinement, as well as his moves to make France the center of European artistic culture. The opera’s themes of romantic dilemmas and ultimate tragedy, set amidst the poetic atmosphere of Ovid’s classical mythology, create the perfect vehicle for a narrative filled with dramatic intensity combined with a myriad of moving and expressive arias and duets. William Christie conducts this acclaimed production – hailed by The New York Times as being ‘as satisfying it is bold’.
REVIEW:
The role of Atys is physically as well as vocally taxing, but is here superbly realised by the German tenor, Bernard Richter, while the French soprano, Emmanuelle De Negri, is an excellent Sangaride, with the creamy voice of the mezzo, Stephanie D’Oustrac, as Cybele completing the love triangle. The cast list is large, and with the Compagnie Fetes Galantes providing the dancers, the stage is at times totally filled. The reviews at the time of filimg (2011) were suitably euphoric regarding the casting, and equally of the presence of the period instrument orchestra, Les Arts Florrissants, with the idiomatic conducting of William Christie. The filming itself is immaculate in its ideal mix of full stage and close-up images, while the sound quality is gorgeous.
In this interpretation of Verdi's MacBeth, stage director Christof Loy skillfully navigates the interplay of light and dark, infusing the opera - based on Shakespeare's work - with remarkable depth and drama. The outstanding vocal ensemble vividly captures the psychological nuances of the characters, featuring Ludovic Tezier as the paranoid MacBeth and Martina Serafin as Lady MacBeth, the mastermind behind the crimes. Giampaolo Bisanti pours his passion into the score, while The Symphony Orchestra and the Liceu Choir deliver exceptional performances in response. Consequently, the audience experiences a flawless blend of lyrics and music, crafted by the Milanese composer, librettist Francesco Maria Piave, and poet Andrea Maffei. "It is a unique scenography." El Pais
MacBeth is one of Shakespeare's greatest tragedies, telling the story of a power couple galvanised by witchcraft and superstition, and obsessed by a craving to conquer the throne by force, even by murder. This French version of Verdi's opera takes us into a sphere of decorum and decency that hides monsters capable of the worst atrocities, portrayed in some of the composer's most blood-curdling and intense passages of music. A genuine rarity on stage, this 2024 production of the French version was acclaimed for it's powerful vocal performances and fine acting.
From a kaleidoscopic abstract ballet to a poignant elegy, celebrate Kenneth MacMillan's endless invention in three works. Kenneth MacMillan (1929-92) was the leading choreographer of his generation. Renowned for his full-length dramatic works which dug deep into the human psyche, MacMillan's creativity knew no bounds. His one-act works also reshaped the collective identity of The Royal Ballet, challenging the art form to reflect real-life emotions, passions and human frailty. In three varied works, this mixed programme offers a taster of MacMillan's exceptional craft.
From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British Ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage. “The Royal Ballet is at the top of its game in a new triple bill of MacMillan, Ashton, and a pinch of Petipa…” (The Guardian) “O’Sullivan dances with a sunbeam brightness and zest to match her tangerine-colored costume… The ‘Nimrod’ variation is a memorable evocation of mature friendship; catching at the shifting currents of conversation and companionship with a finespun physicality… Princely Vadim Muntagirov follows suit with pantherine leaps and there’s strong support from the soloists and fluffy-hatted corps.”
The Magnificat is the Virgin Mary's song of praise to God after one of the Bible's greatest wonders: the angel Gabriel visiting her with the message that she is to be the mother of God's son. + In his setting composer Kim André Arnesen expresses the feelings Mary must have felt: wonder, devotion, gratitude, joy, humility, hope and compassion. + God's selection of an unknown woman living in poverty to be the mother of His son is a bottom-up view of the world if ever there was one - and Arnesen sees the Magnificat as offering support and hope for all people struggling against adversity or in need of strength. + Musica Celestis portrays the ceaseless praising of God by angels in heaven. + Aaron Jay Kernis builds his work around a fairly simple melody that he remolds in a series of variations. + The intensely beautiful and mostly barren Hardangervidda mountain plateau inspired Ola Gjeilo to write Tundra, while his Song of the Universal expresses unabashed optimism, exuberance and poet Walt Whitman's unwavering confidence in our deeper humanity - all through the prism of a big, warm, beating heart.
Pierre Boulez and the Cleveland Orchestra Soloists: Magdalena Kožená and Christian Gerhaher
Gustav Mahler: Adagio from Symphony No. 10 Twelve Songs from "Des Knaben Wunderhorn"
“Boulez’s Mahler has surely gained a degree of intensity over the years. Rather than sacrificing his legendary intellectual rigor, he has wedded it to a profound visceral understanding of this music.” -- WCLV classical FM
In celebration of the 150th anniversary of Mahler’s birth and just one month short of his own 85th birthday, composer-conductor Pierre Boulez marked his forty-five-year collaboration with the Cleveland Orchestra by directing this very special Mahler-only concert at Ohio’s splendid Severance Hall. Following the Adagio from the unfinished Tenth Symphony, he presented Twelve Songs from Des Knaben Wunderhorn with soloists Magdalena Kožená and Christian Gerhaher, both much-sought-after opera and concert singers on the world’s leading stages.
Bonus: - Interview with Pierre Boulez
Picture format: 1080i Full-HD Sound format: PCM Stereo / DTS-HD Master Audio 5.1 Region code: 0 (worldwide) Running time: 88 mins No. of Discs: 1 (BD 25)
R E V I E W:
The performances heard on this video are identical to the program released on CD by DG and reviewed by me in Fanfare 34:4. It therefore behooves me to suggest that the only reason to acquire the video is the dramatic difference in the respective sound productions.
The beautiful interior of Severance Hall, with its Art Deco accents, makes a very pleasant backdrop indeed. In contrast to the CD, the program starts with the Adagio from the 10th Symphony. The performance, a very good one, is greatly improved in its surround-sound version, especially on Blu-ray. It must be said, though, that watching Boulez with his minimal gestures and dour expression is not terribly exciting.
The occasional clever use of split screen provides a discrete frame each for the singer’s and conductor’s faces, though in this case the contrast between the animated vocalists and the stone face of the conductor is somewhat unnerving. As I wrote in my review of the CD, this is not my ideal version of this program, though Magdalena Kožená can hold her own with the best of the competition. Christian Gerhaher is a fine baritone but is not as dramatically convincing and lacks the heft of Dietrich Fischer-Dieskau or Thomas Hampson, two of my preferences for the male voice. Of the two singers, Kožená is more fun to watch, too, as her facial expressions bring character to her songs.
The bonus interview program provides Boulez’s thoughts on Mahler’s music and the specific program performed in Cleveland, his observations on the orchestra and its hall, the future of classical music, and some personal observations. The questions appear written on the screen (typos and all), and then Boulez is shown answering. The interview can be heard in English, German, and French. Also included (from the Severance Hall stage) is a short tribute to the conductor on his 85 birthday with Franz Welser-Möst and the management of the Cleveland Orchesta, which includes an audience-particapatory sing-along.
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