A dazzling double-bill of classic G&S comedy and new writing from Scottish Opera. Trial by Jury, first performed in 1875, is the first major hit from the partnership of W.S. Gilbert and Arthur Sullivan. Set around a classic case of broken vows - the defendant having literally left the claimant at the altar - the trial bubbles over with emotion, humour, and downright chaos, leaving the jury divided. How will they decide between the charming yet swindling defendant and the utterly captivating claimant? In A Matter of Misconduct!, Emma Jenkins and Toby Hession present a daring new operetta set in the press room at Number 9 Downing Street. When a scandal threatens to break about the front runner in a bloody leadership campaign, a lawyer is needed to prevent information from reaching the press. Sylvia Lawless from the firm Lawless, Lawless, Lawless and Crook must find the loopholes in this modern take on unsavoury behaviour.
Ten years after his death, the Paris Opera Ballet payed homage to the American choreographer who considered the Paris Opera as his second home after New York City Ballet. The three pieces performed here illustrate not only the diversity of the choreographer's repertoire and sources of inspiration, but also his love of music and his all-embracing attitude to the performing arts. Jerome Robbins brought new energy to classical dance, introducing 20th century urban rhythms, confirming its status as a modern entertainment form and instilling it with the interrogations of contemporary theatre. En Sol, set to Maurice Ravel's Concerto en sol, follows no particular narrative line or dramatic effect. Echoing the music's jazzy invitations and light-heartedly copying Broadway style, this is a light and joyous piece for two soloists and an ensemble. It provided Jerome Robbins with an opportunity to reveal the relaxed, fluid feel so emblematic of his style.
In the Night and The Concert are two tributes to Frederic Chopin, each in a different register. Seeking to free the composer from the commonplaces that have often belittled his music, Robbins transforms Les Nocturnes into In the Night, a long and poetic pas de deux built like a metaphor of love in all its states. The Concert joins the ranks of the few comic ballets in the history of dance. Taking as its point of departure images inspired by some of Chopin’s more fancifully entitled scores, Jerome Robbins' piano recital is a comic plea for the cause of human vulnerability.
The fact that, at the very same period, he was contributing to the renewal of the musical by bringing a tragic side to his West Side Story, only underlines his insatiable thirst for originality and his immense talent for freely combining genres and styles. Lastly, Benjamin Millepied, who made his dance debut with Robbins in New York, dedicates his second creation for the Paris Opera Ballet, Triade, to the choreographer. "Dance is composed of human relations", Robbins used to say. A worthy heir to his master, Benjamin Millepied matches this credo through a fruitful dialogue with composer Nico Muhly.
TRIBUTES-Pulse is a collaboration between American filmmaker Bill Morrison (b. 1965) and Danish composer and percussionist Simon Christensen (b. 1971).
Christensen originally conceived of the project as a tribute to four American composers, Charles Ives, Conlon Nancarrow, Steve Reich and Trent Reznor. The project is comprised of four movements, with the themes of Shifting (slightest change), Multiple (simultaneously different), Across (different directions) and Beat (moving synchronized) respectively corresponding to each composer.
The idea of "Pulse" is explored in both the music and the film. Christensen conceived of the role of Pulse - the rhythmic recurrence of vibration - in the music of these four composers. But pulse is also explored as the through-line in a life, civilization, and nature. Using exquisitely deteriorating nitrate-based archival film, Morrison weaves a story from the remnants of disparate narratives. The episodes appear intermittently between the undulating pulse of the film's decay, the imagery compromised - yet made all the more poignant - by a dying celluloid medium. The four sections correspond visually to the four elements as a frontier for Man - Water, Earth, Fire and Air. The first glimpses moments in a woman's life. The second cuts between two frontier stories, when buffalo freely roamed the plains. The third examines industry and the loss of the frontier. The fourth explores flight, humankind's attempt to escape to the heavens, and Man's inevitable return to earth.
Semperoper Dresden presents an historic performance of Tristan and Isolde, directed by Marco Arturo Marelli and conducted by world-leading conductor Christian Thielemann. The sound he obtains from the Wagnerian score "fills the room with elegiac longing, drawing listeners into the emotional depths of the famous lovers." (Opera Online) Klaus Florian Vogt, in his debut as Tristan, is "fully present and convincing with natural phrasing and clear diction" (Opernmagazin), while Camilla Nylund as Isolde "convinced with her still incredibly lyrical, light soprano" (Sachsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression. "It would be most wonderful if this Tristan never ended." (Opernmagazin). "Brilliant performances that bring you to your knees". (Sachsische Zeitung)
It is an event that attracts thousands of music lovers to Verona every summer: the opera season in the ancient Roman Arena. Nearly 22,000 spectators regularly fill the amphitheater for the performances. The Arena di Verona honours Italian stage director and filmmaker Franco Zeffirelli and his legendary production of Turandot. His imposing cinematographic production reproduces imperial China thanks to it's impressive scenery and scenes, enriched by the sumptuous costumes of the Oscar-winning Japanese costume designer EMI Wada. Everything helps to highlight the atmosphere of the drama of enigma per excellence, where life itself is in danger and the answer lies in love, which melts the protagonist's icy heart. "Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual" (La Stampa)
"I attended the premiere, fearful that the opera would be tawdry and terrible, that the work would make fun of Smith, who died in 2007 at 39. But it proved a weirdly inspired work: engrossing, entertaining and ultimately quite moving... Here is an unlikely holiday gift that should delight and fascinate anyone interested in contemporary opera and American popular culture." -- Anthony Tommasini, The New York Times [11/20/2012]
In a tragic-comic take on the extremes of celebrity culture, composer Mark Anthony Turnage, librettist Richard Thomas and director Richard Jones add Anna Nicole Smith to opera’s gallery of bad, sad girls. A pneumatic Playboy model who married an octogenarian billionaire, she achieved grotesque fame before her destitute, drugriddled death. With its jazz-coloured score and Eva-Maria Westbroek’s starry performance, this is, as the New York Times said: “an engrossing outrageous, entertaining and, ultimately deeply moving opera”.
"...It's a tremendous show...shocking it isn't; stunning it is!" The Independent
Anna Nicole – Eva-Maria Westbroek Old Man Marshall – Alan Oke The Lawyer Stern – Gerald Finley Virgie – Susan Bickley Cousin Shelley – Loré Lixenberg Larry King – Peter Hoare Aunt Kay – Rebecca de Pont Davies Older Daniel – Dominic Rowntree Blossom – Allison Cook Doctor – Andrew Rees Billy – Grant Doyle Mayor – Wynne Evans
Royal Opera Chorus Royal Opera House Orchestra Antonio Pappano, conductor
Richard Jones, stage director
Recorded live at the Royal Opera House, 23 & 26 February 2011.
Bonus: - Cast Gallery - Illustrated synopsis - Behind the scenes feature including artist interviews
Picture format: 1080i High Definition Sound format: LPCM 2.0 + DTS 5.1 Region code: 0 (worldwide) Subtitles: English, French, German, Spanish Running time: ca. 120 mins No. of Discs: 1 (Blu-ray)
From the innovative and gorgeous "Tutto Verdi" project comes a chance to catch all the high points! "Tutto Verdi" includes arias from 20 Verdi operas. The selections hail from the best-known and loved productions like Aida, La Traviata and Rigoletto as well as lesser-known beauties, all in HD.
Giuseppe Verdi TUTTO VERDI - The Complete Operas (Highlights) (Blu-ray Disc Version)
excerpts from: Oberto Un Giorno di Regno Nabucco I Lombardi alla prima crociata Ernani I due Foscari Giovanna d’Arco Attila Macbeth Il Corsaro Luisa Miller Rigoletto Il Trovatore La Traviata I Vespri Siciliani Simon Boccanegra Un Ball in Maschera La Forza del Destino Falstaff
with: Anna Caterina Antonacci Barbara Bargnesi Silvia Dalla Benetta Daniela Dessì Norma Fantini Tamar Iveri Nino Machaidze Susan Neves Dimitra Theodossiou Sylvie Valayre Svetla Vassileva Marcelo Alvarez Marco Berti Francesco Demuro Antonio Gandia Carlo Guelfi Ambrogio Maestri Francesco Meli Leo Nucci Luca Salsi Roberto Scandiuzzi Vladimir Stoyanov
Parma Teatro Regio Chorus and Orchestra
Recorded live from the Teatro Regio di Parma
Picture format: 1080i High Definition Sound format: PCM Stereo / DTS-HD Master Audio 5.1 Region code: 0 (worldwide) Subtitles: Italian, English Running time: 94 mins No. of Discs: 1 (BD 25)
Tutto Verdi: The Complete Operas / Various [Blu-ray]
C Major Entertainment
Blu-Ray
$283.99Oct 26, 2018
Tutto Verdi- this edition sets standards by which all similar projects will be judged. It includes all twenty-six operas by the greatest Italian stage composer, together with his immortal Requiem, all of them in definitive performances. “This is how Tutto Verdi should be played.” (Frankfurter Allgemeine Zeitung) As a bonus, this impressive set also includes ten minute introductions to each opera as well as the documentary “Verdi’s Backyard,” and a 280 page booklet detailing each performance. The Orchestra e Coro del Teatro Regio di Parma shines in each of these productions, as do the world-renowned soloists that include Daniela Dessi, Marcelo Alvarez, Leo Nucci, Fiorenza Cedolins, Irinia Lungu, and many more. Subtitles are available in Italian, English, German, French, Spanish, Chinese, Korean, and Japanese.
Un ballo in maschera is a poignant love story between two complex, mature characters torn between their desires, loyalties and the inevitable consequences of their choices. In this production, stage director Vincent Boussart delves deeply into the theme of masks, revealing a rich interplay of drama and comedy, human duplicity, lies and truth. "The two male protagonists, Piotr Beczala as Riccardo and Carlos Alvarez as Renato, were the outstanding performances for the evening." (Bachtrack) "A deeply moving play of masquerade and humanity" (El Pais)
Vaccaj: Giulietta e Romeo / Quatrini, Teatro alla Scala [Blu-ray]
Dynamic
Blu-Ray
$36.99Apr 12, 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 Nicola Vaccaj belonged to the Neapolitan school: a pupil of Paisiello and contemporary of Rossini, whose fame somehow obscured his own, he was well known and appreciated at his time, to the point that an extract from the last Act of his Giulietta e Romeo was chosen to substitute the same aria in Bellini’s I Capuleti e I Montecchi for an 1832 performance and this shift has remained common practice until the end of the 19th century. Therefore it’s hard to believe that Vaccaj’s most notable success was neglected for such a long time as it “is an opera that could easily hold its own among the better-known works in the bel canto canon. It has taut plot, with a strong libretto, written by Romani, and is full of well-constructed ensemble pieces”(Alan Neilson – Operawire) Within a traditional, 16th century setting, director Cecilia Ligorio choses to convey a sense of doom and tragedy which the entire work is imbued with, from the choice of costumes and settings to the stage lighting. “It really was a well-paced, and visually pleasing production that successfully captured the love and hatred which drives the narrative forward.”(Alan Neilson – Operawire)
Featuring three dozen stars, Variety Girl is a mammoth musical romance on how a movie star is born set amid the reality of a Hollywood studio! Playing himself, the incomparable Bob Hope reigns as top comic over one of the most star-studded casts ever assembled including Bing Crosby, Gary Cooper, Ray Milland, Alan Ladd, Barbara Stanwyck, Paulette Goddard, Dorothy Lamour and many, many more. Starlet wannabe Amber LaVonne (Olga San Juan) is mistaken for her friend, the beautiful and talented Catherine Brown (Mary Hatcher). While the zany Amber flubs her way from audition to screen test to stage debut, Catherine cannot seem to keep her head above water in dealing with studio head R.J. O'Connell (Frank Ferguson). Along the way, the madness stops only long enough for musical numbers by Pearl Bailey, Spike Jones and His City Slickers, The Mulcays, and a rare puppetoon version of Romeow and Juliacat. Topped off by an A-list all-star variety revue, Variety Girl proves itself to be among the most entertaining and hilarious comedies ever filmed.
Shakespeare provided lifelong inspiration for the towering operatic genius that was Giuseppe Verdi, but just three of the Bard’s plays ever emerged fully-fledged from the composer’s pen. This trio of landmark productions, featuring a veritable constellation of singers, conductors and directors, are united here under the banner of Verdi’s Shakepeare Operas: Macbeth, which lifted the young composer out of his hard-working ‘galley years’, propelling him to international fame and universal acclaim, and Otello and Falstaff, his final two crowning operatic achievements. Simon Keenlyside and Liudmyla Monastyrska are imposing as the Thane and his Lady in Phyllida Lloyd’s sumptuous production of The Scottish Play for The Royal Opera, conducted by Sir Antonio Pappano, while José Cura interprets the Moor in a profound, intense staging by Willy Decker at Barcelona’s Liceu. By the end of his dramatic opera career, Verdi claimed he had ‘earned at last the right to laugh a little’, and Richard Jones’s Glyndebourne Festival production of Falstaff radiates humour, tinged with bitterness and wisdom and brought to life by an international ensemble cast with Christopher Purves in the title role under the inspiring baton of Vladimir Jurowski.
Verdi Operas: The Royal Opera House Box Set / Rizzi, Pappano, Orchestra of the Royal Opera House [Blu-ray]
Opus Arte
Blu-Ray
$52.99Oct 28, 2016
This trio of unforgettable Royal Opera productions feature some of the most cherished and admired examples of Verdi’s operatic genius. The composer returned to his early masterpiece Macbeth after the great successes Il trovatore and La traviata had propelled him to universal fame, and his 1865 revision – today the most popular version of the work – shares the marks of dramatic and musical innovation that enshrine all three operas as undying classics. Phyllida Lloyd stages Verdi’s setting of the Scottish play, featuring Simon Keenlyside’s athletic, brooding Thane opposite Liudmyla Monastyrska’s imperious Lady. Rivalry blazes between José Cura’s troubadour and Dmitri Hvorostovsky’s Count in an Elijah Moshinsky production with sets by noted film designer Dante Ferretti. Starring as the illfated courtesan Violetta in Richard Eyre’s classic production is Renée Fleming, loved by Joseph Calleja as Alfredo against the wishes of his unyielding father, played by Thomas Hampson. Verdi’s best-loved works brought vividly to life.
Love and duty collide and nations clash in Verdi's political drama, starring Elena Stikhina. In this new production, director Robert Carsen situates Verdi's large-scale drama within a contemporary world, framing it's power struggles and toxic jealousies in the apparatus of a modern, totalitarian state. Antonio Pappano conducts Verdi's glorious, monumental score.
Note: This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Giuseppe Verdi AIDA (Blu-ray Disc Version)
Set against the magnificent backdrop of Lake Constance, every production at the Bregenz Festival faces strong natural competitors. But with this first-ever production of Verdi’s “Aida” (in an abridged version) on the lakeside stage, it is easy to overlook the beauty of the surrounding nature. Stage director Graham Vick and set designer Paul Brown conjure up an “open-air spectacle of superlatives” (Die Zeit) that throws a bridge between ancient Egypt and today’s U.S. The stage effects are stunning: ruins of the Statue of Liberty pieced together with the help of giant cranes, boats carrying priestesses and prisoners – parts of the opera even take place in the lake itself! And in the Grand March – one of the most famous marches in opera – a golden elephant comes sailing into view on a barge¿ Under Carlo Rizzi, the Wiener Symphoniker brilliantly support the chorus and soloists, among whom Iano Tamar (Amneris) and Tatiana Serjan (Aida) stand out. Drawing capacity crowds of over 200,000 spectators in just one season, “Aida” is the festival’s most successful opera to date, even more successful than the “Tosca” production, which has been immortalized in the James Bond film “Quantum of Solace”.
Il Re – Kevin Short Amneris – Iano Tamar Aida – Tatiana Serjan Radamès – Rubens Pelizzari Ramfis – Tigran Martirossian Amonasro – Iain Paterson Un messaggero – Ronald Samm Una sacerdotessa – Elisabetta Martorana
Camerata Silesia Polish Radio Choir, Krakow Bregenz Festival Chorus Vienna Symphony Orchestra Carlo Rizzi, conductor
Graham Vick, stage director Paul Brown, stage and costume designer Ron Howell, choreography Wolfgang Göbbel, lighting designer
Recorded live from the Bregenz Festival, 22 and 24 July 2009.
Picture format: 1080i High Definition Sound format: PCM Stereo / DTS-HD Master Audio 5.1 Region code: 0 (worldwide) Subtitles: English, German, French, Spanish, Italian Running time: 135 mins No. of Discs: 1 (Blu-ray)
Verdi: Attila / Catana, Cremonini, Branchini, Battistoni, Teatro Regio Di Parma [blu-ray]
C Major Entertainment
Blu-Ray
$18.99$37.99Save 50%Nov 13, 2012
VERDI Attila • Andrea Battistoni, cond; Giovanni Battista Parodi (Attila); Sebastian Catana (Ezio); Susanna Branchini (Odabella); Roberto De Biasio (Foresto); Cristiano Cremonini (Uldino); Zyian Atfeh (Leone); Teatro Regio di Parma O & Ch • C MAJOR 721608 (DVD); 721704 (Blu-ray) (118:00 + 10:00) Live: Busseto 10/2010
A life of looting and pillaging may hold certain attractions, but after ravaging the countryside for long enough most of the inhabitants are driven off and there is no one left to grow new crops and raise new livestock. In the days of yore invading armies lived off the land, be they Romans, or Macedonians, or Huns and Visigoths, and without supplies for men and horses they could not sustain themselves. Such were the conditions in most of Northern Italy when the opera Attila opens. Attila and his barbaric tribes had already sacked and razed the substantial northern city of Aquileia in 452 A.D. and driven many of its surviving inhabitants into the nearby marshes (thereby creating the conditions for the founding of Venice). The victorious Hun leader then turned his sights on the much richer plum of a not yet totally defenseless Rome, as in the opera, and held parlays with several Roman envoys seeking desperately to broker peace, including Leo I, Bishop of Rome. In Verdi’s opera Attila’s forces are then turned upon in a sneak attack of Roman legions in consort with a group of surviving fighters from Aquileia. Attila himself is slain by the warrior Princess Odabella (also from Aquileia) whom he is about to wed, in revenge for the slaying of her own father. In actuality, the wily old Hun leader recognized there was simply not enough food available in the surrounding countryside to sustain an attack on Rome and took his forces safely back home to Germany. He died a year later, reportedly from overeating or overdrinking at a wedding feast. The city of Rome wasn’t spared for long, it was sacked and burned by other Germanic tribes just two years later.
One of the problems with this early Verdi opera is there is no one to like. The so-called good guys are all busy plotting with each other and doing underhanded things. Odabella makes nice to Attila in order to further her lust for revenge and actually prevents him from being poisoned at a celebration in his camp so she can do the dirty deed herself. Her boyfriend Foresto, leader of the remaining Aquileia forces, spends most of the three acts moaning about Odabella’s unfaithfulness (not true). He plots with the Roman general Ezio to set upon Attila’s forces even though their own men have been granted safe passage by the Huns. Ezio, with the only opposing professional soldiers in the area, first tries to cut a political deal with Attila to divvy up the territory, and with that rejected, schemes with Foresto to first poison Attila and then betray his honorable truce. So, who do we root for, Attila, the scourge of God on earth? Poor Hun, everyone’s out to get him. The opera itself hangs precariously off the edge of the standard repertoire, trotted out now and then because it has such a juicy role for a star basso. This particular production is a part of the “Tutto Verdi” project sponsored by the Regio di Parma Foundation in conjunction with C Major to perform all of Verdi’s operas and record them on Blu-ray disc.
The opera house and stage in Busseto are both very small. Stage Director Pierfrancesco Maestrini must find creative ways to use the small space to advantage. He generally does very well, foregoing heavy stage scenery for a few light props and appropriate videos on the rear backdrop that set the scene then freeze-frame as the action begins on stage. It helps that there are only four principal singers who can be grouped in tight tableaus, but things get a bit crowded when the chorus of Huns or refugees from Aquileia are called upon. Attila descends from on high on a platform surrounded by skulls in the Prologue and departs dead on the same platform to end act III. Costumes are a bit campy, perhaps fantasy Hun: animal skull headpieces, fierce face paint, and plenty of robes and animal skins. The Roman soldiers appear vaguely military, but not like Roman soldiers from the classic movies of the ’50s and ’60s, Ben Hur, Cleopatra, etc. Odabella, ostensibly a warrior, looks rather sexy in her outfit but she couldn’t possibly have been fighting in it. The Huns and Visigoths seem a pretty tame bunch for pillagers and rapists. Performances are a mixed bag here. Giovanni Batista Parodi provides a good bass voice and much fine singing in the lead role, but lacks the stage presence, gravitas, and acting skills to really bring off the critical role of Attila. Soprano Susanna Branchini brings a big voice into the small house and frankly, everything she sings sounds double forte. She also has trouble modulating in her top range, approaching shriek level to hit some of the notes. She sings much better in lower registers and she handles the young Verdi’s ornamentation quite competently. The Foresto of Italian tenor Roberto De Biasio and the Ezio of baritone Sebastian Catana are both very well sung and prove to be highlights of this set. It is hard to believe the Teatro Regio Orchestra from Parma can stuff enough bodies in that small orchestra pit to produce such a full sound, but they somehow manage to do it quite well under the leadership of conductor Andrea Battistoni. The smallish chorus sounds good too.
Competing sets of this opera on video include a 1985 production from the Arena di Verona which I have not seen and a 1991 live production from La Scala in Milan that I have. The La Scala set features Samuel Ramey in the lead role when he was still singing well and the Odabella of Cheryl Studer in the midst of her very few peak seasons. Both are superior in their roles to the two on this C Major disc, Ramey bringing a major stage presence and gravity to the role of Attila that makes you really believe he is a grade-A scourge. The two Busseto singers get the nod over Giorgio Zancanaro as Ezio and Kaludi Kaludov as Foresto at La Scala, but the larger house in Milan has one of Italy’s finest orchestras and choruses. Sets and costumes are quite traditional at La Scala as well. The Blu-ray hi-def video and audio is a definite plus for this C Major production, but I would give the slight edge overall to La Scala, just for Ramey’s menacing presence and fine acting. This C Major set also provides a quite fine portrayal of Verdi’s opera and you won’t go wrong with either choice. Recommended.
This unique programme is the first time that all the ballet music from Verdi’s operas has been brought together in a singe recording. Although The Four Seasons from I vespri siciliani (The Sicilian Vespers) and the ballet scenes from Aida and Otello have survived, substantial pieces from Il trovatore and Don Carlo are more often cut, while the ballet from Jérusalem is all but unknown. José Serebrier’s recordings with the Bournemouth Symphony have resulted in some great successes with unusual repertoire. This release will be of interest both to opera enthusiasts and to those eager to explore Verdi’s neglected and relatively small body of concert music.
R E V I E W:
3613580.az_VERDI_Complete_Ballet_Music.html
VERDI Complete Ballet Music from the Operas • José Serebrier, cond; Bournemouth SO • NAXOS 8.57218-19 (2 CDs: 115:22); NAXOS NBD0027 (Blu-ray audio: 115:22)
This pair of discs includes ballet music from Otello, Macbeth, Jérusalem, Don Carlo, Aida, Il trovatore, and I vespri Siciliani—much of it music we don’t get to hear in performances of these operas. The most direct competition for this set is the four-disc Chandos series featuring all of this music plus all the preludes and overtures, with the BBC Philharmonic under Edward Downes. If you have those discs, this would probably be a needless duplication. But comparing the performances demonstrates Serebrier to be the more interpretively interesting conductor. Downes’s performances are more than competent, and he does hold one’s interest throughout what is not always first-rate music. I reviewed the Downes recordings as they were released, in Fanfare 20:5, 21:6, and 23:5.
Serebrier, however, brings to the music a greater variety of color, more rhythmic energy, and a wider range of ideas about phrasing. The vitality of his rhythm is perhaps the most significant difference, and it can be heard everywhere, in slow or fast music. The extra lilt he brings, for example, to the waltz right after the introduction of the Don Carlo ballet brings a smile to the listener.
There are fine, comprehensive notes to accompany the disc, and Naxos’s recorded sound is well balanced and clear, if a bit closer-in than the Chandos. While not all of this music is at Verdi’s most inspired level, none of it is unworthy of our attention. Second-rate Verdi is still better than most composers’ gems! Serebrier’s colorful, charming, and highly committed performances, and the Bournemouth Symphony’s excellent playing, make this a highly recommendable disc.
Verdi: Don Carlo - Salzburg Easter Festival 1986 / Karajan, Berlin Philharmonic
C Major Entertainment
Blu-Ray
$45.99Mar 24, 2023
Based on Schiller’s play of the same name, Don Carlo is Verdi’s most ambitious work, written for the Paris Opéra in 1865–66 in the tradition of a French grand opera. This legendary production from the Salzburg Easter Festival is directed by Herbert von Karajan. With its extraordinary vocal cast, the wonderful set design and costumes it is truly one of the most memorable opera performances.
![Tribute To Jerome Robbins / Paris Opera Ballet [blu-ray]](http://arkivmusic.com/cdn/shop/files/1948586.jpg?v=1786854114&width=800)
![Tribute To Jerome Robbins / Paris Opera Ballet [blu-ray]](http://arkivmusic.com/cdn/shop/files/91DLp5DappL.jpg?v=1786854113&width=800)
![Tribute To Jerome Robbins / Paris Opera Ballet [blu-ray]](http://arkivmusic.com/cdn/shop/files/1948586.jpg?v=1786854114&width=400)
![Turnage: Anna Nicole / Westbroek, Finley, Pappano [Blu-ray]](http://arkivmusic.com/cdn/shop/files/1890501.jpg?v=1786839913&width=800)
![Turnage: Anna Nicole / Westbroek, Finley, Pappano [Blu-ray]](http://arkivmusic.com/cdn/shop/files/51-Nlz84PiL_60f5f4a6-3475-4d51-bd30-c2c0b3a5619f.jpg?v=1786839913&width=800)
![Turnage: Anna Nicole / Westbroek, Finley, Pappano [Blu-ray]](http://arkivmusic.com/cdn/shop/files/1890501.jpg?v=1786839913&width=400)
![Tutto Verdi: The Complete Operas / Various [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3828558.jpg?v=1786837242&width=800)
![Tutto Verdi: The Complete Operas / Various [Blu-ray]](http://arkivmusic.com/cdn/shop/files/911zl9GmbPL.jpg?v=1786837242&width=800)
![Tutto Verdi: The Complete Operas / Various [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3828558.jpg?v=1786837242&width=400)
![Vaccaj: Giulietta e Romeo / Quatrini, Teatro alla Scala [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3905639.jpg?v=1786834643&width=800)
![Vaccaj: Giulietta e Romeo / Quatrini, Teatro alla Scala [Blu-ray]](http://arkivmusic.com/cdn/shop/files/51kxHobn_8L.jpg?v=1786834643&width=800)
![Vaccaj: Giulietta e Romeo / Quatrini, Teatro alla Scala [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3905639.jpg?v=1786834643&width=400)
![Verdi & Shakespeare [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3077610.jpg?v=1786836309&width=800)
![Verdi & Shakespeare [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3077610.jpg?v=1786836309&width=400)
![Verdi Operas: The Royal Opera House Box Set / Rizzi, Pappano, Orchestra of the Royal Opera House [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3485693.jpg?v=1786835561&width=800)
![Verdi Operas: The Royal Opera House Box Set / Rizzi, Pappano, Orchestra of the Royal Opera House [Blu-ray]](http://arkivmusic.com/cdn/shop/files/3485693.jpg?v=1786835561&width=400)
![Verdi: Aida / Serjan, Paterson, Rizzi [Blu-ray]](http://arkivmusic.com/cdn/shop/files/1672478.jpg?v=1786839004&width=800)
![Verdi: Aida / Serjan, Paterson, Rizzi [Blu-ray]](http://arkivmusic.com/cdn/shop/files/81VImzqdTeL.jpg?v=1786839004&width=800)
![Verdi: Aida / Serjan, Paterson, Rizzi [Blu-ray]](http://arkivmusic.com/cdn/shop/files/1672478.jpg?v=1786839004&width=400)
![Verdi: Alzira / Kuhn, Facini, Gazheli, Lindsay, Hirano, Tsuchizaki [blu-ray]](http://arkivmusic.com/cdn/shop/files/2108938.jpg?v=1788481019&width=800)
![Verdi: Alzira / Kuhn, Facini, Gazheli, Lindsay, Hirano, Tsuchizaki [blu-ray]](http://arkivmusic.com/cdn/shop/files/81BZXh2YAPL.jpg?v=1788481019&width=800)
![Verdi: Alzira / Kuhn, Facini, Gazheli, Lindsay, Hirano, Tsuchizaki [blu-ray]](http://arkivmusic.com/cdn/shop/files/2108938.jpg?v=1788481019&width=400)
![Verdi: Attila / Catana, Cremonini, Branchini, Battistoni, Teatro Regio Di Parma [blu-ray]](http://arkivmusic.com/cdn/shop/files/2067867.jpg?v=1788630947&width=800)
![Verdi: Attila / Catana, Cremonini, Branchini, Battistoni, Teatro Regio Di Parma [blu-ray]](http://arkivmusic.com/cdn/shop/files/91rLKTSL5CL.jpg?v=1788630947&width=800)
![Verdi: Attila / Catana, Cremonini, Branchini, Battistoni, Teatro Regio Di Parma [blu-ray]](http://arkivmusic.com/cdn/shop/files/2067867.jpg?v=1788630947&width=400)
![Verdi: Complete Ballet Music From The Operas / Serebrier, Bournemouth Symphony [blu-ray Audio]](http://arkivmusic.com/cdn/shop/files/1957521.jpg?v=1786839080&width=800)
![Verdi: Complete Ballet Music From The Operas / Serebrier, Bournemouth Symphony [blu-ray Audio]](http://arkivmusic.com/cdn/shop/files/61P5b0ob2bL.jpg?v=1786839082&width=800)
![Verdi: Complete Ballet Music From The Operas / Serebrier, Bournemouth Symphony [blu-ray Audio]](http://arkivmusic.com/cdn/shop/files/1957521.jpg?v=1786839080&width=400)
