Note: This Blu-ray Disc is playable only on Blu-ray Disc players, and not compatible with standard DVD players.

Also available on standard DVD

Recorded live at the Gewandhaus zu Leipzig, 6, 7 and 9 September 2012

Bonus:
- My Sixth will propound riddles – A panel discussion with Riccardo Chailly and Reinhold Kubik

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles (bonus): German, English, French
Running time: 86 mins (concert) + 18 mins (bonus)
No. of Discs: 1 (BD 25)

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

“It is my best work, with a primarily cheerful character”. This was Gustav Mahler’s assessment of his Symphony No. 7, which was also highly regarded by Arnold Schoenberg, who said, “I had an impression of absolute peace based on artistic harmony. Something able to set me in motion without recklessly unsettling my center of gravity.” Riccardo Chailly, in his internationally acclaimed interpretations of Mahler’s symphonies – which he and the Gewandhaus Orchestra are bringing together in a complete cycle – focuses on the musical qualities of the works, eschewing false pathos and sentimentality while giving up none of the music’s dramatic intensity. “Mahler’s Seventh Symphony, in which the composer pulled out all expressive stops and revealed himself to be an innovative modernist, has seldom been as persuasive and direct as in Chailly’s interpretation”, said the Frankfurter Neue Presse.

MAHLER, G.: Symphony No. 7 (Chailly) (Blu-ray, Full-HD)

Gustav Mahler
SYMPHONY NO. 7
(Blu-ray Disc Version)

Leipzig Gewandhaus Orchestra
Riccardo Chailly, conductor

Recorded live at Gewandhaus zu Leipzig, 27–28 February and 2 March 2014

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Running time: 83 mins
No. of Discs: 1 (BD 25)

Marius Petipa’s exotic ballet, set in legendary India, is a story of love, death and vengeful judgement. Natalia Makarova’s sumptuous recreation of Petipa’s choreography, with atmospheric sets by Pier Luigi Samaritini and beautiful costumes by Yolanda Sonnabend, stars Tamara Rojo as the Bayadère (temple dancer) Nikiya, Carlos Acosta as Solor, and Marianela Nuñez as Gamzatti whose alluring presence challenges Solor’s love for Nikiya. Filmed in High Definition and recorded in true surround sound.

‘There wasn’t a single physical gesture that didn’t mean something, that didn’t speak of love trying and failing to blossom.’ -- The Daily Telegraph

Solar: Carlos Acosta
Gamzatti: Marianela Nuñez
Nikiya: Tamara Rojo
The High Brahmin: Gary Avis
Rajah: Christopher Saunders
Magdaveya: Kenta Kura
Solor’s Friend: Valeri Hristov

The Royal Ballet
The Orchestra of the Royal Opera House

Conductor: Valeriy Ovsyanikov
Choreographer: Natalia Makarova

Recorded live from the Royal Opera House, January 2009

Extra features:
Tamara Rojo on dancing La Bayadère
Leanne Cope and Francesca Filpi on the corps de ballet
Tamara Rojo and Carlos Acosta rehearse with Alexander Agadzhanov
Natalia Makarova on choreographing La Bayadère

Duration: 01:55:00
Regions: All Regions

During the past years, the DVD Audio D154 "More Power and Ideas - For Your Surround System" has helped countless listeners optimize their systems for maximum 5.1 enjoyment. + The concept of this project can be summed up in one sentence: Test your system without measuring devices - only by listening. + Re-issued on Blu-ray disc.

The Wild West meets the soulful sound of Italy. Fearless New York gangsters meet cowboys from the dusty prairie. Godfather meets Taxi Driver. And the magic of cinema meets the rich sound of a first-class symphony orchestra. This exclusive live concert production presents a unique selection of movie classics - from Sergio Leone's iconic Spaghetti Westerns to modern mafia masterpieces by Francis Ford Coppola and the cult movies of Tarantino. The Danish National Symphony Orchestra is conducted by Sarah Hicks and joined by a fistful of strong guest artists for this premiere performance of the authentic soundtracks by composer legends Ennio Morricone, Nino Rota, Sonny Bono and Bernard Herrmann. Blu-ray

ELLINGTON, DUKE / NEW ORLEANS SUITE (QUADIO) Blu-ray audio edition. Quadraphonic sound, or 4. 0 surround sound, utilizes four audio channels connected to four speakers positioned at the corners of a listening space. The multi-tracked audio is mixed dimensional, immersing the listener in an expansive soundscape. Duke Ellington was commissioned to create the NEW ORLEANS SUITE for the 1970 New Orleans Jazz Festival, marking his final recording with saxophonist Johnny Hodges. The record is regarded as one of Ellington's greatest works, incorporating Creole influences. He won the 1970 GRAMMY® Award for Best Jazz Performance by a Big Band and received a nomination for Best Instrumental Composition.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

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Also available on standard DVD

THE NOBEL PRIZE CONCERT 2010
(Blu-ray Disc Version) Ludwig van Beethoven: Leonore Overture No. 3 in C major, Op. 72b
Pyotr Il'yich Tchaikovsky: Violin Concerto in D major, Op. 35
Jean Sibelius: Symphony No. 5 in E flat major, Op. 82

Joshua Bell, violin
Royal Stockholm Philharmonic Orchestra
Sakari Oramo, conductor

Bonus:
- Interviews featuring Joshua Bell, Sakari Oramo, and Mario Vargas Llosa, the 2010 Nobel Laureate in Literature.

Picture format:1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1 Region code: 0 (worldwide)
Running time: 91 mins
No. of Blu-rays: 1 (BD 25)

R E V I E W:



TCHAIKOVSKY Violin Concerto 1. BEETHOVEN Leonore Overture No. 3. SIBELIUS Symphony No. 5 • Sakari Oramo, cond; Royal Stockholm PO; 1 Joshua Bell (vn) • ACCENTUS 10215 (Blu-ray: 91:25)

& Interviews with Joshua Bell, Sakari Oramo, and Mario Vargas Llosa (25: 18)

Accentus’s release commemorates the December 2010 Nobel Prize concert given in the Stockholm Concert Hall with Sakari Oramo conducting the Royal Stockholm Philharmonic Orchestra and featuring Joshua Bell (who receives top billing on the Blu-ray’s case) as violin soloist. The concert opens with a thundering performance of Ludwig van Beethoven’s Leonore Overture No. 3. The widescreen high-definition visual clarity, like the crisp and full-range audio (DTS HD or PCM), enhances the drama, making the hushed opening particularly atmospheric and reproducing the sudden outbursts and moving bass lines with startling realism. The climaxes rumble at the end. Oramo and the orchestra seem to revel in these sudden outbursts and enhance their effect with a boost in voltage.

Throughout the concert, the camera crew takes an approach similar to that in the old music scores for symphonic works that indicated active parts with arrows; in this case, the camera focuses on any woodwind or brass instrument (or percussion, of course) that might have been honored with an arrow in older times. Perhaps that’s not so distracting the first time you watch, but what about the second, third, or fourth? If you attend the dress rehearsal of a concert, then the performance, sitting in a seat in the hall from which you can view the entire stage, would you always train your attention on whatever seemed to be most prominent aurally, or might you allow your attention to wander freely? Perhaps it’s most telling that at the climaxes in Beethoven’s work, the camera pulls back for a shot that embraces the whole orchestra. I remember such a shot from the concert at the opening of Lincoln Center, when the cameras pulled back for the climax of the Polka and Fugue from Schwanda by Jaromir Weinberger. I’d like to watch the whole concert from this point of view, though I doubt most viewers would share this preference; in any case, perhaps a programmable choice of camera angles might be offered with Blu-ray’s greater storage capacity (such a choice seemed to be promised as features even in early DVDs).

Joshua Bell’s stage manner has always been characterized by what Jascha Heifetz, in a master class, once called “funny business”—swaying and grimacing even if the playing itself, heard without its visual analog, sounded a bit pallid. After finishing watching Bell’s performance of Tchaikovsky’s Violin Concerto, I reviewed movements of the concerto played on various DVDs by the warm-hearted David Oistrakh, the coolly elegant Nathan Milstein, the brilliant Michael Rabin, and the macho Ruggiero Ricci. And I’ve watched Heifetz’s truncated but electrifying version of the first movement with Fritz Reiner and the New York Philharmonic from the movie Carnegie Hall so many times that I didn’t need to return to it. There’s no funny business in any of these performances. The musical ideas emerge in the audible results rather than in any gyrations, however modest, that produce them.

So what does Bell actually do with the music itself? Well, the opening offers an opportunity for a violinist to write a bold signature, and Mischa Elman always took the opportunity to do so in that passage. So does Bell, though one violinist to whom I showed the passage thought his characterization “grotesque.” In any case, he’s expressive in the first theme, though he allows subsequent running passages to slip momentarily out of control. He enhances the music’s lyricism with portamentos that, however, don’t permit him to surpass in expressivity even the palest of the performances I’ve mentioned (Milstein’s). Nevertheless, he draws forth a pure and crystal-clear tone from the higher registers of the 1713 Gibson-Huberman Stradivari, and builds the passagework to an impressive climax, though his approach to the cadenza doesn’t generate the kind of voltage of Oistrakh’s or Heifetz’s performances. In the cadenza itself, Bell perhaps intentionally takes a lyrical tack; he certainly doesn’t hiss and spit as almost does Václav Hude?ek (on Supraphon 4055). After the cadenza, Bell shows how rich a sound his violin can produce on the G string. In the Canzonetta, the beauty of his tone and his relatively unmannered expressivity contribute to what turns out to be an especially communicative performance, though the middle section doesn’t sound as agitated as does, say, Heifetz’s (in 1957); in the return of the main melody, the recorded sound transmits a great deal of welcome orchestral detail. After an aggressive reading of the transitional cadenza, Bell launches into a performance of the finale that’s commanding not only for its brilliance but for its plaintiveness in the episodes as well. In Bell’s pounding, dance-like reading, the finale provides as robust a flow of adrenaline as does the first movement. Still, the whole concerto sounds more static in his reading than it does in the DVDs I’ve mentioned, or as I remember it from Elman’s performance with John Barbiriolli from 1929 or Milstein’s with Frederick Stock and the Chicago Symphony Orchestra from 1940.

Oramo’s and the orchestra’s performance of Jean Sibelius’s Fifth Symphony, recorded, again, with startling fidelity, conveys a strong sense of the music’s elemental power. And that clarity allows for separation of the layers of sound in the opening. Ideas seem almost to bubble as from a boiling cauldron (even in the dance-like sections in the movement’s second half (or in what some have designated the second movement). In the Andante, the interplay of scalar passages and pizzicatos in the strings, set against woodwind sonorities, rises and falls in what Oramo has built into a series of grand dynamic arches (commentators have unsurprisingly often described various performances of this symphony as “built” in one way or another). The finale’s pervasive ostinatos sizzle in the recorded sound, and mount in the end to a majestic, almost Brucknerian, conclusion. But compare those climaxes to the even more magisterial ones in Leonard Bernstein’s video performance with the Vienna Philharmonic from 1988 (directed by Humphrey Burton), released in 2010 by Unitel. On the whole, while strength and clarity (analogous to that of the recorded sound) may be the hallmark of Oramo’s reading, Bernstein’s sounds more sumptuous—due in no small part, perhaps, to the Vienna Philharmonic’s smooth power—but hardly less idiomatic or insightful.

The concert as a whole creates an impression of visceral power, albeit somewhat diminished during the concerto. And for violinists, the opportunity to observe Bell’s instrument close up and in great detail may add an incentive that might compensate for what some viewers of my generation might take as foppish pirouetting (there, I’ve said it). Strongly recommended overall, in the last analysis.

FANFARE: Robert Maxham

Angelic' is a word often used to describe Philippe Jaroussky's voice. The ethereal quality of his countertenor is intrinsic to his roles as both an angel and as a ghost in Only the Sound Remains, a double bill of operas by the distinguished Finnish composer Kaija Saariaho, whose first opera L'Amour de loin has captivated audiences at such venues as the Salzburg Festival, Paris's Theatre du Chatelet, London's English National Opera and New York's Metropolitan Opera. Saariaho composed Only the Sound Remains with Jaroussky in mind. "I've been to many concerts that he's given in Paris and I love his voice and the way he sings," she told the Dutch website Cultuurpers when the opera received it's premiere in Spring 2016 at the Dutch National Opera in Amsterdam, where this DVD and Blu-ray were recorded. She and Jaroussky worked together as she wrote the score, ensuring that it was tailor-made for his talents. The production - by the celebrated American director Peter Sellars, who declared that "Philippe Jaroussky sings like nobody else on the planet" - was subsequently seen in Helsinki (April 2017) and reaches Paris, again with Philippe Jaroussky, in early 2018. "Only theSound Remains is a profound and moving exploration of mortality and consciousness," wrote Classical Voice North America, "The score [conducted by Andre de Ridder, who has wide-ranging credentials in contemporary music] is a swirl of choral and instrumental colors layered over a subtle electronic foundation withantiphonal effects. Structured like a series of interlocking boxes and punctuated bydelicate word-painting, this opera marks a breakthrough in Saariaho's ability to bring astory to life, with vividly imagined details that focus on sensory experience and hint atthe inner emotions of the characters." The Financial Times described the opera in detail: "The ending of Kaija Saariaho's new double bill for the Netherlands Opera lives up to it's name. Her subtle and meticulous blend of live electronics with acoustic sound can create curtains and washes of sound, sensual and evocative in ways that have become her trademark.... Tsunemasa (Always Strong) and Hagoromo (Feather Mantle), 14th-century Japanese Noh theatre works brought to the US... in the early 20th century and later pieced together into English approximations by poet Ezra Pound, form the basis of a libretto for an evening of music theatre co-conceived by Saariaho and director Peter Sellars. Both works... are scored for small ensemble with two singers - baritone and countertenor. Both narrate encounters with the supernatural.... Saariaho uses the Finnish zither-like kantele rather than a Japanese koto in her ensemble, and western flutes in place of the shakuhachi [a Japanese flute], but the Japanese sound-world is a clear source of reference, with pentatonic scales and onomatopoeic percussion deployed generously. Baritone Davone Tines and countertenor Philippe Jaroussky are perfect as the earth/spirit counterparts of the two pieces (ghost and priest for the first opera, fisherman and angel for the second), Tines with his earthy, virile warmth, Jaroussky with his ethereal purity, the music tailored for these two exceptional voices. Sellars, as always, sets out with consummate sincerity and solid stagecraft to convey a highly spiritual message... It is meticulously crafted and superbly performed. Saariaho is in fine form." Philippe Jaroussky's performance was summed up by France's Opera magazine: "In Hagoromo the voice of the French countertenor blossoms with a wondrous freedom and expressivity," while the Suddeutsche Zeitung wrote that "Philippe Jaroussky is the noblest and most distinctive of countertenors... If he has gained fame as an exponent of virtuosic baroque arias, here

Deutsche Grammophon's 120th Anniversary Concert - Filmed and recorded live to the highest industry standards in front of the magnificent scenery of Beijing's Forbidden City, this unique gala concert celebrates the 120th anniversary of Deutsche Grammophon. The concert features conductor Long Yu and the Shanghai Symphony Orchestra, both freshly signed as exclusive recording artists to Deutsche Grammophon, and performances from Aida Garifullina, Daniil Trifonov, Mari Samuelsen, and more.

Against the picturesque backdrop of the Vesuvius, the ancient Roman Theatre of Pompeii hosts a colourful open air event in honour of Pablo Picasso. Celebrating the centenary of his visit to Italy, two ballets with sets and costumes designed by this legendary Spanish artist are put on stage: "Parade", with music by Erik Satie, and Igor Stravinsky's "Pulcinella". The choreography of both works has been created by Russian ballet star Leonide Massine. It is performed by the Corps de Ballet of the Teatro dell'Opera di Roma under the direction of Paris Opera prima ballerina Eleonora Abbagnato and Leonide Massine's son Lorca as choreographer. 100 years ago, together with Jean Cocteau, Picasso undertook a journey to Naples and Pompeii in order to work on "Parade". An avantgarde ballet commissioned by Serge Diaghilev, director of the famous Ballets Russes, which was supposed to be inspired by Neapolitan folklore and the commedia dell'arte. The stage curtain of "Parade" is the largest work Picasso ever completed, measuring about 11 meters high by 17 meters wide. Cocteau's libretto tells the story of a troupe of street artists, who parade in front of a crowd of onlookers, in an attempt to attract an audience for their show. Picasso would have celebrated his 140th birthday on 25. October 2021

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Adam’s Passion is the moving first collaboration between two “masters of slow motion who harmonize perfectly with each other” (Frankfurter Allgemeine Zeitung). In the spectacular setting of a former submarine factory, American director and universal artist Robert Wilson creates a poetic visual world in which the mystical musical language of the Estonian composer Arvo Pärt can cast its meditative spell. Three of Pärt’s major works – Adam’s Lament, Tabula rasa, and Miserere, as well as Sequentia, a new work composed especially for this production – are brought together here using light, space, and movement to create a tightly-woven Gesamtkunstwerk in which the artistic visions of these two great artists mirror each other.

Arvo Pärt
ADAM’S PASSION

Lucinda Childs
Michael Theophanous
Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Tõnu Kaljuste, conductor

Robert Wilson, stage director, set and lighting designer

Recorded from Noblessner Foundry, Tallinn, 12 May 2015

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: Latin, Russian (orig. sung languages), German, English, French, Korean, Japanese
Running time: 94 mins
No. of Discs: 1 (BD 25)

Blu-ray. The Vienna Philharmonic, led by Franz Welser-Most and supported by an all-star line-up, among them pianist Yuja Wang, performed a concert of pieces highlighting war and peace in commemoration of the end of WWI. 100 years after the first of the devastating human catastrophes of the 20th century officially ended at Versailles, a group of inspired musicians gathered at the historic site for a concert.