Wagner defined Die Meistersinger von Nürnberg as the most complete work that he had ever created. The Bayreuth Festival 2025 presents the comedy in a new production staged by Matthias Davids, whose playful irreverence stands between tradition and renewal. Under the exceptional baton of Daniele Gatti, who debuted in Bayreuth in 2008 with Parsifal, the cast showcases it's brilliance and finesse. Georg Zeppenfeld, at the core of the performance, interprets Hans Sachs with excellent vocal skills and particular sensibility. Equally remarkable performances are given by Michael Spyres and Christina Nilsson, respectively, as Walther and Eva, and by Michael Nagy as a finely drawn Beckmesser. The result is a compelling piece of music theatre: 'A comedy of manners where themes of art, tradition and human love arise naturally.' (Seen and Heard International) Michael Spyres 'has everything a Stolzing needs: he is effortlessly present, sounds light yet embodied in the upper register, a German knight with italianità.' (BR-KLASSIK)
With a sublime cast and the revolutionary staging by Ulrich Rasche, this Salzburg Festival production of Donizetti's Maria Stuarda transforms a bel canto masterpiece into an evening of theatre. The conflict between Maria and Elisabetta becomes tangible through contrasting costumes, a constantly shifting space of rotating platforms, and projected images. Lisette Oropesa's Maria showcases 'a truly wonderful display of vocal intelligence, human warmth and a completely effortless, natural tone' (Süddeutsche Zeitung), while Kate Lindsey's Elisabetta conveys the fury and despair of the English monarch with striking intensity. Under the baton of Antonello Manacorda and with the outstanding contribution of the Salzburg Experimental Academy of Dance, this production conquers through rhythm, movement, and physical presence as expressive forces. 'Lisette Oropesa imbues all of this with vocal mastery and emotion. Beyond pure virtuosity, she shapes the inner workings of the character into operatic drama.' (Der Standard)
Wagner defined Die Meistersinger von Nürnberg as the most complete work that he had ever created. The Bayreuth Festival 2025 presents the comedy in a new production staged by Matthias Davids, whose playful irreverence stands between tradition and renewal. Under the exceptional baton of Daniele Gatti, who debuted in Bayreuth in 2008 with Parsifal, the cast showcases it's brilliance and finesse. Georg Zeppenfeld, at the core of the performance, interprets Hans Sachs with excellent vocal skills and particular sensibility. Equally remarkable performances are given by Michael Spyres and Christina Nilsson, respectively, as Walther and Eva, and by Michael Nagy as a finely drawn Beckmesser. The result is a compelling piece of music theatre: 'A comedy of manners where themes of art, tradition and human love arise naturally.' (Seen and Heard International) Michael Spyres 'has everything a Stolzing needs: he is effortlessly present, sounds light yet embodied in the upper register, a German knight with italianità.' (BR-KLASSIK)
With a sublime cast and the revolutionary staging by Ulrich Rasche, this Salzburg Festival production of Donizetti's Maria Stuarda transforms a bel canto masterpiece into an evening of theatre. The conflict between Maria and Elisabetta becomes tangible through contrasting costumes, a constantly shifting space of rotating platforms, and projected images. Lisette Oropesa's Maria showcases 'a truly wonderful display of vocal intelligence, human warmth and a completely effortless, natural tone' (Süddeutsche Zeitung), while Kate Lindsey's Elisabetta conveys the fury and despair of the English monarch with striking intensity. Under the baton of Antonello Manacorda and with the outstanding contribution of the Salzburg Experimental Academy of Dance, this production conquers through rhythm, movement, and physical presence as expressive forces. 'Lisette Oropesa imbues all of this with vocal mastery and emotion. Beyond pure virtuosity, she shapes the inner workings of the character into operatic drama.' (Der Standard)
World Orchestra For Peace - Valery Gergiev At The Abu Dhabi Festival
C Major Entertainment
DVD
$26.99Aug 30, 2011
TCHAIKOVSKY Symphony No. 5. ROSSINI William Tell: Overture. PROKOFIEV Symphony No. 1, “Classical” • Valery Gergiev, cond; World O for Peace • C MAJOR 707008 (DVD: 104:00) Live: Abu Dhabi 1/4/2011
& SOLTI’S VISION—THE WORLD ORCHESTRA FOR PEACE: THE FIRST 15 YEARS 1995–2010
The World Orchestra for Peace was founded by Sir Georg Solti in 1995, incorporating players from around the globe. Solti’s successor as its conductor is Valery Gergiev, who leads the present concert at the Abu Dhabi Festival, the orchestra’s first appearance in the Arab world. The DVD contains a pleasant bonus feature about the history of the orchestra and its workings. One thing that this documentary makes clear is the affection between Gergiev and his players. With what essentially is a pick-up orchestra, Gergiev hones an ensemble of beauty and refinement, with a powerful sonority. I concur with the audience in Abu Dhabi; this concert is a resounding success.
The William Tell Overture receives beautiful playing from the solo cello, flute, and English horn, plus an incisive response by the trombone choir. The interpretation is unhackneyed—one hears Gergiev’s skill as an opera conductor in setting an atmosphere. His hands flutter to create tension. The Lone Ranger music possesses a fine edge and is very exciting; I couldn’t help but conduct along with it. Gergiev takes the first three movements of the “Classical” Symphony at a leisurely pace. He begins the first movement by making circles with his right hand, suggesting the long line of the music. Gergiev’s gestures remind me of a remark Leonard Bernstein made to Glenn Dicterow: “I’m not a time beater. I’m an inspirer.” The solo bassoon in this movement is suitably puckish. The second movement here reveals the strongest influence of Haydn, with exquisite playing. The Gavotte in Gergiev’s hands is like a slow, heavy-footed Russian dance. Gergiev’s tempo for the finale is quick but not breathless. In the witty exchanges between orchestral choirs, the 20th century greets the 18th.
In Tchaikovsky’s Fifth, Gergiev molds the rich sound of the orchestra with the curve of his arms. I heard Gergiev say in an interview with Gilbert Kaplan that Furtwängler is one of his idols, which helps explain the never-capricious freedom of tempo in this performance. The opening clarinet solo is dark and mellifluous. Inexorable fate dominates Gergiev’s conception of the first movement. Nothing is sugary here. Its coda has an unusually slow, slightly menacing tempo. The horn solo that opens the second movement is dusky and dreamlike. In the darkness and heaviness of this movement, the conductor provides a foretaste of Shostakovich’s slow movements. Gergiev here gets the maximum expressiveness out of his body, perhaps wishing he could do even more. He doesn’t signal an end to the slow movement, just letting it fade away. The waltz offers a nervous respite from the previous movement. The finale is not march-like or triumphal. Gergiev paints it on a huge canvas, even down to beautiful tuba playing. The final peroration seems Byronic in its suggestion of despairing heroism. In sum, this is an individual and striking Tchaikovsky Fifth, gorgeously played.
In the encore, Johann Strauss Jr.’s Tritsch-Tratsch Polka, the orchestra creates a completely different atmosphere, echt Viennese. The violin playing is especially lithe and sparkling. The sound engineering in stereo is very good, with just a hint of congestion in climaxes. I was unable to try out the surround-sound option. The director does a fine job, alternating not overbearing views of Gergiev with sensitively judged close-ups of the orchestra’s players. I enjoyed just listening to the DVD’s sound while lying down as much as I did viewing its picture. If you are looking for CDs of the primary works, I would recommend Sir Colin Davis for the Rossini, Masur and the London Philharmonic or Rostropovich in the Prokofiev, and in the Tchaikovsky Antal Doráti and the London Symphony or Leonard Bernstein on Deutsche Grammophon. Gergiev really presents a seminar on the conductor’s art on this DVD. I would recommend it to anyone who wants to see how a major artist achieves his results.
FANFARE: Dave Saemann
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Gioacchino Rossini: Guillaume Tell: Overture Sergei Prokofiev: Symphony No. 1 in D major, Op. 25, “Classical” Pyotr Il’yich Tchaikovsky: Symphony No. 5 in E minor, Op. 64 Johann Strauss II: Tritsch-Tratsch Polka, Op. 214
World Orchestra for Peace Valery Gergiev, conductor
Recorded live from the Abu Dhabi Festival, 2011.
Bonus: - Solti’s Vision: The World Orchestra for Peace – The First 15 Years 1995–2010.
Picture format: NTSC 16:9 Sound format: PCM Stereo / DTS 5.1 Region code: 0 (worldwide) Subtitles: German Running time: 83 mins (concert) + 21 mins (bonus) No. of DVDs: 1 (DVD 9)
“The Tutto Verdi series, in its goal of being complete, makes it possible to not only hear but see performances of works one seldom encounters outside of Parma...One does not have to be a Verdi completist like me to find a lot to enjoy in Tutto Verdi. The rarities are worth knowing to expand your sense of the composer’s output. The seven operas with Nucci are fascinating on so many levels, not the least of which is that his younger colleagues respond to his work not by being in awe but by allowing themselves to dig deeper and bring their performances to a higher plain than they imagined they were capable of. What would Peppino say?” – Fred Plotkin, WQXR
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Giuseppe Verdi TUTTO VERDI – The Operas, Vol. 3 (1855–1893) (11-DVD Box Disc Set)
I Vespri Siciliani (Teatro Regio di Parma, 2010) Simon Boccanegra (Teatro Regio di Parma, 2010) Un Ballo in Maschera (Teatro Regio di Parma, 2011) La Forza del Destino (Teatro Regio di Parma, 2011) Don Carlo (Teatro Comunale di Modena, 2012) Aida (Teatro Regio di Parma, 2012) Otello (Salzburg Festival, 2008) Falstaff (Teatro Regio di Parma, 2011)
Bonus: - Introduction to each opera
Picture format: NTSC 16:9 Sound format: PCM Stereo / DTS 5.1 Region code: 0 (worldwide) Subtitles: Italian, English, German, French, Spanish, Chinese, Korean, Japanese Running time: 20 hours 41 mins (operas) + 1 hour 27 mins (bonus) No. of DVDs: 11 (DVD 9)
Subtitles: English, German, French, Spanish, Italian, Japanese, Korean, Chinese Booklet: English, German, French No. of Discs: 1 Run time: 214 minutes Disc Format: Blu-ray 50 Picture: 16:9, HD Audio: PCM Stereo, PCM 5.1 Bonus Material: Introduction to Don Carlo Subtitles Bonus: Italian, English Region Code: 0 (worldwide)
VERDI Don Carlo • Fabrizio Ventura, cond; Mario Malagnini (Don Carlo); Giacomo Prestia (Filippo II); Cellia Costea (Elisabetta); Simone Piazzola (Rodrigo); Alla Pozniak (Eboli); Luciano Montanaro (Grande Inquisitore); O Regionale dell’Emilia-Romagna; Lirico Amadeus Ch • C MAJOR 724 704 (Blu-ray: 204:00 + 11:00) Live: Modena 2012
Perhaps it is because this comes from Modena, site of the opera’s third incarnation in 1886, but this production seems a level in quality above many of the others produced for the Tutto Verdi project. The so-called Modena version of Don Carlo is the revised four-act version in Italian, first seen in 1884, with the Fontainebleau Scene restored, and that is the version performed here, making it almost as long as the French five-act original version. Perhaps taking it out of Parma, site of many of the other and mostly dreary productions in the Tutto Verdi series, has helped the quality as well. Sets are not lavish, but shrewdly functional: platforms stage left and right with ramps that frame often striking painted backdrops. Several large props are used as well: the tomb of Charles V, a statue of the Virgin in Philip’s alcove sanctuary, and a large wooden platform seen in the forest of Fontainebleau. Costumes are strictly in period and lavishly handsome, the lighting used intelligently to create additional atmosphere. Modena’s chorus is typically arrayed along the sides or back. The sound is a bit more recessed than on most of the other Tutto Verdi videos, as are the principal singers’ voices in comparison to the orchestra. I found this effect somewhat mitigated when listening in the surround format.
The singers themselves are variable in quality, but also a stronger cast than usual in this series. A cut above the other singers (or two or three cuts above) is the Elisabetta of Cellia Costea. You can tell right away she is a good one: her solid intonation, secure top, and fine ability to emotively color the text give her away. Costea also seems an excellent actress, but even she can’t rescue the poor Carlos of tenor Mario Malagnini. Malagnini looks too old and sings too poorly to be the title singer in a major production such as this, and he hasn’t got the first clue about acting or interacting with others. His most intense gesture with bosom buddy Rodrigo or beloved Elisabetta is to grasp them on the forearm, and he never looks anywhere but at the audience (or the prompter?). The King Philip of Giacomo Prestia begins with a pronounced wobble, but the voice smoothes out by the time of his big scenes in the Fourth Act, and his fine acting makes the rather unlikeable character of the king come alive as few have done in the past. Simone Piazzola sings pretty competently as Rodrigo, as does mezzo Alla Pozniak in the role of Princess Eboli, although she finds a few flat notes Verdi is not responsible for. Luciano Montanaro seems to strain to find volume as the blind Grand Inquisitor and forces his high notes, robbing the role of any real menace or authority.
Even with a mailed-in performance by the tenor, this Don Carlo makes an impression. As one of the first appearances of this opera on Blu-ray, its sharp clarity and vivid colors impress, and much of the gripping drama is evoked quite effectively. Finding any little nuggets of entertaining opera among the general dross of the Tutto Verdi series has proved difficult, yet they are out there and, as this one, probably deserve some success. Hopefully, soprano Costea will be given better opportunities in the near future; Elisabetta is a near lyric role, but any new Verdian soprano on the block is a major find these days. There are, of course, several other quite good video productions of Don Carlo available, but with versions in French and Italian, four-act and five-act, with and without ballet, there are hardly any two alike. This set from Modena deserves to be seen, and is recommended.
Based on Schiller's play of the same name, Don Carlos was written for the Paris Opera between 1865 and 1867 in the tradition of a French grand opera. Reportedly revised and performed in Italian as Don Carlo, the opera seen here in the version that Verdi prepared for Modena in 1886. This is Verdi's most ambitious and most forward-looking work.
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.
As part of the ambitious Tutto Verdi project, the rarely performed La battaglia di Legnano is available for the first time on DVD and Blu-ray. The patriotic war story of La battaglia gives a taste of the real-life revolutionary ideals of the composer, as he delivers a thinly veiled exhortation to throw off the bonds of foreign rule for love of country.
Mats Ek JULIET AND ROMEO Ballet in Two Acts with music by Pyotr Il’yich Tchaikovsky
Juliet – Mariko Kida Romeo – Anthony Lomuljo Father – Arsen Mehrabyan Mother – Marie Lindqvist Duke – Niklas Ek Nurse – Ana Laguna Mercutio – Jérôme Marchand
Royal Swedish Ballet Royal Swedish Orchestra Alexander Polianichko, conductor
Recorded live at the Royal Swedish Opera, Stockholm, 2013
Picture format: 1080i High Definition Sound format:PCM Stereo 2.0 / DTS-HD Master Audio 5.1 Region code: 0 (worldwide) Booklet notes: English, German, French Running time: 107 mins No. of Discs: 1
Schumann at Pier 2 - A Concert Film / Jarvi, Deutsche Kammerphilharmonie
C Major Entertainment
DVD
$26.99Jan 29, 2013
Schumann at Pier2 is not a usual documentary, it explains the whole idea behind the project and it contains footage from rehearsals, comments from Paavo Järvi about the symphonies and the interpretation, biographical information about R. Schumann and footage of musicians who explain and play key themes and more. Stars of the film are the conductor Paavo Järvi and the Deutsche Kammerphilharmonie Bremen and it´s filmed at „Pier2“, a former dockyard in the harbour of Bremen.
“Järvi's Schumann is most notably extremely exciting, performed with a lot of enthusiasm.“ -- Fono Forum
"Since their great Beethoven-Cycle Paavo Järvi and the Deutsche Kammerphilharmonie are one of the top ensembles." -- Crescendo
The composer's great-granddaughter was keen to stage Cord Garben's abridged version of the cycle at the Teatro Colin in Buenos Aires, but in the event things turned out rather differently. The present documentary provides a thrilling and visually memorable account of the long journey taken by this version from it's inception to the first night.
The opening concert of the Salzburg Festival, for many regarded as the world's most renowned music festival, is by tradition a high-profile event and the 2011 gala presented here was one of the best in memory. Pierre Boulez, the "grand seigneur of subtle minimalism and exquisitely beguiling sounds" (Der Standard), assembled a cast of tremendous distinction to join the Vienna Philharmonic for this prestigious concert, conceived as a tribute to Gustav Mahler: Dorothea Roschmann, Anna Larsson, Johan Botha and rising star Anna Prohaska. After two works by Mahler's pupil Alban Berg, featuring Roschmann and Prohaska, the main event of the concert if Mahler's large-scale cantata Das klagende Lied - a "great spectral opera for the mind's eye" (Vienna Zeitung).
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.
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