Few of Gioachino Rossini's operas are less well known than Adina. This production by Rossini Opera Festival and Wexford Opera Festival revives a masterwork of glittering arias and rich orchestral textures. The oriental tale, where Adina is a slave in a Baghdad seraglio, is set by Rosetta Cucchi on a giant and colorful wedding cake. The vocal star Lisette Oropesa "gave a splendid rendition as Adina. Her voice was brilliant, shiny on top, warm and round in the middle." (Bachtrack) World Premiere Recording on DVD and Blu-ray

Special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. For this subscription concert, the Wiener Philharmoniker asked a long-time artistic companion to take the podium: more than 140 concerts and a multitude of celebrated recordings connect Christian Thielemann with the traditional Viennese orchestra. The live recording of his debut on the podium at the Vienna Musikverein almost 23 years ago promptly became a reference recording. On the programme then as now: Richard Strauss' monumental Eine Alpensinfonie (An Alpine Symphony). This work, often regarded as the final and climax of the "symphonic poem" genre, is juxtaposed with Arnold Schönberg's probably most famous tonal composition, the orchestral version of the string sextet Verklärte Nacht (Transfigured Night). Composed in 1899, this highly expressive work by the 25-year-old Schönberg reads, in retrospect, like a swan song to the 19th century. "Schönberg and Strauss rarely sound so grandiose." Kurier "A truly persuasive performance." The New York Times "The 'Alpine Symphony' under Thielemann has long been a Viennese legend." Die Presse Program: Arnold Schoenberg: Verklärte Nacht (Transfigured Night), op. 4 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), op. 64

Special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. For this subscription concert, the Wiener Philharmoniker asked a long-time artistic companion to take the podium: more than 140 concerts and a multitude of celebrated recordings connect Christian Thielemann with the traditional Viennese orchestra. The live recording of his debut on the podium at the Vienna Musikverein almost 23 years ago promptly became a reference recording. On the programme then as now: Richard Strauss' monumental Eine Alpensinfonie (An Alpine Symphony). This work, often regarded as the final and climax of the "symphonic poem" genre, is juxtaposed with Arnold Schönberg's probably most famous tonal composition, the orchestral version of the string sextet Verklärte Nacht (Transfigured Night). Composed in 1899, this highly expressive work by the 25-year-old Schönberg reads, in retrospect, like a swan song to the 19th century. "Schönberg and Strauss rarely sound so grandiose." Kurier "A truly persuasive performance." The New York Times "The 'Alpine Symphony' under Thielemann has long been a Viennese legend." Die Presse Program: Arnold Schoenberg: Verklärte Nacht (Transfigured Night), op. 4 Richard Strauss: Eine Alpensinfonie (An Alpine Symphony), op. 64

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)

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)

Available for the first time on Blu-ray, the lesser known Verdi opera I due Foscari is ready for appreciation by a new generation. A great cast with the likes of Leo Nucci and Roberto de Biasio is assembled at the Teatro Regio di Parma as part of the 200th anniversary series "Tutto Verdi". FAZ notes "This is how Verdi should be played".

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

Also available on standard DVD

BUCHBINDER PLAYS BEETHOVEN PIANO CONCERTOS (Blu-ray Disc Version)


Ludwig van Beethoven: Piano Concertos Nos 1–5 Rudolf Buchbinder, piano and conductor Vienna Philharmonic Orchestra

Recorded live at the Goldener Saal der Gesellschaft der Musikfreunde, Vienna on 5–8 May 2011

Bonus: - Buchbinder's Beethoven – A musical conversation between Rudolf Buchbinder and Joachim Kaiser

Picture format: 1080i High Definition
Sound format: PCM Stereo / DTS-HD Master Audio 5.0
Region code: 0 (worldwide)
Subtitles (bonus): English, French, Spanish, Italian, Chinese, Korean Running time: 186 mins (concertos) + 29 mins (bonus)

No. of Discs: 1 (BD 50)

In the late 1960s Leonard Bernstein caused a stir in London’s Royal Albert Hall when he played Ravel’s G major Piano Concerto whilst at the same time conducting the New York Philharmonic Orchestra. We were not used to this sort of thing at the time. So that Bernstein could have maximum contact with his players, he turned the piano such that he was in amongst them, facing the orchestra with his back to the audience. He also removed the piano lid; in these ways his gestures could be seen clearly by the orchestral players and he could also maintain eye contact, an essential part of the conductor’s art. I remember a pretty stunning and immaculate performance on that occasion, but since then, most soloists have preferred to concentrate on their own music and leave the orchestra under the direction of someone else.
 
Buchbinder is one of the exceptions, preferring to direct the orchestra himself from the keyboard. He retains the normal soloist’s position with his profile to the audience and he has the piano lid raised. Considering this, the ensemble is remarkably good and mostly very tight, but there are times when there are imprecisions in togetherness, not only in rhythm but also in homogeneity of tone and colour. Sometimes I can hear less string sound at the start of a note, for example. So although there are great advantages in having one musician ‘in charge’ of a performance, I am largely in favour of using the services of a conductor as well as a soloist, especially in recorded music when a performance will be heard repeatedly and imprecise ensemble can become irritating.
 
That said, these performances are deeply felt and as the talk on the disc confirms, very thoroughly researched by Buchbinder who compares many different editions of the works he is performing.
 
I particularly liked the finales where there is real rhythmic vitality, combined in the third and fifth concertos with excitement and drama. The first concerto finale has wonderful wit and humour, but the opening of the fourth concerto finale is marred by poor ensemble caused by lack of a conductor. A really clear gesture must be given here to ensure precision and clarity.
 
Some movements are a little slow and heavy by modern standards. For example in the first movement of Concerto No.1, Stephen Kovacevich and Colin Davis on CD give a much lighter and more deft performance. Buchbinder chooses to play the first of Beethoven’s three cadenzas, slightly adapted towards the end, and he plays it superbly. Most players, including Kovacevich, play the longer and more dramatic third cadenza, whilst Argerich plays the second. It would be interesting to know why Buchbinder chose the first cadenza. The enclosed booklet talks about Buchbinder’s career and gives us some information about his study of the many editions that have appeared since Beethoven’s time, but more details of the results of his studies would have been welcome. However, the bonus interview on the disc with Joachim Kaiser is very interesting and stimulating.
 
The first movement of Concerto No.3 is hardly allegro con brio and the first movement of Concerto No.4, marked to be played allegro moderato is much more moderato than allegro. A little more rhythmic life would not come amiss in these movements. In Concerto No.4 Buchbinder gradually moves the pace forwards as the music progresses, but for me this is one of the less successful movements. Although the sound is often beautiful, the performance is sometimes sluggish and there are tiny imperfections in ensemble and intonation. In the second movement, Buchbinder’s orchestra plays the opening theme really staccato, as marked in the two editions of Beethoven’s score that I own, to telling effect.
 
The high point of these performances for me is the Emperor, which I enjoyed immensely. It really takes fire, has great rhythmic energy and verve in the outer movements, and Buchbinder produces some beautiful tone and the subtlest of rubato in the slower sections. Magnificent playing all round with some incisive and vigorous playing.
 
It must have been a great occasion to hear these performances live and this is a fine record of the event. The playing is highly efficient and thoughtful with some wonderful, poetic moments, but somehow the performances do not achieve the greatest heights.
 
On a lighter note, I would not recommend buying this disc as an introduction to classical music for youngsters. There are many close-ups of the players, but sometimes they look so middle-aged, often miserable and grey. I wish the Vienna Philharmonic would cheer up a bit. As a music teacher, I think this could put a beginner off classical music for life! For children, maybe it is better to turn off the picture and just listen to some fine music making. But for the rest of us, this is a disc well worth seeing as well as hearing.
 
-- Geoffrey Molyneux, MusicWeb International

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's an event that draws many thousands of music lovers to one of the most beautiful cities in the world every summer: the opera season at the ancient Arena di Verona. The 2,000-year-old roman amphitheater with its gigantic stage dimensions is one of the largest and best preserved Roman construction of its kind, and with over 22,000 seats it is undoubtedly one of the most spectacular open-air venues of the world! The revered master of opera Franco Zeffirelli, who died shortly before the premiere of Il Trovatore, created a legendary scenery with groups of giant sized armored knights, a fortress turning into a luminous cathedral, an enormous choir, horses, breathtaking fights: “his perhaps best arena production” (Opernglas). It brings Anna Netrebko to the Arena of Verona where she is giving her much-anticipated debut in one of Giuseppe Verdi’s most popular operas. Next to Anna Netrebko as Leonora perform Verdi accomplished baritone Luca Salsi as Count di Luna and Yusif Eyvazov returns to the Arena as his powerful-voiced opponent Manrico. MET star Dolora Zajick as Azucena and young rising Italian bass Riccardo Fassi as Ferrando join the prestigious ensemble. “Zeffirelli gives to the arena what it merits: a colourful, multifaceted staging in which impressive mass scenes alternate with intimate moments [...]“ (Der Neue Merker) “Unforgettable” (Verona Settegiorni)

The Beethoven cycle of the 21st century! Christian Thielemann’s and Wiener Philharmoniker’s recording of BEETHOVEN 9 had been their first recording in HD of all nine Beethoven symphonies, accompanied by nine hour-long documentaries, one on each symphony, featuring Thielemann and Prof. Joachim Kaiser. From insights into Beethoven’s musical thinking to interpretational comparisons, including excerpts from performances by Karajan, Böhm, Bernstein, Järvi etc., to historical perspectives – no aspect of Beethoven’s symphonic oeuvre will remain untreated! “Thielemann’s recordings of the Beethoven symphonies stand head and shoulders above the countless and mostly undistinguishable versions on offer.“ (Die Presse) “The Vienna Philharmonic literally grew beyond itself that evening in the Konzerthaus.“ (Neue Züricher Zeitung) Missa Solemnis: Thielemann “conjured up the gigantic cosmos of the Missa with such lightness and grace that its mystery seemed to reveal itself.“ (FAZ)