Also available on Blu-ray

Christian Thielemann and the Staatskapelle Dresden are continuing their internationally acclaimed Bruckner cycle with the Symphony No. 5. For Anton Bruckner, his Fifth Symphony was a glorious confrontation with the music of the past – from a personal, biographical angle, but also as a departure from the composition techniques he preferred up to this point. Not for nothing is this tremendous opus magnum regarded as Bruckner’s “contrapuntal masterpiece”. In this universally lauded performance, Christian Thielemann, already the leading Bruckner interpreter of our times, has once again proven himself to be a “magician of the Bruckner sound”. (Kurier)

Anton Bruckner
SYMPHONY NO. 5


Dresden Staatskapelle
Christian Thielemann, conductor

Recorded live at the Semperoper, Saxon State Opera, Dresden, 2013

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, German, French
Running time: 89 mins
No. of DVDs: 1

Part of the 200th anniversary series "Tutto Verdi," this admirable Ernani starring the likes of Marco Berti and Carlo Guelfi will become the first recording of this work available on Blu-ray. Staged by legendary director Pierluigi Pier'Alli of La Scala fame, this version from the Tetro Regio di Parma is sure to become legend itself!

UNIKO features the Kronos Quartet together with the Finnish Duo - accordion adventurer Kimmo Pohjonen and sampling guru Samuli Kosminen. They create a new, multi-dimensional sound world. Commissioned by Kronos in 2003 and premiered at the Helsinki Festival in 2004, UNIKO has drawn sellout crowds. The spectacle is as visual as it is aural, and is a must-see on DVD.

Among Teatro alla Scala's most unforgettable productions, this La forza del destino is a performance of striking musical energy, with Riccardo Chailly conducting an exceptional cast of opera stars. Anna Netrebko (Leonora), confirms her absolute dominance of the Verdian repertoire, showcasing 'beautiful floating high notes and enviable fiato' (OperaWire). Brian Jagde (Don Alvaro) and Ludovic Tezier (Don Carlo), give impeccable performances of great emotional depth and timbral richness. Joining forces, Stage Director Leo Muscato and Set Designer Federica Parolini deliver a reinterpretation of Verdi's classic in a modern key. On a set that impresses for both beauty and functionality, the scenes are set across different eras, reminding us that war is always part of humans' fate. 'The undisputed star of the evening is Anna Netrebko. She elevates Donna Leonora with her distinctive, dark, velvety timbre, impeccable high notes, and acting presence.' (Orpheus Magazine)

Among Teatro alla Scala's most unforgettable productions, this La forza del destino is a performance of striking musical energy, with Riccardo Chailly conducting an exceptional cast of opera stars. Anna Netrebko (Leonora), confirms her absolute dominance of the Verdian repertoire, showcasing 'beautiful floating high notes and enviable fiato' (OperaWire). Brian Jagde (Don Alvaro) and Ludovic Tezier (Don Carlo), give impeccable performances of great emotional depth and timbral richness. Joining forces, Stage Director Leo Muscato and Set Designer Federica Parolini deliver a reinterpretation of Verdi's classic in a modern key. On a set that impresses for both beauty and functionality, the scenes are set across different eras, reminding us that war is always part of humans' fate. 'The undisputed star of the evening is Anna Netrebko. She elevates Donna Leonora with her distinctive, dark, velvety timbre, impeccable high notes, and acting presence.' (Orpheus Magazine)

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)

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)

Among the most powerful works by Gustav Mahler and one of the longest symphonies of the Romantic period, the Symphony No. 3 is performed by Andris Nelsons and the Wiener Philharmoniker as part of their Mahler cycle. The composer's intention to create a musical reflection of the world is perfectly caught by Nelsons, who shapes the work's immense forces into a compelling narrative, from primordial darkness to transcendent affirmation. With Violeta Urmana as soloist, the Chor des Bayerischen Rundfunks and Salzburger Festspiele und Theater Kinderchor, the performance unfolds with luminous transparency and emotional depth. 'A melancholic giant, unleashed' (Der Standard) Program: Gustav Mahler: Symphony No. 3

Among the most powerful works by Gustav Mahler and one of the longest symphonies of the Romantic period, the Symphony No. 3 is performed by Andris Nelsons and the Wiener Philharmoniker as part of their Mahler cycle. The composer's intention to create a musical reflection of the world is perfectly caught by Nelsons, who shapes the work's immense forces into a compelling narrative, from primordial darkness to transcendent affirmation. With Violeta Urmana as soloist, the Chor des Bayerischen Rundfunks and Salzburger Festspiele und Theater Kinderchor, the performance unfolds with luminous transparency and emotional depth. 'A melancholic giant, unleashed' (Der Standard) Program: Gustav Mahler: Symphony No. 3

Turandot / Tosca / Love Duets - Sonya Yoncheva & Vittorio Grigolo Turandot: 'Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual' (La Stampa) Tosca: 'spectacle of monumental opulence' (Online Merker). 'A Tosca to relish!' (Artesnews. It) "standing ovation Tosca at the Arena di Verona" (Operalife). Love Duets - Sonya Yoncheva & Vittorio Grigolo: 'A concert evening about love, lust and passion. Sonya Yoncheva has the full and vibrant timbre of a true lyrical soprano' (L'Arena) 'Vittorio Grigolo is undoubtedly a charismatic artist and always attentive to the interpretation of the characters' (operclick)

Freedom, fraternity and humanity – this is what Beethoven’s 9th Symphony stands for. It opens the 10th Grafenegg Festival, performed by the Tonkunstler Orchestra, joined by 24 alumni of the European Union Youth Orchestra (EUYO) and “a soloist quartet which no one could possibly imagine to be more prestigious” (Die Presse). “Vogt’s tenor and the Wiener Singverein were especially moving” (Wiener Zeitung) and “the vocal performance by excellent bass René Pape, the fabulous soprano Camilla Nylund and the brilliant mezzosoprano Elena Zhidkova … in Beethoven’s Ninth was just sensational. Bravo!” (Kurier) Composer in Residence Christian Jost’s new work also centres around Beethoven, featuring the song “An die Hoffnung” (“To Hope”), and “convincingly used an impressive orchestra” (Der Standard), with “tenor Klaus Florian Vogt as a well-cast soloist” (Salzburger Nachrichten).

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

KRZYSZTOF PENDERECKI – Paths Through the Labyrinth
(Blu-ray Disc Version)

A film by Anna Schmidt

Even at over 80 Krzysztof Penderecki is still an unflinching and active composer and conductor. Director Anna Schmidt followed Penderecki’s paths for a year—in the process interviewing such world-famous artists as Anne-Sophie Mutter, Julian Rachlin and Janine Jansen as well as Jonny Greenwood (“Radiohead”) and legendary film director Andrzej Wajda.

As a result, Paths Through the Labyrinth has become a comprehensive “work in progress” documentary, accompanying Penderecki from Kraków to Munich, from Vienna to Leipzig, and to his country estate in Luslawice. Throughout, the composer reflects on his beginnings, the turning points in his life and the world of his ideas.

Thoughts, dialogues, encounters and extracts from several famous Penderecki compositions coalesce into a fascinating, multi-layered portrayal of one of today’s most influential musicians.

Bonus:
- Interviews with Lorin Maazel and Jonny Greenwood.

Picture format: 1080i High Definition
Sound format: PCM Stereo
Region code: 0 (worldwide)
Subtitles: English, German, French, Korean
Booklet notes: English, German, French
Running time: 86 mins (documentary) + 18 mins (bonus)
No. of Discs: 1 (BD 25)

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

Giuseppe Verdi
IL TROVATORE
(Blu-ray Disc Version)

Il conte di Luna – Claudio Sgura
Leonora – Teresa Romano
Azucena – Mzia Nioradze
Manrico – Marcelo Álvarez
Ferrando – Deyan Vatchkov
Ines – Cristina Giannelli
Ruiz – Roberto Jachini Virgili
Un vecchio zingaro – Enrico Rinaldo
Un messo – Seung Hwa Paek

Parma Teatro Regio Chorus and Orchestra
(chorus master: Martino Faggiani)
Yuri Temirkanov, conductor

Lorenzo Mariani, stage director
William Orlandi, set and costume designer
Christian Pinaud, lighting designer

Recorded live at the Teatro Regio di Parma, 5 and 9 October 2010

Bonus:
- Introduction to Il Trovatore

Picture format: 1080i High Definition
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: Italian, English, German, French, Spanish, Chinese, Korean, Japanese
Running time: 140 mins (opera) + 10 mins (bonus)
No. of Discs: 1 (BD 50)

Schumann at Pier2 is not a usual concert film; it shows the 4 Symphonies of Schumann from a new perspective. Stars of the film are the conductor Paavo Jarvi and the Deutsche Kammerphilharmonie Bremen and it's filmed at Pier2 a former dockyard in the harbor of Bremen.

Giuseppe Verdi
AIDA

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: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1
Region code: 0 (worldwide)
Subtitles: English, German, French, Spanish, Italian
Running time: 135 mins
No. of DVDs: 1 (DVD 9)

R E V I E W:

At Bregenz one can expect spectacular productions – or at least conspicuous ones. I am talking about Opera on Lake Bodensee which takes place in July and August each year. It’s part of the Bregenz festival which provides a lavish offer of opera, theatre and concerts. The outdoor stage surrounded by water invites gigantic sets and the long distance to the grandstand on the shore requires amplifying equipment. I have seen some productions on DVD and also some stills. They are generally provocative, putting the characters in settings as far away from the original as can be imagined. Il trovatore a few years ago took place in an industrial landscape, possibly on an oil platform. This Aida goes even further. The water here isn’t ocean deep but allows the actors to wade, to swim, to fall in or splash, even to be drowned. During the prelude two lifeless bodies hanging on a wire attached to an enormous building crane, are slowly transported before the eyes of horrified onlookers until they are lowered down into a barge off the stage. In Trovatore fire was central to the proceedings; in Aida water has the same importance, the Nile being the life-blood of the Egyptians. There is a water ballet in the triumphal scene. The tomb episode takes place on a ship drifting among the waves. During the final duet the ship rises from the water and sails into the sky, leaving Amneris alone at the waters’ edge. A real amphibious opera.

Dominating the stage picture are two monstrously big, blue feet. Why are they there? Whatever the reason they appear to function as the firm foundation around which the action rotates, whether it be Aida, the slave girl, scrubbing the floor, Amneris in black dotted evening gown airing her human ‘dogs’ or high priests and soldiers invading the stage. There are activities aplenty with numerous extras just being there, costumes are a mix of modern and ancient. All this business tends to suffocate the central conflicts and it is typical of the performance that it is in the Nile scene – act III – that the action grabs the viewer by the throat; this is the first scene with no external distractions. In a way this is dramaturgically sensitive, since the first two acts primarily deal with festivities, while the core of the drama is the triangle Aida – Amonasro – Radames. This is an oversimplification of the plot. There are many strands in the libretto and Amneris – though basically an evil character but one who loves – is the hub around which everything rotates. In this performance it also becomes obvious why Verdi initially contemplated naming the opera Amneris.

Iano Tamar, the Georgian soprano who was also a great Leonora in Il Trovatore, is the star; her somewhat darkish timbre contrasting well with Tatiana Serjan’s girlish Aida. Tamar has authority and a thrilling lirico-spinto voice. In the first scene in act IV she is truly great. Serjan at first seems too lyrical for Aida, having a fluttery soubrette voice but it sits well with her youthful looks. Her Ritorna vincitor is however sung with intensity and in the third and fourth acts she grows in stature, no doubt inspired by Scottish baritone Iain Paterson’s powerful Amonasro. He is an unusually dangerous Ethiopian king. Rubens Pelizzari is a rather pale Radamès in the first two acts but like his Aida he grows and in the Nile duet he finds a glow that has eluded him before. O terra addio, though sung in a strange setting, is delivered with lyrical beauty and warmth by both artists. Tigran Martirossian is an acceptable Ramfis but Kevin Short’s King is terribly wobbly.

As so often with these Bregenz productions one ends up in two minds. They’re innovative for sure, and this Aida is no exception. One can marvel at ideas that suddenly illuminate the proceedings but just as often one thinks: ‘What’s the point of this?’ Carlo Rizzi keeps things together and draws splendid playing from the Wiener Symphoniker. The choral forces have no easy task to walk all those stairs and balance on wet slippery stones while keeping an eye on the conductor but they manage it well. Sound and pictures are good. Readers have to decide from my descriptions whether this is a DVD worth spending money on, but Iano Tamar’s glorious Amneris should definitely be seen and heard.

-- Göran Forsling, MusicWeb International