The Tuscan region stretches from the Apennines to the Tyrrhenian Sea and includes, among its nine provinces, Pisa, Siena and Lucca. The music chosen for this tour of Tuscany is largely Italian, ranging from the sixteenth-century Milanese lutenist Francesco Canova da Milano to the Venetian Vivaldi, the Genoese-born violinist Paganini and the opera composers Donizetti, Verdi, Catalani and Puccini. Place is also found for appropriate music by the Italian-trained Gluck and from Mozart’s Italian opera Don Giovanni.
In 1786 Carl Philipp Emanuel Bach presented the greatest musical achievements of his century to a captivated audience and enthusiastic reviewers. The music director from Hamburg arranged a remarkable program for a charity concert, including not only his own music, but also popular and forgotten works by his father J S Bach and works by George Frideric Handel.
As a tribute to the 300th anniversary of CPE Bach, the RIAS Kammerchor and the Akademie für Alte Musik in Berlin revive the memorable concert from April 9, 1786 and reawaken a great historic moment in music history. C.P.E. BACH: THE 1786 CHARITY CONCERT – A Revival
Carl Philipp Emanuel Bach: Introduction to the Credo of J.S. Bach’s Mass BWV 232, H. 849 Sinfonia in D Major, Wq. 183/1, H. 663 Magnificat, Wq. 215, H. 772 Heilig, Wq. 217, H. 778: Herr, wert, dass Scharen der Engel / Heilig ist Gott
Johann Sebastian Bach: Mass in B Minor, BWV 232: Credo
George Frideric Handel: Messiah, HWV 56: Ich weiss, dass mein Erloser lebet / Hallelujah!
Christina Landshamer, soprano Wiebke Lehmkuhl, alto Lothar Odinius, tenor Thomas E. Bauer, bass
RIAS Chamber Chorus Berlin Akademie für Alte Musik Hans-Christoph Rademann, conductor
Recorded live at Konzerthaus Berlin, 15 June 2014
Picture format: NTSC 16:9 Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1 Region code: 0 (worldwide) Subtitles: Latin, German, English, French, Japanese, Korean Running time: 109 mins No. of DVDs: 1 (DVD 9)
Ravel: Valses nobles et sentimentales - La valse - Daphnis e
Accentus Music
Blu-Ray
$53.99May 24, 2019
Riccardo Chailly pays tribute to Maurice Ravel with a program of waltzes and wild reveries of ecstasy and elegance. He ushers us into Ravel's musical worlds filled with ever-changing colors, scents, and flavors: the pulsating three-quarter time of waltzes that reflect just how much the Great War transformed European culture, the ancient love story of Daphnis and Chloé, and the relentless rhythms of Boléro. Magnifique! Riccardo Chailly, who was born in 1953 in Milan, studied at the Conservatories of Perugia, Rome, and Milan and at the Accademia Musicale Chigiana, beginning his career as an assistant to Claudio Abbado at La Scala in Milan. Chailly was appointed Music Director of the Berlin Radio Symphony Orchestra in 1980, and in 1988 he moved to the same position with the Royal Concertgebouw Orchestra Amsterdam, which he helmed for sixteen years. From 2005 to 2016, Riccardo Chailly served as head of the Leipzig Gewandhaus Orchestra; starting in 2015, he became Music Director of La Scala in Milan, and since the summer of 2016 he has held the position of Music Director of the Lucerne Festival Orchestra.
Ravel: Valses nobles et sentimentales - La valse - Daphnis e
Accentus Music
DVD
$41.99May 24, 2019
Riccardo Chailly pays tribute to Maurice Ravel with a program of waltzes and wild reveries of ecstasy and elegance. He ushers us into Ravel's musical worlds filled with ever-changing colors, scents, and flavors: the pulsating three-quarter time of waltzes that reflect just how much the Great War transformed European culture, the ancient love story of Daphnis and Chloé, and the relentless rhythms of Boléro. Magnifique! Riccardo Chailly, who was born in 1953 in Milan, studied at the Conservatories of Perugia, Rome, and Milan and at the Accademia Musicale Chigiana, beginning his career as an assistant to Claudio Abbado at La Scala in Milan. Chailly was appointed Music Director of the Berlin Radio Symphony Orchestra in 1980, and in 1988 he moved to the same position with the Royal Concertgebouw Orchestra Amsterdam, which he helmed for sixteen years. From 2005 to 2016, Riccardo Chailly served as head of the Leipzig Gewandhaus Orchestra; starting in 2015, he became Music Director of La Scala in Milan, and since the summer of 2016 he has held the position of Music Director of the Lucerne Festival Orchestra.
“Nothing is harder to put on stage than lightness. And humor is the sharpest weapon of the desperate. That is why it is an obligation, indeed a must, to enjoy this Figaro by Jürgen Flimm at the Staatsoper to the fullest.“ (ARD Radio) This production of “Le nozze di Figaro” is directed by the former artistic director of the Staatsoper Berlin, Jürgen Flimm, who characterizes it as follows: “Figaro is by far the best work ever devised for the stage; it combines everything that moves the human heart and mind – forlorn hope, pleasantry, satire, profound significance, also much ado about nothing and vain amours.” This production with a star-studded ensemble of soloists was Flimm’s third staging of this musical masterpiece, and this time he places the plot in Count Almaviva‘s summer residence – a place where the count spent his childhood, a place full of memories where time has left its marks. It is in this hot atmosphere of summer that the great day unfolds: holidays, sun, sea, pretty women take a fancy to pretty men and pretty men take a fancy to pretty women. A midsummer night‘s dream full of tangled paths and futile longing where the women pull the strings of intrigue with their gentle hands.
Puccini & Weiya: Turandot / Oren, China NCPA Orchestra [DVD]
Accentus Music
DVD
$27.99Oct 28, 2016
Turandot, the late gem of Italian opera, is a celebration of the sounds and the mythical figures intimately associated with Chinese culture. The dramatic punch of the libretto inspired Giacomo Puccini to imagine a sound world of unusual splendor. The score is entrancing and unique, featuring original Chinese melodies, Asian pentatonic scales, and colorful orchestration with percussion writing that is strongly reminiscent of traditional Asian music. The NCPA’s production of this popular opera is a compelling feast for the senses. Chinese composer Hao Weiya gave this Turandot a new finale, performed for the first time in Beijing. In this captivating staging by director Chen Xinyi and under the musical direction of Daniel Oren an excellent cast offers a unique musical experience.
Mahler: Symphony No. 8 / Chailly, Lucerne Festival Orchestra
Accentus Music
DVD
$41.99May 19, 2017
Gustav Mahler’s 8th Symphony breaks the boundaries of the symphonic form in a world-embracing gesture. Riccardo Chailly is one of the staunchest performers of this work, and therefore it seemed appropriate in many ways that he chose this work for his inaugural concert as Claudio Abbado’s successor and new music director of the Lucerne Festival Orchestra. The artistic statement was combined with a deeply personal conviction: it should be a “tribute to Claudio,” the highly esteemed friend and colleague to whom Chailly, as he emphasizes, owes very much. On 12 August 2016, Claudio Abbado’s unfinished Mahler cycle with the Lucerne Festival Orchestra was completed in a breathtaking performance of the Mahler 8th, simultaneously heralding in a new era in Lucerne.
Always smile and always be cheerful, always satisfied, no matter what happens, smile in spite of your sorrows and a thousand aches and pains, sings Prince Sou-Chong, thus introducing the fundamentally melancholic tone of Das Land des Lachelns (The Land of Smiles), which has a tragic ending in store. For the new production of this operetta, world-class tenor Piotr Beczala returned to the Opernhaus Zurich as Sou-Chong. He has an equal partner in Julia Kleiter, who plays the role of Lisa. Fabio Luisi and Andreas Homoki also know that the genre of operetta requires particular care- which is why they have assumed personal responsibility for this production. Homoki let's the plot take place in a Paris Variete theater from the 1920s, complete with show staircase and heavy curtains. To emphasize the operatic elements, he condensed the piece, cutting several secondary roles and shortening dialogues. This production was recorded at the Opernhaus Zurich in June 2017.
More than 200 years after its premiere at the Gewandhaus in Leipzig, Isabelle Faust, Jean-Guihen Queyras and Martin Helmchen have congenially mastered the artistic challenge of Beethoven’s gemstone. Under Herbert Blomstedt's sensitive direction, the soloists unite chamber musical intimacy together with virtuoso sophistication – and prove once again that the Triple Concerto is an unduly underestimated, much too rarely programmed masterpiece. With the composer's 5th Symphony, Blomstedt succeeds in achieving an entirely new perspective of this work. In the culmination of his three-year, intensive reenactment of Beethoven’s cosmos, the impressive sound that characterizes the Swedish grand seigneur's conducting is heralded by transparency rather than showmanship, relevance instead of pathos, and tenderness in place of sentimentality.
More than 200 years after its premiere at the Gewandhaus in Leipzig, Isabelle Faust, Jean-Guihen Queyras and Martin Helmchen have congenially mastered the artistic challenge of Beethoven’s gemstone. Under Herbert Blomstedt's sensitive direction, the soloists unite chamber musical intimacy together with virtuoso sophistication – and prove once again that the Triple Concerto is an unduly underestimated, much too rarely programmed masterpiece. With the composer's 5th Symphony, Blomstedt succeeds in achieving an entirely new perspective of this work. In the culmination of his three-year, intensive reenactment of Beethoven’s cosmos, the impressive sound that characterizes the Swedish grand seigneur's conducting is heralded by transparency rather than showmanship, relevance instead of pathos, and tenderness in place of sentimentality.
Bach: Mass In B Minor / Biller, Krumbiegel, Lattke, Langner
Accentus Music
DVD
$31.99Mar 25, 2014
BACH Mass in b • Georg Christoph Biller, cond; Reglint Bühler (sop); Susanne Krumbiegel (mez); Susanne Langner (alt); Martin Lattke (ten); Markus Flaig (bs); Thomanerchor Leipzig; Freiburg Baroque O • ACCENTUS 20281 (DVD: 114:07) Live: Leipzig 6/23/2013
Quite apart from the fact that it was probably never performed in Bach’s lifetime, it is hard for us in our day to see just how strange Bach’s Mass was in its own time. In is structured in four parts instead of the traditional five, it is highly demanding of both voices and instruments—itself not automatically a negative characteristic—and it is so massive as to be liturgically impractical. Strictly speaking, the “Mass” applies only to the Kyrie and the Gloria, required elements in any Lutheran main service, but also similarly used in some Roman Catholic services of the time. Though there are other, earlier large liturgical pieces—Monteverdi’s Vespers, for example—I cannot think of another concert Mass before it (but there likely is one somewhere). In hopes of getting a title, Bach sent the Missa, the first two sections, to the Roman Catholic Elector of Saxony on July 27, 1733, but its final, expanded, form comes from 1748–49. It was probably performed in Berlin in 1811 or 1812, but the first recorded performance was not before 1835, also in Berlin.
Little can be said of this piece that has not already been said hundreds of times. It is a monument that, like all great monuments, does not yield all its secrets at once. It is also one for which no recording, however sophisticated, can ever replace the experience of being there when it is sung, and I can further attest that nothing at all can surpass the experience of actually singing it. This said, it must also be noted that there is no lack of fine recordings: ArkivMusic currently lists 114, of which there seem to be about 8 DVD performances, with the present one also available in Blu-ray.
Georg Christoph Biller is in the no-longer curious position of competing with himself in the same place and in the same context, the Bach Festival in Leipzig, then in 2000 (DVD, Euroarts, rev. 30: 5), now in 2013. Though his sense of the timing of each section has not much changed over those years, there is a considerable difference in his overall approach.
First, while he is certainly up-to-date on all the current issues of historically-informed performance practice, he has properly felt free to adapt them to the forces at his command. Though the Thomanerchor as a whole counts just under 100 boys, aged 10 to 19, the choir on both recordings consists of something over 50. However fine the soloists are, this piece lives or dies by the quality of the choral singing. The Thomanerchor is not an amateur choir of cute children but, rather, a serious musical organization which makes a spectacular noise. Their sheer joy and complete technical proficiency leave no doubt that they know everything they need to know in order to project the ultimately exuberant spirit of this piece.
The first and most obvious difference between the two performances is the sound of the choir itself. Partly due to the bright recording and partly due to their articulation, the sound in 2000 was rather aggressive and deliberately heavily aspirated (E-le-he-he-he-he-he-he-he-i-son), which certainly makes each note in the run easier to sing but is choppy and not particularly graceful. The great pleasure of the new recording is that the choir has discovered that it can make a legato line that still articulates each note, and the result is a clarity of line that allows Biller to make each line go somewhere itself and not just be a sequence of notes. Then, too, here Biller uses a smaller group for certain quiet sections, such as Et incarnatus est/Crucifixus (And he was born/Crucified), in the Creed, for instance, to gain greater contrast with the following section, Et resurrexit (And he arose). In the Sanctus, he physically rearranges the choir, to set it up for the double-choir conclusion from the Osanna to the end.
The second difference is the orchestra. In 2000, Biller had the services of players from the Gewandhaus Orchestra in Leipzig, whose modern instruments added brightness to the whole sound. In 2013, he used the Freiburg Baroque Orchestra. Now, in addition to playing at the lower, so-called “Baroque,” pitch of around A=415 instead of at modern pitch of around A=440, the fewer overtones and resultant milder quality of these older instruments actually support rather than overwhelm the choir and soloists. For their solos, the instrumentalists stand.
Third, the five vocal soloists in the later recording sing from amidst the choir rather than, as earlier, at the front of the church balcony on which everything is performed. While we certainly hear them clearly, they are, as a group, inherently less powerful and less characterful than the quartet used in 2000. This may partly be a recording strategy, but they are well balanced with respect to the orchestra.
The production work in this DVD is exemplary. The concentration is all on the performers: There are no side trips to interesting corners of the church and only occasionally to the audience. The only timing glitch is in that given for the Dona nobis pacem (Grant us peace) at the very end: The music actually takes 3:02 and the rest of the 6:11 claimed is given over to applause and bows. It is a real mistake that none of the members of the orchestra nor the fine instrumental soloists is named anywhere in the material or on the DVD, and the web site of the Freiburg Baroque Orchestra is no help in trying to identify who they are. And who are the two boys also given a separate bow at the end?
The smiles on the faces of the boys afterwards tells us that they had a good time. I had a good time too, and wanted nothing so much as to get up there and sing with them. This is a fine performance: Bach is well-served by everyone, and it goes on my next Want List. Much recommended.
Verdi: Messa da Requiem / Luisi, Philharmonia Zurich
Accentus Music
DVD
$41.99Oct 20, 2017
With the "Messa da Requiem“, Christian Spuck brought one of Verdi’s key works to the stage. In a large-scale co-production by the Ballett and Oper Zurich, the German choreographer and director ventured to portray an unusual interpretation of Verdi’s funeral mass in his scenic choreographic production. 36 dancers, the choir and supplementary choir of the Opernhaus Zurich as well as four highly acclaimed soloists joined together under the direction of Fabio Luisi for 13 wide ranging scenes dedicated to one of the most fundamental themes of humanity. Christian Spuck does not seek a mere religious interpretation of the liturgical text. Instead, he is interested in focusing on people who, in their vulnerability and helplessness, are in the search for comfort. In poetic tableaux he deals with basic human emotions and focuses on the feelings of fear, rage, pain, sadness and the search for redemption.
In the Overture and Incidental Music to William Shakespeare’s ‘Midsummer Night’s Dream,’ Felix Mendelssohn brings the illustrious company of elves, lovers’ passions and the solitude of the forest or a moonlit night to musical life. It became a model for other literary reflections in music like Peter Tchaikovsky’s ‘Manfred Symphony.’ It’s four movements- or “images,” as the composer himself named them- capture the world-weariness of George Byron’s ‘Manfred: A Dramatic Poem’ in music. Riccardo Chailly and the Lucerne Festival Orchestra awaken the musical imagery of both works in a colorful, fresh, and enchanting performance. This release was recorded live at the Concert Hall of KKL Luzem, Lucerne Festival in August of 2017.
Brahms: Academic Festival Overture - Violin Concerto - Symph
Belvedere Edition
DVD
$32.99Sep 14, 2018
The Cleveland Orchestra is the “aristocrat among American orchestras” (The Telegraph) and its sovereign, Franz Welser-Möst, rules his subjects with a velvet glove. Indeed, velvet and silk keep showing up in descriptions of the Clevelanders’ sound under its principal conductor. It is Welser-Möst’s nimble alternation between smoothness and a sound that’s as “sharp-edged as a skyscraper” (The Telegraph after the Brahms’ First at the orchestra’s London Proms concert). That keeps the ensemble and the audience figuratively on its toes. Brahms’ Fourth and last Symphony could be said to glow with autumnal colors. Endowed with a strong undercurrent of subdued melancholy, it seems to pine for an irretrievable past. Franz Welser-Möst offers a “lean, propulsive performance” (The Plain Dealer) of this work with his highly concentrated Cleveland Orchestra. The swift pace of the symphony in Welser-Möst’s hands reflects the conductor’s quest for a distinctive, far-from-the-mainstream interpretation. Written nearly contemporaneously in the late 1870s, Johannes Brahms’ rousing Academic Festival Overture and Violin Concerto op. 77 bear witness to a composer at the height of his abilities, a mature master of large-scale masterpieces. The Violin Concerto demands extreme technical proficiency. As if to exemplify this, violinist Julia Fischer gears herself from the very start of this emotionally searing work to maintaining a restrained yet passionate tone.
The Cleveland Orchestra Centennial Celebration (1918-2018)
Belvedere Edition
DVD
$26.99Feb 08, 2019
Franz Welser-Möst has conducted The Cleveland Orchestra in a series of acclaimed video and audio productions, further enhancing the ensemble's storied recorded legacy. At the Anniversary Gala on September 29, 2018, documented in the present video recording, he programmed works touching on more than a century of Viennese musical traditions. Opening with Mozart's Piano Concerto No. 24, featuring soloist Lang Lang, a regular collaborator with the orchestra since 2000, it also includes works by Richard and Johann Strauss, concluding with Ravel's cataclysmic La Valse. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble's growth and sound: Nikolai Sokoloff, Artur Rodzinski, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst. The opening in 1931 of Severance Hall as the Orchestra's permanent home brought a special pride to the ensemble and it's hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra's artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland's place among the world's top orchestras. For this anniversary concert, The Cleveland Orchestra will be joined by none less than world famous pianist Lang Lang. Heralded by the New York times as "the hottest artist on the classical music planet, " Lang Lang works with many of the best classical musicians of our time. He first appeared with The Cleveland Orchestra in 2000.
Weber was at the forefront of the rise of German Romantic opera and sought to dethrone Rossini from his position as the leading operatic composer in Europe. In his breakthrough and most popular opera Der Freischütz (‘The Marksman’) composed in 1821, he succeeded in his aim of establishing a truly German form. Turning to the folklore and folk songs of his native land he took a story of a marksman who makes a pact with the Devil, vesting it with powerful intensity – not least in the famous Wolf’s Glen scene – and an astonishing control of orchestral color and atmosphere.
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REVIEW:
Goodness, but Der Freischütz is a problematic opera for today! You can’t ignore it because it’s instrumental in the development of German musical Romanticism; several scholars would even call it its progenitor. Schumann, Mendelssohn, Wagner and Strauss would have been unthinkable without it, and even Beethoven, who was no friend of Weber’s, was impressed. However, it poses an all but insoluble problem in staging it for modern audiences. Its setting is so grounded in the Romantic German Forest that any attempts to remove it from there or to update its setting invariably fall flat or seem reductive (or simply indulgent). However, staging it in its original setting risks seeming like a parody of blood-and-soil National Socialism. This dilemma means that, more often than not, it’s one of those works where you’re far better to retreat into the pictures of your own mind’s eye, and happily we have lots of good CD recordings to help us do that, most notably those from Keilberth, Kleiber, Harnoncourt and Davis.
This 2017 La Scala production is a game-changer, however, and it does the best job I’ve yet seen of putting the opera on stage in a way that is neither daft nor wilfully obstructive. Matthias Hartmann goes for a mixture of the specific and the abstract. There are plenty of trees to put us in the forest, but well-placed strips of lighting suggest the church, the hut and the mountainscape behind. The costumes are a quirky mix of national dresses – ranging from Scotland to the Balkans – but, more importantly, Hartmann also gets into the work’s dark psychological possibilities, wondering whether Max’s obsession with the magic bullets is a mirror for his wider insecurities. He doesn’t shun the supernatural, however: various devils appear to direct Kaspar’s actions, and occasionally we see demonic creatures that might have been lifted out of a painting by Hieronymus Bosch. Importantly, this eclecticism works. It poses many questions and gives every facet of the opera its due without getting trapped in any of them, and that alone makes this the opera’s most successful outing on film to date.
The musical performances are excellent too. Who would have thought that the La Scala orchestra would be so good at this cornerstone of the German repertoire? Their playing of the overture is one of the best you’ll hear, with dark, suggestive strings at the opening, a heart-stopping quartet of horns, and a crackling sense of drama in the main Allegro. Myung-Whun Chung is a natural with the whole score, too, shaping the unfolding drama with an unfailingly right sense of where it is going and how it is going to get there.
The singers are top-notch. Julia Kleiter is radiant, luxuriously beautiful in her two big arias without a hint of simpering, and Eva Liebau’s Ännchen is a delightfully light-hearted contrast. Both are fully comfortable in the tessitura and are a joy to listen to as well as to watch. Michael König has a tiny touch of abrasion in his Heldentenor voice, but I could forgive him for his heroic tone, and Stephen Milling does a wonderful deus ex machina as the Hermit. Best of all, though, is Günther Groissböck, whose Kaspar sets the stage alight, almost literally so in the Wolf’s Glen scene. He’s a powerhouse to watch, and he uses his big bass voice with agility and athleticism to bring the part to life.
I approached this with a good degree of scepticism, but I found it completely compelling and was totally won over. To my great surprise, it solves the problems of staging Der Freischütz for our time. With its compelling production and its brilliant musicianship, it is now a clear first choice for Der Freischütz on film, and it’s by some margin the best opera film I’ve seen in 2019 so far.
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