Naxos AudioVisual
NAXOS Audiovisual offers a catalogue of more than 3,000 productions of high-profile opera, ballet, concert and documentary programmes. We exclusively distribute the productions of the Royal Opera House and from distinguished producers like Bel Air, Idéale Audience, François Roussillon et Associés, PARS Media and Dynamic. The greatest artists of our time are captured in high-end recordings of acclaimed productions from top venues like Covent Garden, the Bolshoi Theatre, Teatro Real, Opéra Comique, Bavarian State Opera, Verbier Festival and many more.
69 products
-
-
-
SaleBeethoven and His Contemporaries, Vol. 2 / Forck, Akademie für Alte Musik Berlin [DVD]
Naxos AudioVisual · Nov 2021DVD$27.99$13.99 -
-
-
SaleRameau: Hippolyte et Aricie / van Mechelen, Benoit, Pichon, Pygmalion [Blu-ray]
Naxos AudioVisual · Nov 2021Blu-Ray$34.99$17.49 -
-
-
SaleBeethoven and His Contemporaries, Vol. 2 / Forck, Akademie für Alte Musik Berlin [Blu-ray]
Naxos AudioVisual · Nov 2021Blu-Ray$30.99$15.49 -
-
-
SaleBeethoven and His Contemporaries, Vol. 1 / Forck, Akademie für Alte Musik Berlin [Blu-ray]
Naxos AudioVisual · Nov 2021Blu-Ray$30.99$15.49 -
SaleBelcanto - The Tenors of the 78 Era [Blu-ray]
Naxos AudioVisual · Mar 2018CD + Blu-Ray$57.99$28.98 -
-
-
SaleGershwin: Concerto In F, Rhapsody No 2, I Got Rhythm Variations / Orion Weiss [blu-ray Audio]
Naxos AudioVisual · Feb 2012Blu-Ray$16.99$8.49 -
-
-
SaleRossini: Il Barbiere di Siviglia / Rhorer, Le Cercle de l'Harmonie
Naxos AudioVisual · Sep 2019DVD$30.99$15.49 -
-
-
SaleA Musical Journey - Germany: A Musical Visit to the Benedict
Naxos AudioVisual · Jul 2012DVD$13.99$6.99 -
-
-
-
-
SaleWagner: Der Fliegende Hollander / Youn, Brimberg, Minkowski, Les Musiciens du Louvre
Naxos AudioVisual · Oct 2019DVD$30.99$15.49 -
-
-
SaleRimsky-korsakov: Legend Of The Invisible City Of Kitezh / Vedernikov, Kazakov, Panfilov
Naxos AudioVisual · Dec 2011DVD$37.99$18.99 -
-
-
SaleA Chinese Musical Journey - Shanxi: A Cultural Tour with Tra
Naxos AudioVisual · Mar 2011DVD$13.99$6.99 -
-
-
SaleA Musical Journey - Austria and Italy: A Musical Tour of the
Naxos AudioVisual · Sep 2011DVD$13.99$6.99 -
-
-
SaleMarin Alsop Conducts Peter and the Wolf and other Fairytales / Britten-Pears Orchestra [Blu-ray]
Naxos AudioVisual · Nov 2019Blu-Ray$30.99$15.49 -
-
-
SaleProkofiev: Symphonies Nos. 1 'classical' & 2; Dreams
Naxos AudioVisual · Oct 2014Blu-Ray$16.99$8.49 -
SaleA Chinese Musical Journey - Xinjiang: A Cultural Tour with T
Naxos AudioVisual · Mar 2011DVD$13.99$6.99 -
-
-
-
-
-
Beethoven and His Contemporaries, Vol. 2 / Forck, Akademie für Alte Musik Berlin [DVD]
The award-winning Akademie für Alte Musik Berlin has become one of the world’s leading chamber orchestras on period instruments. These concerts reveal some of the foundations of Beethoven’s genius, and capture vital performances from the 2020 SWR Schwetzingen Festival, the biggest radio festival for classical music in the world. Robert Schumann pointed out similarities between Méhul’s First Symphony and Beethoven’s Fifth, and these third and fourth concerts in the cycle also include a tempest by Holzbauer that precedes Beethoven’s by half a century, plus the little-known Le portrait musical de la nature by Justin Heinrich Knecht, a work that also anticipates Beethoven’s ‘Pastoral’ Symphony. The first and second concerts are also available on Naxos.
Rameau: Hippolyte et Aricie / van Mechelen, Benoit, Pichon, Pygmalion [Blu-ray]
Rameau’s first opera Hippolyte et Aricie delivered a lyrical tragedy of such extraordinary intensity it changed the course of French music, stunning and overwhelming its audiences. This breathtaking spectacle involves prince Hippolyte, who asks his mother-in-law Queen Phédre for help in wooing the beautiful Aricie, little knowing that Phèdre secretly wants Hippolyte for herself. In a single work Rameau re-invented tragédie en musique with dramatic expressiveness and shocking harmonic innovations. It is seen here in an acclaimed Opéra Comique production that personifies Rameau’s assertion that ‘music must speak to the soul, its true aim must be to express thoughts, feelings, and passions’.
Beethoven and His Contemporaries, Vol. 2 / Forck, Akademie für Alte Musik Berlin [Blu-ray]
The award-winning Akademie für Alte Musik Berlin has become one of the world’s leading chamber orchestras on period instruments. These concerts reveal some of the foundations of Beethoven’s genius, and capture vital performances from the 2020 SWR Schwetzingen Festival, the biggest radio festival for classical music in the world. Robert Schumann pointed out similarities between Méhul’s First Symphony and Beethoven’s Fifth, and these third and fourth concerts in the cycle also include a tempest by Holzbauer that precedes Beethoven’s by half a century, plus the little-known Le portrait musical de la nature by Justin Heinrich Knecht, a work that also anticipates Beethoven’s ‘Pastoral’ Symphony. The first and second concerts are also available on Naxos.
Beethoven and His Contemporaries, Vol. 1 / Forck, Akademie für Alte Musik Berlin [Blu-ray]
The award-winning Akademie für Alte Musik Berlin has become one of the world’s leading chamber orchestras on period instruments. These concerts reveal some of the foundations of Beethoven’s genius, and capture vital performances from the 2020 SWR Schwetzingen Festival, the biggest radio festival for classical music in the world. These first two concerts of four see Beethoven’s revolutionary development through his first three symphonies set against C.P.E. Bach’s novel orchestration, Mozart’s pre-echo of a theme from the ‘Eroica’ Symphony, and Paul Wranitzky’s richly narrative Grande Sinfonie caractéristique, a work banned by the Viennese authorities of the day. The third and fourth concerts are also available on Naxos.
Belcanto - The Tenors of the 78 Era [Blu-ray]
Also available on standard DVD
This new release is a documentary series about the great tenors and bel canto singing in the first half of the 20th century by Jan Schmidt-Garre. With the development of sound film in the 1920s and 30s, the great tenors, such as Beniamino Gigli, Richard Tauber and Lauritz Melchior, became movie stars. Countless “singer movies” were made, but great vocal performances were also captured in documentaries and privately made movies. Using a wealth of rare restored material, this thirteen-part documentary series presents the great tenors from Enrico Caruso to Jussi Bjorling, and together with comprehensive essays, offers a deep and inspiring insight into the art of bel canto. Bel Canto – The Tenors of the 78 Era series was broadcast in thirty countries and awarded at the Columbus International Film Festival and at Classique en Images at the Louvre.
DETAILS:
Picture format: 1080i NTSC 16:9 NTSC 4:3
Sound format: PCM Stereo
Subtitles: EN, FR, DE, IT, ES, JP, KR
Region code: A, B, C
No. of disc/s: 2 BD50, 1 DVD5, 2 CDs
Gershwin: Concerto In F, Rhapsody No 2, I Got Rhythm Variations / Orion Weiss [blu-ray Audio]
Also available on standard CD
George Gershwin’s Concerto in F was a response to demands for a ‘proper concerto’ after the success of Rhapsody in Blue, avoiding programmatic content while providing a feast of tunes both uplifting and nostalgic. Originally intended as music for a film, his up-beat Rhapsody No 2 describes the bustling Manhattan cityscape while under construction. Sourced from his hit musical Girl Crazy, I Got Rhythm Variations was Gershwin’s last full score. Pianist Orion Weiss is one of the most sought-after soloists and collaborators of his generation of young American musicians.
Rossini: Il Barbiere di Siviglia / Rhorer, Le Cercle de l'Harmonie
Rossini’s comic masterpiece The Barber of Seville was based on Pierre-Augustin Caron de Beaumarchais’s French play Le Barbier de Séville and is the ultimate opera buffa. The score is a compendium of the composer’s wittiest and most brilliant writing, and includes the famous entrance aria Largo al factotum and a raft of superbly dynamic ensembles. This vibrant and youthful production features Florian Sempey, one of the world’s best Figaros, the ‘Rossini tenor’ Michele Angelini, vivacious and critically admired Catherine Trottmann, and the award-winning team of acclaimed director Laurent Pelly and conductor Jérémie Rhorer who directs his spirited period ensemble Le Cercle de l’Harmonie.
-----
REVIEW:
The cast are in modern dress but the interaction of characters is so forceful as to sweep away any lurking objections. Add to this some very fine singing, particularly from Michele Angelini’s glorious high tenor as Almaviva, and there is a great deal here to admire and enjoy.
– Lark Reviews
A Musical Journey - Germany: A Musical Visit to the Benedict
Tianwa Yang Live in Concert in St. Petersburg
Wagner: Der Fliegende Hollander / Youn, Brimberg, Minkowski, Les Musiciens du Louvre
Der fliegende Holländer is considered to be the first ‘true’ Wagner opera. The story of the phantom ship and its haunted master becomes a sensually charged drama with love and tragic sacrifice at its heart, and this original 1841 version leaves the ultimate redemption of its central characters unresolved. Wagner originally conceived the opera for Paris, so it is fitting that this production from the Theater an der Wien is driven by French director Olivier Py’s unique vision, with a staging that dispels many of the misconceptions surrounding Wagner’s art.
-----
REVIEW:
Played out in stylish black and white on Pierre-André Weitz’s ingenious, frequently revolving set, actors and set elements come and go to sometimes dizzying effect. There’s a dreamlike quality to the action—something only has to be mentioned and it magically appears. The graveyard that springs up at the Dutchman’s feet, the waves that appear at the end, the skull and skeletons, are all theatrical coups. It’s sometimes brain-taxing, yet never less than theatrically engaging and dramatically compelling.
As the Dutchman, Samuel Youn sings with incisive power and great attention to text. Ingela Brimberg’s Senta is viscerally felt with thrilling top notes, if occasionally strident, while Bernard Richter’s warm-toned tenor is spot on as Georg. Lars Woldt’s grasping bully of a Donald raises a nasty misogynist flag about the world in which his daughter is bartered and sold. François Roussillon’s astute video direction manages to focus the action without losing the appropriate sense of scale. Sound—especially orchestral detail—is excitingly meticulous.
– Limelight (Australia)
Rimsky-korsakov: Legend Of The Invisible City Of Kitezh / Vedernikov, Kazakov, Panfilov
RIMSKY-KORSAKOV The Legend of the Invisible City of Kitezh and the Maiden Fevronya • Vitaly Panfilov ( Prince Vsevolod ); Tatiana Monogarova ( Fevronya ); Mikhail Gubsky ( Grishka Kuterma ); Mikhail Kazakov ( Prince Yury ); Gevorg Hakobyan ( Fyodor Poyarok ); Marika Gulordava ( Page ); Valery Gilmanov ( Bedyay ); Alexander Naumenko ( Burunday ); Alexander Vedernikov, cond; Cagliari Th O & Ch • NAXOS 2.110277/78 (2 DVDs: 187:28) Live: Cagliari 5/2–4/2008
I wanted to see this video because, for many years, I’ve heard exorbitant praise from certain critics regarding Kitezh , yet in listening to the commercial recording conducted by Valery Gergiev I felt let down. The music seemed to me flat and characterless, lacking drama, development, and momentum. Surely, I said to myself, a good stage production would change my mind, as it did with Mussorgsky’s Khovanschina.
Yet opinions on The Invisible City of Kitezh (to abbreviate its title) are divided. Although many critics wax ecstatic over Rimsky-Korsakov’s magnificent orchestration for this work, few outside Russia are very impressed by the opera as a whole. It is an overlong, derivative grand opera in which two old tales of magic were welded together by librettist Vladimir Belsky, and finally presented intact in 1908. Even the first Russian audiences didn’t care much for it, finding it very old-fashioned in concept and musical style as well as overly rambling, though it is still periodically revived, mostly within Russia.
This production gives us a rare glimpse of the opera as performed in Italy. The audience reaction is not enthusiastic; on the contrary, when the applause comes at the ends of acts, it sounds like perhaps 80 to 100 people half-heartedly clapping.
One glance at the production tells you why. Although it is not Regietheater —the characters are, thankfully, clad in traditional-looking costumes—Eimuntas Nekro?ius’s idiotic staging has too much symbolism and too little that resembles reality. The first act, set in the “woods,” presents a stage littered with “wooden” structures, bird houses and the like. Get it? Woods. The presentation of Little Kitezh, where the maiden Fevronya is to marry Prince Vsevolod, is cluttered with giant, tinfoil-covered bell-like objects with people popping out of their tops. Get it? Bells. This kind of idiocy continues throughout a production of a work in which the music itself is also static and rarely wedded to the text. In act IV, scene 1, where Fevronya and Grishka are supposed to be wandering in the woods, what you see is a plain blue-tiled floor with two Erector-set structures in the background. Apparently, Nekro?ius ran out of birdhouses, but not to despair! When Grishka runs off into the woods and Fevronya is left alone, two giant, hideous bird creatures sneak out of the woods and behind her as she sleeps. Perhaps Nekro?ius has seen too many of the Alien movies. In the final scene, supposed to represent Kitezh triumphant, the stage is filled with objects that look like rocket silos.
Musically, many passages sound like leavings from Boris Godunov, and not good leavings at that, so even when the singers are excellent the plot crawls along. It is an opera more about characters who stand there and sing than about characters creating a musical drama. Compare, for instance, the first act to the similar situation in Verdi’s Don Carlo. A prince meets a beautiful woman in the woods, and they fall in love. Verdi miraculously manages to wed lovely music, some of it even memorable, to a flexible musical structure in which the orchestra comments on or moves the action. Rimsky-Korsakov creates a static structure wedded to pretty but undistinguished melodies that just toodle along, and do so for half an hour.
Moreover, the plot is remarkably dismal and depressing for a magic or fairy-tale opera. Everyone sings about death even before the Tartars invade Russia, and several characters die except Fevronya and the seedy drunkard Grishka Kuterma, who becomes a traitor, willing to turn Kitezh over to invading Tartars and finger Fevronya as the snitch just to save his own worthless hide. Prince Vsevolod goes off to battle for Kitezh, not to win it but to die in it. (I’m guessing he flunked military school.) He does so, but returns in the second half of act IV as a ghost, and at the end of the opera Fevronya marries the ghost. And you talk about overlong … each of the first two acts runs over a half hour, but each of the last two acts runs more than an hour apiece.
Getting to the performance, Tatiana Monogarova is simply magnificent as Fevronya, not only vocally but histrionically, which is important because this is a rare Russian opera in that the soprano dominates everything. Here is a woman who fully understands how to inhabit a role. You come to believe wholeheartedly in her character within the first five minutes she is onstage, and she holds you in her thrall to the end. As for her voice, it is a remarkably rich lyric soprano, close to spinto in power, exactly the kind of voice Rimsky wanted for this part. Her midrange, in fact, reminds me strongly of Mirella Freni at her best, only with more power. The top range is not as lovely as Freni’s, but it has its own interesting luster and more metal. Monogarova made her American debut as Lisa in Pique Dame in Houston in 2010, and also began singing Cio-Cio-San around the same time in Europe. She is signed with IMG, and I really do wish her well in what I hope will be a major career.
Vitaly Panfilov, as Prince Vsevolod, is neither an interesting actor nor a particularly fine singer. The voice is fluttery, dry, and percussive. He sings on pitch and phrases well, but that is all one can say of him. His stage presence registers somewhere between nil and mediocre. On the other hand, Mikhail Gubsky as the nefarious Grishka Kuterma is a superb stage actor, though his voice is strictly that of a good comprimario. Nevertheless, the world needs good comprimarios, and he is certainly one of them. His pathetic wheedling is completely believable.
A word of praise is also due Marika Gulordava in the somewhat thankless role of the Page. The Page is analogous to Cassandra in Les Troyens or the Simpleton in Boris, someone who warns of danger to come. Though her role is important it is not as long as either of the other two, yet Gulordava is simply stunning in her one big scene. Her voice is not as beautiful as Monogarova’s, but it has a laser-beam focus with a bright, perhaps over-brilliant top. As a musician and singing actress she is first-rate. I also hope for her to have a good career. Mikhail Kazakov, singing the role of Vesvolod’s father, Prince Yury, has a nice voice but an uneven flutter and a constricted low range, a real detriment for a Russian bass.
Alexander Vedernikov is a fine conductor who obviously loves and understands this music. He brings out all of the wonderful orchestral subtleties of the score and moves the opera about as well as can be expected under the circumstances. Indeed, his conducting here is finer for this particular work than Gergiev’s.
My copy of the DVD may have been defective, but all through the first two acts the video is out of synch with the audio, as if one were watching something in which the video was on a two-second tape delay. On the second DVD, most of it is in synch, yet there are still strange moments when the picture freezes for a couple of seconds, only to jump ahead and eventually catch up with the audio.
Thus there are good and bad points to be taken into consideration in approaching both the work and the performance, but if you are fond of Kitezh I would recommend this for the excellent acting of a handful of participants and the excellent singing of the two sopranos.
FANFARE: Lynn René Bayley
-------
THE LEGEND OF THE INVISIBLE CITY OF KITEZH AND THE MAIDEN FEVRONYA
Opera in 4 Acts. Sung in Russian
Libretto by Vladimir I. Belsky
Prince Yuri Vsevolodovich – Mikhail Kazakov
Hereditary prince Vsevolod Yuryevich – Vitaly Panfilov
Fevronya – Tatiana Monogarova
Grishka Kuterma – Mikhail Gubsky
Fyodor Poyarok – Gevorg Hakobyan
Page – Marika Gulordava
Two notables – Gianluca Floris, Marek Kalbus
Bedyay – Valery Gilmanov
Burunday – Alexander Naumenko
Orchestra e Coro del Teatro Lirico di Cagliari
(chorus master: Fulvio Fogliazza)
Alexander Vedernikov, conductor
Eimuntas Nekrošius, stage director
Marius Nekrošius, set designer
Nadezhda Gultiayeva, costume designer
Audrius Jankauskas, lighting designer
Recorded live from the Teatro Lirico di Cagliari, Sardinia, 2 and 4 May 2008
Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.0 / DTS 5.0
Region code: 0 (worldwide)
Subtitles: English
Running time: 187 mins
No. of DVDs: 2 (DVD 5 + DVD 9)
Verbier Festival: 25th Anniversary Concert
The Verbier Festival is one of classical music’s greatest events. In celebration of the festival’s 25th anniversary, this unique concert brings together 36 classical stars in an unprecedented evening of ingenious programming and captivating performances. The line-up includes the world’s greatest violinists, violists, cellists and pianists as well as other leading performers conducted by Valery Gergiev and Gabor Takacs-Nagy. Founder and director Martin T:son Engstroem writes: “We started this incredible adventure in 1994, and 25 years on, our Festival has become one of the world’s most important cultural events. But it is not just another festival; our vision right from the beginning was to build something which combined important musicians with a very visible youth and learning element. This is what we set out to do and this is what we achieved.”
A Musical Journey - Austria and Italy: A Musical Tour of the
Marin Alsop Conducts Peter and the Wolf and other Fairytales / Britten-Pears Orchestra [Blu-ray]
This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.
Also available on standard DVD
These live performances from Snape Maltings Concert Hall present some of the most popular classical works for younger audiences. Their perennial appeal is a result of vivid melodies, witty instrumental characterisation, and in three works, the use of spoken texts to illuminate the narrative. Whether composed to amuse, entertain or educate, each possesses marvellous vitality, lyricism and bravura. The performances are conducted and narrated by Marin Alsop, one of the world’s most inspirational musical communicators.
-----
REVIEW:
The chamber orchestra used for Saint-Saens's Carnival of the Animals, with two solo pianists, is of excellent quality. By far the most frequently played section, The Swan, is beautifully performed by the principal cello of this student ensemble.
The video was made in 2017 and 2018, the young people having had the good fortune of working with the conductor, Marin Alsop. The resulting concerts were filmed with Alsop acting as narrator, that narration becoming more serious as she takes us through The Young Persons Guide to the Orchestra, a searching test for the young players who give a very creditable performance. As one would expect from the Snape Malting's venue, the sound quality is excellent, the result being a highly desirable gift for the children in your life.
– David's Review Corner (David Denton)
Prokofiev: Symphonies Nos. 1 'classical' & 2; Dreams
Verdi: Macbeth
Donizetti: Don Pasquale (Sung In German) [DVD]
Donizetti’s Don Pasquale represents the high point of the Italian buffa tradition, a sparkling comedy using characters from commedia dell’arte in ways that are entertaining, witty and playful. It was the work selected by the Vienna State Opera for its 1977 tour through Austria. Starring famous singers like the bass Oskar Czerwenka, the great lyric tenor Luigi Alva and, on the cusp of international fame, Edita Gruberova (soon to become the ‘queen of bel canto’) – this filmed performance, in colour and sung in German, showcases an outstanding ensemble at the height of its powers.
Lully: Atys / Christie, Les Arts Florissants
Jean-Baptiste Lully’s Atys, a tragédie en musique, became known as the ‘king’s opera’ due to Louis XIV’s fondness for it. The work stands as a testament to the Sun King’s courtly refinement, as well as his moves to make France the center of European artistic culture. The opera’s themes of romantic dilemmas and ultimate tragedy, set amidst the poetic atmosphere of Ovid’s classical mythology, create the perfect vehicle for a narrative filled with dramatic intensity combined with a myriad of moving and expressive arias and duets. William Christie conducts this acclaimed production – hailed by The New York Times as being ‘as satisfying as it is bold’.
REVIEW:
The role of Atys is physically as well as vocally taxing, but is here superbly realised by the German tenor, Bernard Richter, while the French soprano, Emmanuelle De Negri, is an excellent Sangaride, with the creamy voice of the mezzo, Stephanie D’Oustrac, as Cybele completing the love triangle. The cast list is large, and with the Compagnie Fetes Galantes providing the dancers, the stage is at times totally filled. The reviews at the time of filimg (2011) were suitably euphoric regarding the casting, and equally of the presence of the period instrument orchestra, Les Arts Florrissants, with the idiomatic conducting of William Christie. The filming itself is immaculate in its ideal mix of full stage and close-up images, while the sound quality is gorgeous.
– David's Review Corner (David Denton)