This spectacular film of Don Quixote, choregraphed after Petipa and directed for the screen by Russian ballet superstar Rudolf Nureyev, is recognized as one of the finest ballet performances ever caught on camera and a cinematic triumph in its own right. Filmed in Melbourne with the Australian Ballet in 1973, the cast includes Nureyev as Basilio, Sir Robert Helpmann as the deluded knight and Lucette Aldous as Kitri. This timeless story of love, gallantry and misadventure – all unfolding with Minkus’s exhilarating Spanish flavored music – has stood the test of time as one of the world’s most popular ballets. Lovingly restored from the original 35mm film, and to be heard for the first time in full SS digital stereo created for the DVD and Blu-ray release, this is finally, how Nureyev intended his Don Quixote to be seen and heard.

Mariss Jansons was one of the most important conductors of our time, celebrated worldwide and held in the highest regard – all the more so since his unexpected death on December 1, 2019. "Mariss Jansons - The Edition," comprising 70 recordings and a box set in representative LP format, documents the final phase of his life and career: his work as chief conductor of the Symphonieorchester des Bayerischen Rundfunks and the Bavarian Radio Chorus between 2003 and 2019. Predominantly live recordings from Munich, Tokyo, Vienna, New York, Waldsassen, and the Vatican enable listeners to experience for themselves musical highlights that are as moving as they are exciting. The set contains a remarkably diverse repertoire, ranging from symphonic music and great choral works to opera, and from the First Viennese School to 20th century classical music. "Mariss Jansons - The Edition" contains works by a broad range of composers, including complete cycles of the symphonies of Beethoven, Brahms, and Mahler respectively. It is supplemented by fascinating rehearsal recordings that bear witness to Jansons's trusting artistic collaboration with the musicians in his orchestra, together with a large-format, approximately 72-page-long booklet containing background information, essays, an interview, and a detailed track listing.

SUMMARY OF MAJOR WORKS:

Beethoven: Symphonies Nos. 1-9 (No. 9 appears twice)

Berlioz: Symphonie fantastique

Brahms: Symphonies Nos. 1-4 (No. 4 appears twice)

Bruckner: Symphonies Nos. 3-4; 6-9

Mahler: Symphonies Nos. 1-9 (Symphonies Nos. 3-4, 6, & 8 are FIRST RELEASES)

Saint-Saëns: Symphony No. 3 ("Organ")

Schoenberg: Gurre-Lieder

Schubert: Symphonies Nos. 3 & 8 (9); ("The Great")

Schumann: Symphony No. 1

Shostakovich: Symphonies Nos. 5-7, 9-10

Stravinsky: Petrouchka, Firebird, & Rite of Spring

Tchaikovsky: Symphonies Nos. 4-6; Pique Dame

Verdi: Requiem

MEYERBEER Robert le Diable • Daniel Oren, cond; Marina Poplavskaya (Alice); Patrizia Ciofi (Isabelle); Bryan Hymel (Robert); John Relyea (Bertram); Jean-François Borras (Raimbaut); Nicolas Courjal (Alberti); Royal Opera Ch & O • OPUS ARTE 1106 (2 DVDs: 211:00) Live: Covent Garden 12/15/2012

Robert le Diable marked two important firsts for Giacomo Meyerbeer (1791–1864): it was his first opera composed to a French rather than an Italian libretto, and his first collaboration with librettist and exact contemporary Eugène Scribe (1791–1861). It was a smash success upon its premiere on November 21, 1831, defining the genre of grand opera, and by some accounts was the most performed opera of the 19th century. (The act 3 ballet, in which a group of debauched nuns rise from their graves to reindulge their carnal appetites, created a sensation, though it doubtless later provided ammunition for the influential antisemitic element in the conservative wing of the Roman Catholic Church in France for attacks upon the composer at the end of the century, contemporaneous with the Dreyfus scandal and the rise of the fascist Action Française.) However, once the fashion for grand opera waned after Meyerbeer’s death, the composer and his works sank into desuetude, from which he and they have fitfully but increasingly emerged in the last 30–40 years, as former shibboleths and prejudices against him have waned and his contributions have been re-evaluated.

The booklet that accompanies this DVD release features an uncommonly intelligent essay by Robert Letellier, which argues that, contrary to the standard portrait of Meyerbeer as someone who merely catered to the bourgeois tastes of his time and sought and achieved success through spectacular but superficial musical and dramatic effects, the composer in fact had far loftier and more substantive concerns: “Much of Meyerbeer’s work as a dramatic artist focuses on the theme of faith and what this means in terms of the great choices of life....His most famous French operas [Robert le Diable, Les Huguenots, Le Prophète, L’Africaine] constitute a tetralogy in which the issues of faith, history, society and personal choice interact with the demands of intransigent religion and politics.” In the particular case of Robert le Diable, a “theological dimension” of “a spiritual drama about sin and salvation” is intertwined with such issues as “the attainment of the balanced personality, the issues of heredity and the demands of life fully lived in the present. It is also about making social and political choices between opposing and equally absorbing options: on the one hand party affiliation, the pursuit of corporal pleasure, financial acquisitiveness and sexual license; on the other, the quest for higher, spiritual and more altruistic ideals.” Moreover, Meyerbeer’s contemporaries understood the seriousness of his objectives as well, with for example the noted and highly influential author and critic Théophile Gautier (1811–1872) writing a penetrating critique of Le Prophète in 1858–59 which discussed that opera and its two predecessors as forming “an immense symbolic trilogy, filled with profound and mysterious meaning: the three principal phases of the human soul are represented there: faith, examination, and illumination.”

Since Christopher Williams provided a superb plot summary in his review in 27:1 of a 2003 CD set of the opera on Dynamic conducted by Renato Palumbo, I will omit that here and refer readers to his synopsis instead. The staging of this production is what I would term “postmodernist pastiche,” freely mixing updated elements of the setting of the plot (11th-century Italy) with those of its composition (19th-century France) and the present day. Act 1 is set in a French café that features the stereotypical red-and-white checkered tablecloths of many such establishments, but on the café roof are life-size plastic horses in neon day-glo colors (blue, green, red, orange, and yellow). The knights wear medieval suits of plate armor, but Robert wears a sport coat with portions cut away to expose the armor (apparently to signify his divided moral character, with deep longings for both good and evil), while the diabolical Bertram is clad in a dark full-body suit, plus a 19th-century full-length overcoat and enormous stovepipe hat. In act 2, the castle is a set of miniature cut-out frames of stone walls, turrets, etc., about five to six feet tall, set against a black and blue diamond checkerboard background, almost creating the effect of the characters moving through a child’s play set. Isabelle wears a kitschy headpiece consisting of a halo of little stars sticking out on wires, while Robert is now garbed in a full sport coat and open-necked dress shirt. Both Alice and Isabelle are arrayed in very simple dresses, the former in red and the latter in white. The plastic horses are now on ground level; the armor-clad knights float in, suspended in mid-air on wires, and are then lowered onto their faux steeds. In act 3, scene 1, the setting of mountainous clefts and caves is created with painted backdrops of thin black-and-white and red-and-white stripes. The ballet that follows in scene 2 has a red lattice framework backdrop and rectangular cage-like tombs from which the nuns emerge to cavort amidst gravestones. Act 4 utilizes the same set as act 2, with the addition of a throne in the foreground and the bathing of the proceedings in lime-green light. Act 5 uses an abstract stencil frame to suggest a church building, on either side of which Alice and Bertram respectively stand before cartoonish backdrops of a heavenly cloud bank and a giant dragon’s head. Somehow, this kitschy, tongue-in-cheek farrago of unmatched elements works better than the description of it sounds (it reportedly was roundly criticized in the British press); it strikes me as a little silly and at times perhaps slightly amusing, but it doesn’t disturb me or create any occasion for offense, unlike so much of current Regietheater.

The music itself strikes me as being of highly uneven character; in particular that of the first two acts seems quite ephemeral before Meyerbeer hits his dramatic stride with the opening of act 3. Even then, the best parts of the score are nowhere near a match for that of Les Huguenots, which followed a mere five years later; Meyerbeer greatly advanced in his craft during that short interval. However, this performance is musically excellent and presents the score to its best advantage. A CD recording of a live performance from Salerno, with a partially overlapping cast (Ciofi, Hymel, and Oren) was just issued by Brilliant Classics and reviewed by Lynn René Bayley in 37:1. Ciofi and Hymel are as excellent here as there: Ciofi, who has made a specialty of the role of Isabelle over the years, has in her top notes a bit of acidity and oscillation in the vibrato, but she is a committed and affecting interpreter. After taking a very brief time to warm up, Marina Poplavskaya is a superbly touching Alice, demonstrating why she is justly in demand for lyric soprano roles in opera houses all over the world. As Robert, Bryan Hymel lives up to his recent spectacular press coverage as the tenor Bryn Terfel (whom he resembles physically to no small degree); he is the real deal, with a ringing, securely produced voice possessing both heft and sheen, and is able to bang out the stratospheric high notes (even if a couple of roulades around high C and D sound a bit strained). For his part, John Relyea boldly steps into the shoes of Samuel Ramey in the role of Bertram and fills them most ably, with his firm, sonorous, sepulchral bass filling the theater and limning out the diabolical dimension of his satanic character. The supporting cast is generally fine, with the excellent Raimbaut of Jean-François Borras deserving special mention. In comparing this to the Brilliant Classics version, there is no question that this is the superior performance, with Poplavskaya, Relyea, and Borres all being notably superior to their counterparts on CD and Hymel in even better voice here. Conductor Daniel Oren has in the past struck me as being merely competent, but here he seems to have found some special inspiration and provides fine leadership from the podium that is both energetic and lyrical, while the chorus and orchestra of Covent Garden are up to their usual high standards. The recorded sound and film quality are both excellent as well. A cast gallery and a brief documentary, “The Legacy of Robert le Diable,” are provided as extras.

Like all of its predecessors on LP and CD (see the list in Bayley’s review), this version is not unabridged, though the cuts are relatively minor and far fewer than in most other versions. Likewise, by every other measure, this performance far outstrips all of those previous versions for superior singing, instrumental playing, and sound quality. It’s been far too long a wait, but at last all four of Meyerbeer’s grand operas finally have recorded performances in one medium or another (CD or DVD) that do them justice; highly recommended.

FANFARE: James A. Altena

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

Also available on standard DVD

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 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)

Also available on standard DVD

The premiere of Korngold's Die tote Stadt at the Bayerische Staatsoper in 2019 was praised both by press and audiences. Marlis Petersen (Marie/Marietta) and Jonas Kaufmann (Paul) sang the main roles, with the Bayerisches Staatsorchester under Kirill Petrenko's baton, in the intense staging by Simon Stone. After opening night, Joshua Barone wrote in the NY Times: “[The] work's comeback may have reached its peak at the Bavarian State Opera. It’s difficult to imagine a better case for Die tote Stadt than was made in Munich.” The boundary between dream and reality dissolves as Paul, mourning his dead wife Marie, meets the dancer Marietta. With her looks so similar to Marie’s, Marietta becomes the object of the projection of Paul’s erotic desires. Following a nerve-racking “vision”, Paul is finally reeled back to reality and he can leave Bruges as the place of his death cult. The original title of the piece, “Triumph des Lebens”, is symbolic of the main character’s personal development. Just a few weeks before the successful world premiere of Die tote Stadt, none other than Puccini himself described Korngold as the “greatest hope of new German music”. Because of their melodic urgency, arias such as “Glück, das mir verblieb (Marietta's Lute Song)” and “Mein Sehnen, mein Wähnen (Pierrot's Song)” have found a home among the concert repertoires of many opera singers and radiate far beyond the fame of Die tote Stadt. This production is the first AV release on our newly launched label.

FRANCE: A Musical Tour of the South of France

The Places
The tour opens with views of the Camargue, the marshy region near Arles with its wild life. Views of the Côte d’Azur are intercut with glimpses of the Munich Glyptothek with its collections of Roman and Greek statuary. Near Arles is the ancient Abbey of Montmajour and the fortified monastery and Abbey on Saint-Honorat, one of the Iles de Lérins. In Arles we see the Roman theatre and necropolis and, at Saint-Rémy-de-Provence, the remains of the ancient Gallo-Greek town of Glanum.

The Music
Music for the tour includes Debussy’s evocative Prélude à l’après-midi d’un faune, two Gymnopédies by Erik Satie and Ravel’s two suites from his ballet Daphnis et Chloé, followed by his Introduction and Allegro for Harp, Flute, Clarinet and String Quartet.

Picture format: NTSC 4:3
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 57 mins
No. of DVDs: 1

Donizetti's three-act tragic opera Belisario was a resounding success in its day, driven by its composer’s superlative theatrical instinct and his skillful interweaving of intense tragic narrative and emotional pathos. Belisario is betrayed by his wife Antonina, who falsely accuses him of high treason. Belisario is blinded and exiled, with proof of his innocence coming too late, and is mortally wounded during a final military victory. This production was performed and recorded without an audience in Bergamo during the Covid-19 lockdown in November 2020 – a moving performance reflecting a spirit of defiance amidst ruin and darkness.

Also available on Blu-ray

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Anton Bruckner expanded the concept of the symphonic form in ways that have never been witnessed before or since. Daniel Barenboim and the Staatskapelle Berlin follow the harmonic development of Bruckner’s Symphonies Nos. 4-9, revealing the breathtaking musical panorama of these exceptional masterpieces. According to Der Tagesspiegel, this unforgettable Bruckner cycle sets new standards and guarantees the Staatskapelle Berlin and their principal conductor “a place in the Bruckner pantheon.”

Anton Bruckner
THE MATURE SYMPHONIES
(6-DVD Box Set)

Symphony No. 4 in E-Flat Major, WAB 104, “Romantic” (1881 version, ed. R. Haas)
Symphony No. 5 in B-Flat Major, WAB 105 (1878 version, ed. L. Nowak)
Symphony No. 6 in A Major, WAB 106 (ed. L. Nowak)
Symphony No. 7 in E Major, WAB 107 (1885 version, ed. L. Nowak)
Symphony No. 8 in C Minor, WAB 108 (ed. R. Haas from 1887 and 1890 versions)
Symphony No. 9 in D Minor, WAB 109

Berlin Staatskapelle
Daniel Barenboim, conductor

Recorded live at the Berlin Philharmonie, 20–27 June 2010

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 7 hrs 8 mins
No. of DVDs: 6 (DVD 9)

Arturo Benedetti Michelangeli – even among fellow pianists this name almost evokes reverence, because it stands for the highest perfection, for a cult of beauty that perhaps no other master pianist has ever practiced. But it also stands for concert cancellations at short notice and artist’s neuroses, which the media spread with delight. “Beyond Perfection - Arturo Benedetti Michelangeli” is the result of a 30-year search for traces, which has not only led to interesting contemporary witnesses, but in particular has brought to light a wealth of new archive material: Arturo Benedetti Michelangeli has never been seen and, above all, never heard like this before. Thus one can experience at first hand how the severely stricken maestro fights his way back to his old perfection after a heart attack. This is the first comprehensive and multi-faceted portrait of the legendary pianist. “A whole lifetime only just suffices to learn to do something well.” (Arturo Benedetti Michelangeli)

Also available on DVD

ITALY • AUSTRIA

The Places

The tour starts at the great Augustinian foundation, Kloster Neustift (Novacella), at Brixen (Bressanone) in Southern Tyrol, with its rococo church interior and collection of late medieval paintings. This is followed by a visit to Innsbruck, the capital of the Tyrol, with its famous Goldenes Dachl (Golden Roof) and rococo Wilten Basilica and Collegiate Church.

The Music

The music chosen for this tour of Brixen and Innsbruck is by Mozart and includes two symphonies, with other works. Symphony No. 40 is the second of the group of three final symphonies, written in Vienna in 1787, and Symphony No. 28 was written in Salzburg in 1773 or 1774. Other works included are overtures to the early opera Il rè pastore, to The Abduction from the Seraglio, Mozart’s first operatic success in Vienna, and the overture to La clemenza di Tito, written in 1791, a few months before his death.

Picture format: NTSC 4:3
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 58 mins
No. of DVDs: 1

R E V I E W:

 
I guess these Musical Journeys serve several purposes. A far as Naxos is concerned they recycle sound recordings for those who prefer a visual image to make a change from the wallpaper. The images are often quite stunning, whilst the music, never less than appealing, can be appropriate to the image or otherwise; a fact I touch on in this review. Other functions can be to remind the inveterate tourist of places visited, or of places to go as part of a future itinerary.
 
A word first about the Tyrol. In the days of Mozart, whose music is the backing to these scenes, it was part of the Hapsburg Empire of which the composer was a citizen. Italy was not even a nation, rather a collection of states, some with rulers with a connection with the Hapsburgs whilst others were influenced by, or later under, French control. In that generic sense Italy was a country Mozart visited in his childhood as his father hawked his genius round Europe. I detail this in my survey of The Complete Operas of Mozart. It can be considered, therefore, wholly appropriate that his music is the backing to this collection of views of the Tyrol the southern part of which became ceded to Italy in the treaties of 1919 in the aftermath of the First World War, Italy having joined in on the allies side, albeit a little late in the day.
 
Brixen lies in that ceded part of the Tyrol and contains the magnificent Neustift Monastery - the focus of the first part of this collection (Chs. 1-4). The external beauty includes the ornamental ceilings of the Cloisters, the Romanesque Bell Tower dating from the twelfth century whilst other parts are Gothic (Ch.1). The Molto allegro movement of Mozart’s 40 ^th symphony, one of a group of three composed in Vienna as he sought work, is an appropriate accompaniment. However, it is the magnificent interior of the Neustift Monastery that is the highlight of this Musical Journey where an equally appropriate accompaniment is the Molto allegro of the same symphony. The camera wanders around the magnificently painted and ornamented ceilings. These scenes are quite fantastic and overwhelmingly lovely. If one has never visited them I suspect this will stimulate thoughts of rectifying that state of affairs. Meanwhile the camera and Mozart’s music allow the observer to luxuriate in such beauty (Ch.2). The camera moves on (Ch.3 ) to show a different perspective with late medieval paintings of the life and death of St. Catherine of Alexandria and St. Barbara. These include a vivid representation of the Passion of Christ. Thus vivid scenes contrast with the interior as does the Minuetto of the symphony. The final part of the visit takes in the library and its Rococo ornamentation. The fastish Allegro is less appropriate as the camera has to eke out time for the music to finish with some repetitive scenes as the camera runs somewhat out of content.
 
The second part of this Musical Journey focuses on the Austrian town of Innsbruck, capital of the Tyrol. The views of the town and its hilly setting is impressive with the river Inn running through it. It was the Hapsburg seat and was rebuilt by the formidable Empress Maria Theresa in the eighteenth century. She had a less than benign view of Mozart; even so the allegro spiritoso of Wolfgang’s earlier 28 ^th symphony provides an apt background (Ch.5). In the town of Innsbruck the photographs of Helbling House, dated 1560, which is dominated by elaborate and extensive Rococo ornaments added around 1730 were rather too fancy for my taste (Ch.6). The visit to the rooftops of Innsbruck with the copper roof of the church, turned green, is less than interesting whilst the façade of the Golden Dachl originally built by Duke Friedrich in about 1420 as his own residence is more impressive (Ch.7).
 
The remaining views of Innsbruck are less than captivating and stretch time with a visit to the Innsbruck Alpine Zoo (Ch.9) with the music now finding vitality in Mozart’s overture to his early opera seria Il re pastore composed for a visit to Salzburg by the Archduke Maximilian, youngest son of the Empress Maria Theresa. The story of love and duty, with overtones of avuncular behaviour by royalty being considered entirely appropriate for the occasion albeit the family never did Mozart any favours. However the music finds an appropriate venue among some captivating water animals.
 
The concluding visits are to Wilten Collegiate Church (Ch.10) and Wilten Basilica (Ch.11); both stretched by the timings of the overtures to the singspiel The Abduction from the Seraglio and Mozart’s final opera La Clemenza di Tito respectively. By this time I was tiring of churches and their exterior decorations and would have much preferred a closer look at the impressive mountains that surround Innsbruck.
 
The included leaflet is adequately informative whilst Mozart’s music and the playing of the Capella Istropolitana under Barry Wordsworth was a consistent delight.
 
-- Robert J Farr, MusicWeb International
 

Johann Sebastian Bach’s Goldberg Variations, otherwise known as Part Four of his Clavier-Übung “consisting of an Aria and Diverse Variations” intended to “refresh the spirits of connoisseurs”, is an impressive example of the art of variation. During the pandemic, the pianist Ragna Schirmer performed it for a small audience, mentally dedicating each variation to a different audience member. The result is a magnificent achievement that affords masterly proof of her passion for this work, a passion that has evolved over several decades.

Shakespeare’s All’s Well That Ends Well centers on the tale of Helena’s quest to marry the man she loves, the rather unimpressed Bertram, who initially refuses her due to her lack of social standing. Aided by fellow conspirator Diana, Helena devises a fail-safe scheme to ensnare her man. The production, directed by John Dove, stars Sam Crane and Ellie Piercey as Bertram and Helena, and includes performances by James Garnon as troublemaker Parolles and Janie Dee as Bertram’s interfering mother, the Countess of Roussillon. With lavish staging and costume, the production is a triumph that, according to The Independent, ‘leaves the audience reeling with happiness by the end.’

Reviews

"With so much to praise, it is hard to prioritise, but here goes..." (The Independent)

"This is a good, clear, well-spoken production by John Dove of one of Shakespeare's most beguiling but least-loved plays." (The Guardian)

Bajazet was a work of Vivaldi's late maturity, a dramatic tale that recounts the capture of the Turkish sultan Bajazet by the all-conquering Tartar, Tamerlane. It is a pasticcio, a well-established form, in which Vivaldi incorporated arias by some of the greatest young composers of his time - Johann Adolf Hasse, Geminiano Giacomelli and Riccardo Broschi, brother to the famous castrato Farinelli - to form a generous buffet of musical fireworks. Still, Vivaldi's recitatives, choruses and arias form the backbone of the opera, and constitute the majority of the music, producing a work of kaleidoscopic invention.

Advent and Christmas are for many people a time for light and hope and warmth. Yet the world around us is cold and turbulent. Wars are being fought. People are fleeing from their homes. Children are dying. Thousands of people lack food and medicine. Our prayers are for peace. We sing "Beautiful is our Earth! Glorious is God's heaven!" as a protest song for peace and justice, the world being unjust. During Advent many of us are fond of the familiar and much-loved Christmas carols as we remember them from our childhood, and as they have been sung for generations. There are carols in these traditional arrangements on this album, but there are others in completely new arrangements, made specially for Uranienborg Vokalensemble and for this recording. Christmas can be a festival that intensifies our feelings - what is good seems even better, and what hurts feels even more painful. Perhaps we have lost someone close to us: can we then sing "Oh, Christmas, so cheerful"? We know that there are people who look forward to Christmas but at the same time dread it, and we believe that Kjetil Bjerkestrand's arrangement brings out this element of equivocation and irony. The birth of Jesus - this is the message of Christmas! - a birth that changed the world for ever. May your Christmas be peaceful! Uranienborg Vokalensemble Elisabeth Holte, conductor Kjetil Bjerkestrand, synthesizers �ystein Moen, synthesizers Torun Torbo, flute Henriette Viktoria Eide Skagen, organ Morten Lindberg, balance engineer and recording producer Disc 1 Hybrid SACD MCH 5.1 DSD Stereo DSD RedBook PCM: MQA CD Disc 2 Pure Audio Blu-ray 2.0 LPCM 192/24 5.1 DTS HDMA 192/24 7.1.4 Auro-3D 96kHz 9.1.4 Dolby Atmos 48kHz mShuttle: MQA + FLAC + MP3 Region: ABC - worldwide