Domenico Cimarosa was riding high on the triumphant success of Il matrimonio segreto when he embarked on the ‘commedia per musica’ Le astuzie femminili in 1794. The narrative for this opera revolves around the clever and resourceful Bellina, who devises a plan to avoid an unwanted marriage while gaining a large inheritance and marrying her love Filandro. Styled somewhere between Mozart and Rossini, Cimarosa’s witty and tender score includes deliciously comical moments such as Filandro’s outlandish Italian-German imitation of a Magyar officer. The spirited performance and lively pace of this opera buffa accounted for its acclaimed reception at the 2022 Reate Festival.

Based on a play by Victor Hugo, Verdi’s Ernani was an immediate success, and as his most popular and frequently performed opera it became a cornerstone of his burgeoning reputation in the mid-1800s. Contemporary critics remarked that ‘coming out of the theatre, people were already singing [those] catchy tunes … Few scores have made a stronger, more powerful impression.’ Ernani is a dramatic and intensely memorable tale of rebellion and romance – the chilling presence of the man in black and the drama of a joyful wedding turned to intense tragedy remains one of Verdi’s most compelling operatic creations. This acclaimed production was the first to be staged at the Teatro del Maggio Musicale Fiorentino since 1965.

Despite the triumphant reception of his first opera, Gaetano Donizetti was young and inexperienced when he was commissioned to write Chiara e Serafina in 1822 for La Scala. Composed in haste, it was met with disapproval at its premiere and subsequently disappeared without a trace. Thanks to this revival at the Bergamo Donizetti Festival, after exactly 200 years Chiara e Serafina has returned to the stage with a fine production that brings to life an entertaining tale of pirates, lovers, disguises, deceit and peril in 17th-century Majorca.

As early as 1851, Wagner wrote, 'I propose to produce my myth in three complete dramas, preceded by a lengthy Prelude.' The Prelude was "Das Rheingold" ('The Rhine Gold') the preliminary evening of Wagner's epic tetralogy "Der Ring des Nibelungen" ('The Ring of the Nibelung'), which received it's first complete performance in 1876. The unfolding events of Das Rheingold depict the theft of the Ring forged from the Rhinemaidens' gold by the Nibelung dwarf Alberich, and his subsequent surrender of it to Wotan, ruler of the Gods, to pay his debt to the giants who constructed Valhalla. Alberich's curse foreshadows the catastrophe to come. Sir Donald Runnicles conducts an internationally acclaimed cast in this innovative new production of "Der Ring" by Norwegian director Stefan Herheim.

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)

John Williams is one of the greatest film composers of all time by any objective standard; his 49 Academy Award nominations are second only to Walt Disney himself. Williams and Walt Disney Concert Hall have gone together since the beginning. He opened the third inaugural gala, Soundstage L.A., in 2003 with the world premiere of his Soundings, a piece that has also provided the carillon lobby chimes that announce the end of intermission.

For the 2014-15 Opening Night Concert and Gala, the Los Angeles Philharmonic paid loving tribute to the composer, long a champion and close friend of the LA Phil. Gustavo Dudamel, an awestruck fan of the musical icon, led the orchestra in a cross-section of Maestro Williams’s matchless canon.

A JOHN WILLIAMS CELEBRATION featuring works from:
Olympic Fanfare and Theme
Schindler’s List
Fiddler on the Roof
Soundings
Catch Me If You Can
Star Wars
Amistad
Jaws
The Empire Strikes Back

Itzhak Perlman, violin
Los Angeles Philharmonic Orchestra
Gustavo Dudamel, conductor
Recorded at Walt Disney Concert Hall, USA, 2014

Bonus: Interviews with John Williams, Gustavo Dudamel, and Itzhak Perlman

Running time: 85 mins (concert) + 18 mins (bonus)

Subtitles: German, French, Spanish, Korean
Booklet: English, German, French
Picture: NTSC, 16:9
Audio: PCM Stereo, PCM 5.1
Region Code: 0 (worldwide)

Famous and controversial stage director Calixto Bieito presents this raw and evocative interpretation of Bizet’s classic opera, Carmen.; This live production at the Gran Teatre del Liceu emanates a sensual and convincing ambiance full of imagery.; The vocalists in this production are truly second-to-none, and include Beatrice Uria-Monzon as Carmen, Roberto Alagna as Don Jose, Erwin Schrott as Escamillo, and Marina Poplavskya as Micaela.

Also available on Blu-ray

Joni Mitchell’s work The Fiddle And The Drum delves into the artist’s long-held concerns about the human race’s blatant neglect of the environment and mankind’s war-hungry nature. The piece is a ballet which is performed to a soundtrack of her music. Joni has called this work “the best project of her career.” Combining three art forms- music, dance, and visual art- Joni creates an enthralling spectacle. Internationally recognized choreographer Jean Grand-Maitre of the Alberta Ballet Company has joined Joni for this production. The musical selections to which Jean Grand-Maitre has set his dance include works from Joni’s entire career such as For the Roses, Passion Play, Slouching Towards Bethlehem, The Beat of Black Wings, and of course The Fiddle and The Drum. Special bonus features on this release include behind the scenes, video installations form the set, image galleries, and interviews with the performers.

Picture Format: NTSC, 16:9
Sound Formats: PCM Stereo, DTS 5.1
Region Code: 0 (Worldwide)
Running Time: 55 mins (Ballet), 60 mins (Bonus)

Before moving into the Elbphilharmonie, chief conductor Thomas Hengelbrock and his NDR Elbphilharmonie Orchester performed a “Brahms Marathon” with all four symphonies of the Hamburg-born composer in the historic Laeiszhalle. Brahms’ music has always played an important role in the history of the orchestra, whose defining interpretations of the symphonies by Brahms and Bruckner have become the ensemble’s artistic hallmark. The orchestra, founded in 1945, was led by outstanding conductors such as Günter Wand, Christoph Eschenbach and Christoph von Dohnanyi. Since 2011, chief conductor Thomas Hengelbrock is in charge of continuing the NDR Elbphilharmonie Orchester’s history. In the bonus program ''Discovering Brahms'', Thomas Hengelbrock offers interesting background information on all four symphonies. “The evening was more than worth it” (Hamburger Abendblatt).

Christian Thielemann has recorded Die Walküre more than once before, not least as part of his Ring cycles for both the Vienna State Opera and the Bayreuth Festival. This is a little different. For its 50th anniversary in 2017, the Salzburg Easter Festival mounted a recreation of Herbert von Karajan’s 1967 production of Die Walküre, which had opened the very first Easter Festival. Gunther Schneider-Siemssen’s sets were reconstructed and the booklet also refers to his original “sophisticated lighting concept” and the “impressive video backdrops inspired by the original glass paintings”. Karajan’s biographer Richard Osborne recorded the disputes between designer and conductor over lighting – Karajan liked things a bit darker it seems. Costumes and stage direction are new, but seem generally in harmony with the concept of the stage as a timeless world, a universe bounded by a proscenium arch.

Overall this production, designed originally and very specifically for the very wide stage of the Festspielhaus, impresses as a worthwhile piece of theatrical archaeology, for the initial production concept of the Ring as a whole cosmos, and its homage to the stripped-back aesthetic of Wieland Wagner’s Bayreuth, remain highly effective scenically. There are just enough long shots to remind us of the epic scale within which the intimate drama is unfolding. The giant tree that also forms Hunding’s hut in Act I, and the ring-shaped platform for Act II, still functions well – simple, effective design does not date. The chalked up listing of the cast of characters on the floor, then back wall, in Act II is an intelligent reminder that after Das Rheingold, the Ring is deeply engaged with its own back-story, like the Oresteia of Aeschylus that formed part of its genesis. One wonders what Karajan would have made of some new directorial details, such as Hunding’s nastily aggressive groping of Sieglinde’s crotch, but generally the characters and their situations are well served by the direction. There is little here to upset a traditionalist, for Brünnhilde even has a winged helmet and a spear for the great ‘annunciation of death’ scene with Siegmund in Act II. The filming, editing and sound recording do it all justice.

Karajan liked younger, fresher voices rather than what he called the “old Wagnerian cannons”. He would not have liked Siegmund’s ill-focussed barking of “Wälse, Wälse” in Act I, but for much of the part Peter Seiffert still makes a very good Walsung. Anja Harteros has the measure of his twin Sieglinde to a still greater degree, vocally bright and secure through the range, and looking the part. Christa Mayer as Fricka is outstanding too, imposing in her insistence on her moral stance, but in full command of her rich voice so that she is never shrill or shrewish, which gives her an authority that makes the drama more interestingly ambiguous. It’s not just a case here, as it sometimes is, of ‘Fricka wrong, Wotan right’. The Wotan of Vitalij Kowaljow is splendidly focussed of voice and suitably imposing in presence – not at all the sort of woolly-voiced veteran Wotan which is the undoing of too many recordings of this work. Anja Kampe is on top vocal form as Brünnhilde, whose interactions with Wotan are the emotional heart of this most human of the Ring dramas. Her wide experience in Wagner really tells, and she acts and sings those scenes with her father most affectingly. Her eight spear-voiced (and spear-carrying) Valkyrie sisters make a joyous noise in the opening to Act III.

Christian Thielemann’s pedigree could hardly be more auspicious for this enterprise, since as a young man he was an assistant to Karajan, as well as to Barenboim at Bayreuth. He even followed the traditional route of progressing through smaller German opera houses, learning his craft en route to his current eminence as one of the world’s leading Wagner conductors. His musical direction is superb, for he has the essential long-term perception of Wagner’s musico-dramatic structures, control of the broad tempi he often favours, and a truly magnificent orchestra in the Dresden Staatskapelle. Like Karajan, he understands that the drama is essentially in the pit. Perhaps too Thielemann was inspired by this reclamation of a classic production by his mentor. Karajan once said in a BBC interview “When I see staging and lighting that is right, the music runs out of my hand without effort”. So it does for Thielemann here, not least in the magnificent account of Wotan’s moving farewell to his favourite daughter that closes the opera.

– MusicWeb International (Roy Westbrook)

The sound of Thielemann’s orchestra, darker-sounding than usual from more Western-based orchestras and with plangent winds and an aggressively present timpani balance, is one of the pleasures of this set. Thielemann has long been a ‘stopgoer’ in Wagner with large tempo contrasts. Now, perhaps following his Bayreuth Tristan, he is even more daringly slow in his pointing up of love and suffering. For that and the cast this set is valuable.

– Gramophone

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).

Acclaimed across the globe for the beauty of his voice and the emotional power of his performances, Peruvian tenor Juan Diego Flórez, famous for his bel canto repertoire by Rossini, Donizetti and Bellini, shows in this concert another fascinating side to his vocal personality. The concert program includes many of the most popular Mozart arias – all of them magnificently performed by the Orchestra La Scintilla, an ensemble with outstanding reputation for their historical performance practice, led by Riccardo Minasi. This all-Mozart recital takes place at the Cuvilliés Theatre of Munich, one of the most beautiful Bavarian Rococo theatres. “Beautiful lyrical and elegant, Flórez shows all the emotions that Mozart captured in his scores – and the tenor's multi-colored spectrum of expression is impressive.” (Musik Heute)

Opera legend Plácido Domingo returns to the spectacular Arena di Verona, where he more than 50 years ago made his debut. Plácido Domingo and Saioa Hernández perform a programme dedicated to the great Italian composers Verdi and Giordano. Jordi Bernàcer conducts the Orchestra of the Arena di Verona from the center of the Arena, which creates an incredible SS, embedded in a perfectly staged light show. It had been an extraordinary evening, where “the duets saw the artists perfectly in harmony” (OperaClick) and “Domingo performed with bravura, alternating with the spectacular Saioa Hernández” (operaactual.com).

Also available on Blu-ray

The Armed Man: A Mass for Peace by Welsh composer Sir Karl Jenkins is the most performed work by any living composer. This performance is the largest ever staged and was uniquely performed in synchronisation with a specially commissioned war-archive film reinforcing the narrative of the work – the build up to war, war itself and the consequences of war. Projected onto five giant screens, the film delivers a poignant backdrop to the moving musical narration providing the audience with a powerful and emotional multimedia experience. In this truly unique historic occasion Sir Karl Jenkins conducts The World Orchestra for Peace and around 2,000 singers from nearly 30 countries who joined together to Sing for Peace in Berlin.

Also available on Blu-ray

Giuseppe Verdi IL CORSARO

Corrado – Bruno Ribeiro
Giovanni – Andrea Papi
Medora – Irina Lungu
Gulnara – Silvia Dalla Benetta
Seid – Luca Salsi
Selimo – Gregory Bonfatti
Un eunuco / Uno schiavo – Angelo Villari

Parma Teatro Regio Chorus and Orchestra
(chorus master: Martino Faggiani)
Carlo Montanaro, conductor

Lamberto Puggelli, stage director
Marco Capuana, set designer
Vera Marzot, costume designer
Andrea Borelli, lighting designer

Recorded live at the Teatro Regio di Parma, 19 and 21 October 2008

Bonus:
- Introduction to Il corsaro

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: Italian, English, German, French, Spanish, Chinese, Korean, Japanese
Running time: 108 mins (opera) + 11 mins (bonus)
No. of DVDs: 1 (DVD 9)