From its mesmerizing first moments to the final fulfillment of the witches’ prophecy, Macbeth is one of Shakespeare’s darkest and most powerful tragedies – a gripping account of one man’s determination to secure his ambition and pronounced destiny, the crown of Scotland, by whatever means necessary. Filmed in High Definition and true surround sound, this production marked actor Eve Best’s sensational debut as a director and was described as ‘cracking – at times, terrifying’ (Daily Telegraph). Joseph Millson and Samantha Spiro lead the cast, offering ‘superb fresh-minted performances’ as the power-obsessed Macbeth and his increasingly guilt-ridden wife.

Reviews

Samantha Spiro as Lady Macbeth and Joseph Millson as Macbeth give a rousing, frenetic portrait of a power-couple with a compulsion for bloodshed...Millson’s constant disbelief at what he is doing is a source of much of the production’s humour. But because he performs with such conviction, cumulatively it also packs a horrific punch – not least when he makes grasp for his wife’s throat...one of the warmest productions of ‘Macbeth’ you’ll ever see, but one which still strikes the requisite chill to the heart. Time Out

Millson [delivers] the famous “sound and fury” speech with a quiet desperation and indeed it is in the play’s quieter moments when he is given the chance to stand still that he really shines. The Upcoming

"Eve Best's directorial debut is a cracking – at times, terrifying – production of Macbeth." (The Daily Telegraph on Macbeth)

In this enchanting concert, Jonas Kaufmann, one of today's finest tenors, brings his passion for film music to life. Accompanied by the renowned Czech National Symphony Orchestra, Kaufmann takes his audience on a cinematic journey that transcends the silver screen. From the romantic strains of "Where Do I Begin" from Love Story and the poignant "What a Wonderful World" from Good Morning, Vietnam to the evocative "Strangers in the Night" from A Man Could Get Killed, each performance embodies the essence of cinema's most iconic moments. Spanning decades of cinematic history, this unforgettable program promises to captivate film and music lovers alike. "As an ardent film buff and singer I am naturally very receptive to all the vocal numbers that have been heard in soundtracks all over the world, which is why it was a particular pleasure for me to rummage in the treasury of film music in search of the most beautiful pieces. The result is The Sound of Movies, a collection of wonderful songs from over eighty years of cinematic history. Whether they are accompanied by moving pictures or treated as pure music, they have all found a place in my heart." Jonas Kaufmann

The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. Conductor Herbert Blomstedt, honorary member of the orchestra, is a regular guest at the subscription concerts. For this one he chose Carl Nielsen's Fifth Symphony: "It is full of Danish humour: very serious and at the same time very comic and yet sublime. " As a counterpoint to Nielsen's exciting experimentation, Greek star violinist Leonidas Kavakos interprets Johannes Brahms' Violin Concerto, one of the most beloved and frequently performed works in the violin concerto repertoire. "Leonidas Kavakos, together with the Philharmoniker, makes this beautiful work a true celebration. " (klassik-begeistert. De) Program: Johannes Brahms: Concerto for Violin and Orchestra J. S. Bach: Partita for violin solo No. 1, III. Sarabande - Double Carl Nielsen: Symphony No. 5

Evgeny Kissin appeared in Salzburg in 2021 with compositions of the late Romantic and classical modern periods in the Großes Festspielhaus. Since his debut in 1987, the pianist has been a welcome guest at this festival, impressing with the maturity and brilliance of his playing. Kissin loves the dialogue with the audience and the direct power of the concert moment. PROGRAM Chopin: Scherzo Nos 1 & 2, Polonaise in A flat major, Op. 53 “Héroïque”, Nocturne in B major, Op. 62/1, Impromptu Nos 1-3; Berg: Piano Sonata, Op. 1; Khrennikov: Three pieces for piano, Op. 5: No. 3 Dance, Five pieces for piano, Op. 2; Gershwin: Three Preludes for Piano; Mendelssohn Bartholdy: Songs Without Words, Op. 38: No. 6 Duetto

Nielsen's "Maskarade" is regarded as Denmark's national opera. It combines folk-song character, Mozartean elegance and virtuoso surprises to create what conductor Titus Engel describes as 'musical comedy that's both witty and of the highest calibre'. Based on an 18th-century play by Ludvig Holberg, the story revolves around Leander and Leonora who meet at a masquerade ball, swear undying love, and then have to deal with the complicated consequences of their situation, all accompanied by Nielsen's irresistibly sparkling score. This acclaimed contemporary staging from Oper Frankfurt is sung in a new German translation and directed by Tobias Kratzer.

The present release showcases five outstanding ballets from the legendary Teatro alla Scala. First is Romeo and Juliet. The stars of this masterly performance are Roberto Bolle and Misty Copeland, together for the first time in this ballet. Next is The Sleeping Beauty which received fantastic reviews: “Timofej Andrijashenko had a great debut with the Désiré of Nureyev. Polina Semionova was an amazing Aurora” (Strata Gemmi) “A great production, a success thanks to a superlative and thrilling ballet company.” (LUUK) Don Quixote follows, and classical ballet stars Natalia Osipova (Bolshoi Ballet) and Leonid Sarafanov (Mariinsky Ballet) make this a breathtaking distinctive performance. Next is Le Corsaire, of which critics wrote: “The star is the ballet company, in dazzling form” (Il Giorno), “Impeccable” (Informadanza). And finally, The Lover’s Garden: “The creative genius of the choreographer Volpini leaves a strong mark on this new production, confirming the talent.“ (giornaledelladanza.com)

Monteverdi’s L’Orfeo was premiered in 1607 and is the oldest opera still performed today. The narrative is based on the Greek legend of Orpheus who, armed only with the weapons of music and love, descends into Hades in an attempt to bring his lost bride Eurydice back to the living world. The opera’s dramatic power is brought to life in this acclaimed production conducted by the great Monteverdi expert and interpreter Jordi Savall. Filmed at the Opéra Comique in Paris, L’Orfeo features a virtuoso cast with the service of text and music always at its core.

Wagner’s tetralogy Der Ring des Nibelungen concludes with Götterdämmerung. The composer’s original draft, in which the gods are redeemed by the hero Siegfried’s sacrifice, had fundamentally changed by 1874. Now in this ‘cosmic catastrophe’ Brünnhilde rides into Siegfried’s funeral pyre, the Rhine overflows and Valhalla perishes, and the gods with it. It’s the longest and most complex of the four music dramas, and its orchestration is also the most colorful and sophisticated. Siegfried’s Rhine Journey and Funeral March and Brünnhilde’s immolation scene are some of Wagner’s most potent theatrical moments and bring this drama to a shattering conclusion.

Gramophone Magazine's DVD/Blu-ray of the Month - Awards Issue 2022

Claudio Monteverdi was a pioneer in the origins and development of opera, taking vocal music beyond Renaissance polyphony and entering a modern era in which genuine feelings and emotions are expressed through a wide variety of characters. Part of a late flowering in Monteverdi’s illustrious career, Il ritorno d’Ulisse in patria is considered the most tender and moving of his three surviving operas. It takes its narrative from the second half of Homer’s Odyssey, presenting Ulysses as a flawed hero; a lone wanderer who has to overcome cruel tests, terrible hardships, treachery and deception before he can be reunited with his faithful queen Penelope and recover his kingdom. Recorded in Venice’s historical Teatro La Fenice, this semi-staged production is part of John Eliot Gardiner’s acclaimed celebration of Monteverdi’s 450th anniversary, a true milestone in Western cultural history.

REVIEWS:

Gardiner and Rooke’s conception for Ulisse is simple, direct and subtle. Richardot captures Penelope’s loneliness and constrained emotions, her guarded conversations with the loathsome suitors and fury at Telemaco’s foolish praise of Helen of Troy’s beauty, and her struggle to trust that her husband has at long last returned. Furio Zanasi is a world-weary yet dignified Ulisse, humble during his meeting with Blažíková’s alert Minerva, and quietly confident during his homecoming trials. The naive lovers Melanto and Eurimaco are portrayed with delightful ease by Anna Dennis and Zachary Wilder. Francisco Fernández-Rueda’s faithful shepherd Eumete is sweetly articulate, and his antithesis Iro is acted with stinging bluntness by Robert Burt. The suitors are brought to life with distinctive personalities: Burrato’s Antinoo is the ringleader, a bullying menace capable of silver-tongued charm; Gareth Treseder’s Anfinomo is smarmy; Michał Czerniawski’s Pisandro is a wimp. The only props are Ulisse’s long shabby coat, and Iro’s bag of steak-flavor McCoys and large cup of Coca-Cola. A physical bow would have been useful at the end of Act 2, although Gardiner and Rooke’s solution is ingenious: Richardot’s tense Penelope is herself the unyielding bow; after the over-confident suitors fail to force her outstretched arms together, the disguised Ulisse stands behind her and his gentle embrace brings her hands over her heart (her shock is palpable).

-- Gramophone

The production is a semi-staging. There are no sets, but a stepped rear platform gives height, not least for scenes with the gods, while the rest of the action is at stage front. The orchestra is on stage, divided into two halves placed left and right of the conductor. His seated central position has space around him so the singers can move freely in and out, sometimes interacting directly with the instrumentalists. The drama responds very well to this approach.

There are no music stands, and no concert dress, of course: the singers move and act in costume. Costumes are mostly modern and formal, such as Penelope’s elegant burgundy-colored long dress. Ulisse’s garb, especially his worn overcoat, manages to suggest a dignified personage masquerading as a beggar, rather than actual poverty. Neptune and Jove are splendid in white tie, the former in smart blue suit, the latter in black. The suitors sport variously colored waistcoats with mandarin collars, and the shepherd Eumete wears a white smock.

The characters’ movement is convincing, dramatic when required, and close camera work catches it well. One has to make allowances, as for example in the very final moment. In a close-up, the faces of husband and wife converge for an embrace of recognition at last, but in our view separated by the back of the conductor’s head. There are no props, but one notices it only when Ulisse’s bow is needed for the suitors at the end of Act Two, and is replaced by some unconvincing mime. Overall, though, this considered and respectful presentation is most effective, and suits the work’s statuesque qualities, and yet does not impede its occasional comic ones.

The casting is exemplary, and the hand-picked team of sixteen solo singers is strong and consistent. The leading roles are very well taken, and performances honed to persuasive stage characterisation, presumably by thorough preparation and many performances. Lucile Richardot’s Penelope has dignity and passion; her rich contralto is well suited to both. Her long-absent and unrecognised husband Ulisse is Furio Zanasi, whose firm high baritone is distinctive enough to set him apart from those with whom he interacts. That includes the touching scenes with his son Telemaco, excellently sung by tenor Krystian Adam. But this applies all down a long cast list, and indeed to the superb Monteverdi Choir, whose few contributions are predictably fine. Heavenly indeed is their celestial spirits’ chorus “Giove amoroso” in Act Three.

-- MusicWeb Inteernational

Originally presented as part of the 700th anniversary celebrations of the poet’s death, Dante’s epic journey through the afterlife in The Divine Comedy, is realized in a major artistic collaboration between trailblazing forces of the contemporary arts scene. Wayne McGregor’s ground breaking choreography comes together with a virtuosic new score by one of the most influential musicians of the 21st century, composer conductor Thomas Adès, and designs by the renowned artist Tacita Dean, celebrated for her pioneering and poetic work across film and other mediums. Together they illuminate the extraordinary vision of Dante in this three-part work for the full Company. This world premiere recording also marks the final production starring acclaimed dancer Edward Watson as Royal Ballet Principal, after 27 years with the Company.

For Riccardo Chailly, celebrating Rachmaninoff in Lucerne is something dear to his heart. In 2022, the the Lucerne Festival Orchestra and their music director devoted themselves to the Second Symphony and the Piano Concerto No. 2, the most famous of all four Rachmaninoff concertos. "The harmonic ideas are his special hallmark. One need only hear three chords to recognize his creative genius immediately," Chailly once said of Rachmaninoff's timbres. Japanese pianist Mao Fujita took on this grandiose work's emotional power and virtuosity. Since winning the silver medal in the XVI Chopin Competition in 2019, this exceptional artist has been playing in the world's most renowned concert halls.

Note: this double-disc release contains both a CD and a Blu-ray Audio disc. The latter will only play on devices with Blu-ray read capability.

Hugi Guðmundsson writes: “The title piece, Equilibrium IV: Windbells, was the seed this whole album grew from. It was premièred under rather unusual circumstances at the 2005 World Expo in Japan in a venue that more closely resembled a stadium than a concert stage for classical music. I was an integral part of the performance due to the interactive electronics in the piece. We had practiced that I would maintain eye contact with the musicians during performances, just a few meters from the stage. However, the mixer I was operating at the concert was housed in something that resembled an air traffic control tower some 100 meters away from the stage. Or at least it felt that way. From my perspective, the musicians were like tiny ants in one corner of the enormous stage and they could not see me at all. Despite these outlandish circumstances, we somehow managed to perform the piece.

"It has since become one of my most performed chamber pieces and has received several awards and recognitions. It has never been recorded in a studio up until now. So, after a recent performance with Reykjavík Chamber Orchestra, where it received very warm reviews, we decided it was time to do something about it. That snowballed into what is now this album…”

REVIEWS:

Icelandic composer Hugi Guðmundsson has crafted an idiom combining neo-tonality and modernist inflections, with deliberate rhythms often based on slowly evolving ostinatos. Aspects of rhythmic construction loom large here on this portrait CD for Sono Luminus, as well as Guðmundsson’s incorporation of electronics into chamber works. Guðmundsson’s inclusion on the label is most welcome. He has a distinctive creative voice, and Windbells is a thoroughly persuasive recording.

-- Sequenza21.com

Performances throughout are distinct and characterful, but the bold musicianship of flautist Áshildur Haraldsdóttir deserves special mention; her playing is assertive and daring in its breathy ferocity, while equally capable of singing with the sweetest clarity.

-- BBC Music Magazine

Also available on Blu-ray

Scottish Ballet’s 50th anniversary year came to a spectacular close with the world premiere of The Snow Queen. This glittering new production is inspired by Hans Christian Andersen’s much-loved tale – which was also the basis for Frozen. It is set to the music of Rimsky-Korsakov, performed live by the full Scottish Ballet Orchestra. From the bustle of a winter’s market to the shivers of a fairytale forest, take a journey to the Snow Queen’s icy palace. Along the way you’ll meet a colorful cast of characters, from young lovers parted by a spell to a circus ringmaster with a few tricks up his sleeve. This glittering production is sure to delight the whole family. “Scottish Ballet’s Christmas present to us all... a truly memorable high.” (The Glasgow Herald)

This series of DVDs features travel scenes accompanied by classical music.

The Places
Our tour of Scotland takes us from Edinburgh, with its castle, Scott monument and Palace of Holyrood, to the highland and then to The Hebrides, recalling the journey undertaken by the young Mendelssohn.

The Music
In 1829 Mendelssohn visited England and, after the summer season, travelled north to Scotland, accompanied by his friend Karl Klingemann. In Edinburgh he visited the Palace of Holyrood, recalling the tragic story of Mary, Queen of Scots, and the murder there of her secretary David Rizzio. Further north he took the steamer to the island of Staffa, where he saw Fingal's Cave and in spite of sea-sickness immediately sketched the opening theme of his Hebrides Overture. It was not until 1842 that his Scottish Symphony was completed, a work inspired by memories of his visit to Scotland.

Picture format: NTSC 4:3
Sound format: Dolby Digital / DTS Surround
Region code: 0 (worldwide)
Running time: 52 mins
No. of DVDs: 1

In June 1995, a virtually unknown group of Japanese musicians embarked on the monumental task of recording the complete sacred cantatas by Johann Sebastian Bach. Almost eighteen years later, on 23rd February 2013, the Bach Collegium Japan and Masaaki Suzuki – by then household names in the international music world – reached their goal when they finished recording the 55th release of a series which, in the meantime, had been met with overwhelming acclaim worldwide. Made in conjunction with the final cantata recording, this film commemorates the occasion. Besides performances of the three last cantatas – Gloria in excelsis Deo, BWV191, Lobe den Herrn, meine Seele, BWV69 and Freue dich, erlöste Schar, BWV30 – the film includes interviews with Masaaki Suzuki and key members of Bach Collegium Japan as well as behind the-scenes footage.

REVIEWS:

This disc is essentially Volume 55 of the Bach Sacred Cantata series with an extra chorus and added video. At least two reviews are elsewhere on the Music Web International site. The addition of 25 minutes or so of interviews with the soloists, chorus members, players, engineers and Suzuki himself make this celebratory issue fascinating to watch and hear. A secondary bonus is the presence of subtitles during the four performances, making it far easier to stay with Bach’s religious message. The air of dedication hanging over all the activity is actually quite inspiring, and rightly so, for this series is a landmark in recording history, up there with the Solti Ring. Not only has a complete set of the sacred cantatas been committed to disc but they are in period style, in SACD surround and they are superbly well documented. Reviewing this has cost me money because I realised that I could no longer resist buying the recently released, complete remastered set on BIS SACD9055, not only for the missing few dozen cantatas I gained, but also for the old CD-only issues being newly minted as SACD surround. And, I might add, for the useful indexes to help navigation around the 55 discs!

The performances of the three cantatas on this Blu-ray are of course superb; from the most prominent soloists to the back desk of the violins, all are now seasoned performers, and it shows. Each cantata appears to be a single performance with only the audio and video team and the microphones as audience. The singers move smoothly out of their place in the chorus to the front to sing their solos and then walk back into place. It is all impressively smooth and unfussy. The addition of the great Dona Nobis Pacem chorus from the B minor Mass acts as a wholly appropriate closing tribute. The surround sound, unusually not in DTS Master Audio but LPCM Surround 5.0, is excellent as always. Even those who have purchased the final volume of the series should obtain this too. You might even be tempted to raise a glass to the series as you watch the performers and engineers do just that on your screen.

-- MusicWeb International