{"title":"Blu-Rays","description":null,"products":[{"product_id":"summer-night-concert-2024","title":"Summer Night Concert 2024","description":"With this open-air concert in Sch�nbrunn, the Vienna Philharmonic wishes to provide all Viennese, as well as visitors to the city, with a special musical experience in the impressive setting of Sch�nbrunn Palace and it's beautiful baroque gardens, a UNESCO World Cultural Heritage Site. - Since 2004 the Vienna Philharmonic has provided an outstanding experience for the audience. In the recent years the orchestra has been conducted by Gustavo Dudamel, Valery Gergiev, Franz Welser-M�st, Daniel Barenboim, Christoph Eschenbach, Zubin Mehta and Andris Nelsons. Among the previous guest soloists were: Ren�e Fleming, Lang Lang, Rudolf Buchbinder, Katia and Marielle Lab�que, Yuja Wang, Jonas Kaufmann, Igor Levit, Gautier Capu�on and Elina Garanca. 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The ethereal quality of his countertenor is intrinsic to his roles as both an angel and as a ghost in Only the Sound Remains, a double bill of operas by the distinguished Finnish composer Kaija Saariaho, whose first opera L'Amour de loin has captivated audiences at such venues as the Salzburg Festival, Paris's Th��tre du Ch�telet, London's English National Opera and New York's Metropolitan Opera. Saariaho composed Only the Sound Remains with Jaroussky in mind. \"I've been to many concerts that he's given in Paris and I love his voice and the way he sings,\" she told the Dutch website Cultuurpers when the opera received it's premiere in Spring 2016 at the Dutch National Opera in Amsterdam, where this DVD and Blu-ray were recorded. She and Jaroussky worked together as she wrote the score, ensuring that it was tailor-made for his talents. The production - by the celebrated American director Peter Sellars, who declared that \"Philippe Jaroussky sings like nobody else on the planet\" - was subsequently seen in Helsinki (April 2017) and reaches Paris, again with Philippe Jaroussky, in early 2018. \"Only theSound Remains is a profound and moving exploration of mortality and consciousness,\" wrote Classical Voice North America, \"The score [conducted by Andr� de Ridder, who has wide-ranging credentials in contemporary music] is a swirl of choral and instrumental colors layered over a subtle electronic foundation withantiphonal effects. Structured like a series of interlocking boxes and punctuated bydelicate word-painting, this opera marks a breakthrough in Saariaho's ability to bring astory to life, with vividly imagined details that focus on sensory experience and hint atthe inner emotions of the characters.\" The Financial Times described the opera in detail: \"The ending of Kaija Saariaho's new double bill for the Netherlands Opera lives up to it's name. Her subtle and meticulous blend of live electronics with acoustic sound can create curtains and washes of sound, sensual and evocative in ways that have become her trademark.... Tsunemasa (Always Strong) and Hagoromo (Feather Mantle), 14th-century Japanese Noh theatre works brought to the US... in the early 20th century and later pieced together into English approximations by poet Ezra Pound, form the basis of a libretto for an evening of music theatre co-conceived by Saariaho and director Peter Sellars. Both works... are scored for small ensemble with two singers - baritone and countertenor. Both narrate encounters with the supernatural.... Saariaho uses the Finnish zither-like kantele rather than a Japanese koto in her ensemble, and western flutes in place of the shakuhachi [a Japanese flute], but the Japanese sound-world is a clear source of reference, with pentatonic scales and onomatopoeic percussion deployed generously. Baritone Davone Tines and countertenor Philippe Jaroussky are perfect as the earth\/spirit counterparts of the two pieces (ghost and priest for the first opera, fisherman and angel for the second), Tines with his earthy, virile warmth, Jaroussky with his ethereal purity, the music tailored for these two exceptional voices. Sellars, as always, sets out with consummate sincerity and solid stagecraft to convey a highly spiritual message... It is meticulously crafted and superbly performed. Saariaho is in fine form.\" Philippe Jaroussky's performance was summed up by France's Op�ra magazine: \"In Hagoromo the voice of the French countertenor blossoms with a wondrous freedom and expressivity,\" while the S�ddeutsche Zeitung wrote that \"Philippe Jaroussky is the noblest and most distinctive of countertenors... If he has gained fame as an exponent of virtuosic baroque arias, here","brand":"ERATO","offers":[{"title":"Blu-Ray","offer_id":44914030149866,"sku":"190295753917","price":21.78,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3734742.jpg?v=1780137391"},{"product_id":"rodelinda","title":"HANDEL: RODELINDA","description":"A new production by Opera de Lille","brand":"ERATO","offers":[{"title":"Blu-Ray","offer_id":44916116488426,"sku":"190295419882","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3833284-2576604.jpg?v=1780141594"},{"product_id":"keeping-score-symphony-no-5","title":"KEEPING SCORE: SYMPHONY NO 5","description":"Directed by Gary Halvorson, David Kennard, Joan Saffa. 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Like the British composer's score, Tom Cairns' production is both spectacular and surprising. \"Ad�s keeps the listener on edge,\" wrote Opera magazine, \"because one never knows where his dazzling palette of possibilities will take him next.\" Thomas Ad�s TITLE: Ad�s: The Exterminating Angel (MET)(Blu-ray) Label: PRX\/Warner Classics\/Parlophone Language: English Subtitles: English, French, German, Spanish Number of discs: 1 Run Time: 142 minutes","brand":"WARNER CLASSICS","offers":[{"title":"Blu-Ray","offer_id":44932239687914,"sku":"190295525491","price":28.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3854823_3d84faad-442d-44da-8c90-7c37471e893c.jpg?v=1780141586"},{"product_id":"keeping-score-holidays-symphony-1","title":"KEEPING SCORE: HOLIDAYS SYMPHONY","description":"Directed by Gary Halvorson, David Kennard, Joan Saffa.","brand":"SFS MEDIA","offers":[{"title":"Blu-Ray","offer_id":44937649357034,"sku":"821936002599","price":26.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1575518.jpg?v=1780137830"},{"product_id":"blue-note","title":"BLUE NOTE","description":"BLUE NOTE","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":44937650831594,"sku":"880242056740","price":15.63,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2761835.jpg?v=1780139765"},{"product_id":"morricone-conducts-morricon","title":"MORRICONE CONDUCTS MORRICON","description":"When we think of the quintessential Western movie, what music do we imagine hearing as the heroes face off in the sun and sand? 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Special feature included in this edition from Matsumoto: on the occasion of Maestro Ozawa's 80th birthday, Martha Argerich and Matthias Goerne joined the orchestra to perform Beethoven's Choral Fantasy, Op. 80, plus a rendition of 'Happy Birthday' - a deeply emotional moment for the Maestro! Included in this sampler: the first Seiji Ozawa concert, ever recorded in Europe, from 1989 with Maestro Ozawa and Kazuyoshi Akiyama conducting the Saito Kinen Orchestra at the Alter Oper Frankfurt. Supported by the Marcus Roberts Trio, conductor Seiji Ozawa presented An American in Paris, Rhapsody in Blue and the Concerto in F, turning the Waldb�hne inta a vast, swinging jazz club. 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Soloists like violinist Kolja Blacher, clarinettist Sabine Meyer, oboist Albrecht Mayer, violist Wolfram Christ, cellist Natalia Gutman, the Hagen Quartet and members of the Alban Berg Quartet to name just a few, make the Lucerne Festival Orchestra a star-studded ensemble. This 4 Blu-ray Disc Box set is including the Mahler Symphonies Nos. 1-7 with the Lucerne Festival Orchestra and Claudio Abbado. An afficionado must-have! \"Has there ever been a suaver, more transparent Mahler performance or one in which everything stays so beautifully in tune?... Abbado's music-making is a celebration of the purest joy.\" The Gramophone Magazine","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":44937651716330,"sku":"880242585721","price":65.16,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4371269-3234431.jpg?v=1780139776"},{"product_id":"fantasymphony-1","title":"FANTASYMPHONY","description":"Witness a concert experience of magical dimensions, when the Danish National Symphony Orchestra opens the door to a wealth of fantasy universes where dragons and dwarfs, trumpet players and violinists cross blades and sounds in a world of flames and sorcery. The epic battle of good against evil will unfold, when The Danish National Symphony Orchestra supported by troops of choirs and soloists, perform the greatest compositions from the most legendary fantasy films, television series and computer games. Look forward to an ultimate magic concert experience: One concert to rule them all! With music from Highlander, Harry Potter, Pan's Labyrinth, Narnia, Willow, World of Warcraft, The Shannara Chronicles, Game of Thrones, The Hobbit, The Lord of the Rings","brand":"EUROARTS","offers":[{"title":"Blu-Ray","offer_id":44937652306154,"sku":"880242651945","price":25.24,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3829483-2582670.jpg?v=1780141315"},{"product_id":"romantic-take-martha-argeric","title":"ROMANTIC TAKE - MARTHA ARGERICH \u0026 GUY BRAUNSTEIN","description":"She is a piano legend, he has collaborated as a soloist with all leading conductors and orchestras around the world. 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The Hamburg Ballet was one of the first international companies to return to their studios after the lockdown, with the premiere of John Neumeier's choreography Ghost Light with solo piano music by Franz Schubert, performed live on stage by star pianist David Fray. John Neumeier's new ballet explores the possibilities of dancing among the limitations of the * pandemic. It is developed in fragments with more or less fleeting impressions from the everyday life of dancers. Ghost Light is an ensemble ballet that I develop in fragments. It is comparable to individual instrumental parts of a symphony... How the individual parts ultimately combine to form a work will depend on the moment when we are allowed to come close again on stage. (John Neumeier) Internationally recognized and awarded for his ballet choreography, John Neumeier has been the ballet director and chief choreographer of the Hamburg Ballet since 1973, and since 1996. 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While we have plenty of filmed productions of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eCoppélia\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e to watch and enjoy – whether \u003c\/span\u003evintage\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003ebang up to date\u003cspan data-mce-fragment=\"1\"\u003e or \u003c\/span\u003edownright wacky\u003cspan data-mce-fragment=\"1\"\u003e – and a very good one of \u003c\/span\u003e\u003cem\u003eSylvia\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, this new release finally brings the first of Delibes’s three ballets, \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa source\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e, to a wide audience via Blu-ray and DVD.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe usual explanation for \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa source\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e’s historical neglect has been that the contribution of Delibes’s co-composer Ludwig Minkus diminished the overall quality of the score. But that suggestion isn’t an adequate one – or even necessarily accurate. In the first place, we need to be clear that “co-composers” doesn’t mean that each of the score’s individual numbers was a sort of high-quality-Delibes-watered-down-by-workmanlike-Minkus hybrid. In fact, the way in which the collaborative process worked was a very practical one – even if we have no idea why it was adopted – with each man allocated responsibility for different parts of the score. Minkus was entrusted with Act 1 and the second scene of Act 3, while Delibes was responsible for Act 2 and Act 3’s first scene. That turned out, in practice, to be a pretty even split, for Minkus ended up providing about 45 minutes worth of music and Delibes penned about 44[.]\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is certainly true that there are \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003edifferences\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e between the two men’s scores. To some extent, those derive from the mundanely practical point that each composer was writing music for very different sections of the story. Minkus’s focus in Act 1 was on establishing the ballet’s various characters and generally setting the scene, while the finale to Act 3 offered few opportunities as it gave him only six minutes to wrap up the whole drama. Delibes, on the other hand, was tasked with creating the music underpinning the more glamorous jollifications at the khan’s court, which allowed him to concentrate on writing livelier material that was characterised by far more colour, glitter and exotic sensuality.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThere is, however, a second and somewhat more fundamental explanation for the perceived contrasts between the two composers’ scores, for Minkus and Delibes had rather different conceptions of what writing music for the ballet actually meant. The former was a composer of the old school who, as Ivor Guest wrote in his booklet essay for the aforementioned Bonynge CD, “specialised in composing music for the ballet, a field not highly regarded in musical circles but which nonetheless demanded a special gift to satisfy the ballet-master’s requirements – to produce melodious numbers for the dances and suitably descriptive passages for the action, and above all to deliver to a deadline”. That has led some critics to perceive Minkus as little more than a hack journeyman who churned out unmemorable material on demand, even though audiences who have come to appreciate the manner in which his skilfully-wrought scores underpin such popular ballets as \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eDon Quixote\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e and \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa bayadère\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e might beg to differ. In reality, his music was in no way “inferior” to that of the next generation of ballet composers: it simply aimed to achieve a very different - but certainly no less legitimate – musical and dramatic purpose. The first embodiment of that subsequent generation, Delibes himself, was, on the other hand, a composer whose conception of ballet was developing into something rather more ambitious. No less a figure than Tchaikovsky, the originator of the modern “symphonic” style of ballet score, regarded \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSylvia\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e as “the first ballet in which the music constitutes not just the main, but the sole interest. What charm, what grace, what melodic, rhythmic and harmonic richness. I was ashamed. If I had known this music earlier, then of course I would not have written \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eSwan Lake”.\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt is far too easy, in fact, to assert glibly that any contrasts between the two composers’ contributions are necessarily \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003equalitative\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e in nature. Indeed, when listened to blind and without foreknowledge of who actually composed what, the score of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa source\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e – skilfully edited and occasionally augmented here by Marc-Olivier Dupin - actually emerges as a pretty seamless whole.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn reality, there were two other much more significant causes of the ballet’s failure to maintain a long-term place in the repertoire. In the first case, its plot was undeniably involved, and it is notable that the production under consideration omits several of its complicating plotlines. Moreover, the fact that there are no less than three central female figures and that easily confused names were selected for some of the central characters (Naïla\/Nouredda, Djémil\/Dadjé) does not help. The inconsistency of some of the participants’ on-stage motivations can also be puzzling from time to time – though, in the absence of any other modern production with which to compare it, that may be a feature unique to this particular one.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe second legitimate reason for \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa source\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e’s relatively rapid descent into obscurity is simply accidental. It successfully maintained its place in the repertoire for a decade and there is no reason to doubt that regular revivals might subsequently have been mounted. However, a disastrous fire in 1873 destroyed the drawings, models and plans on which the original production had been based and, rather than recreate them from scratch, it no doubt seemed easier to ballet impresarios at the time to move on to different projects.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis new Blu-ray\/DVD release preserves a new production of the ballet dating from almost 150 years after its premiere. Conservatively choreographed by Jean-Guillaume Bart for the Paris Opera Ballet, it follows the original story’s broad outlines and uses much of the Minkus\/Delibes score. Booklet notes author Laure Guilbert is nevertheless at pains to stress that this production is in no way a “reconstruction” of the original but instead has a character and identity of its own. Those last words might be enough to strike fear in the heart of traditionalist ballet fans, but in reality the French choreographer (gushingly described by Ms. Guilbert as a man who “fervently cultivates his attachment to the classical universe… a lover of dance who has transformed [it] into an odyssey throughout the near- and far-flung realms of the art”) is owed a real debt of gratitude for his achievement in returning \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa source\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e to the stage. There are, it’s true, a few significant problem areas that would have benefited from attention. In the case of the plot, Nouredda’s motivation and reactions as she experiences her character’s trials and tribulations can be somewhat opaque or even downright puzzling. In addition, the stage production itself is visually rather disconcerting. There is, to my own eyes at least, a jarring mismatch between Christian Lacroix’s detailed and often gorgeously elaborate costumes and Éric Ruf’s essentially impressionistic set designs. The latter are highly imaginative and attractive in their own right (especially a set of prominent and exquisitely lit ropes, lowered over the stage from the flies, that represent trees) but they are clearly not intended as any sort of realistic depiction of the settings and that doesn’t gel with the detailed, elaborate and convincingly “realistic” clothing sported by the dancers. Neither element can be described as wrong in itself, but another producer might have chosen to integrate them more effectively.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe quality of the dancing, meanwhile, is generally high, with the women, in particular, demonstrating confident assurance in their own technical skills. Ludmila Pagliero as Naïla performs with delicacy and an appropriate sense of otherworldliness; she presumably impressed not only the theatre audience but the company’s management, too, as within a year of this performance she had been promoted to the top rank of \u003c\/span\u003edanseuse étoile\u003cspan data-mce-fragment=\"1\"\u003e. Meanwhile, the nature of her role as the princess Nouredda means that the other leading female dancer, Isabelle Ciaravola, tends to spend a disproportionate amount of time on stage looking depressed and generally mopey – although there are also moments, as already noted, when she looks bizarrely happy even though her circumstances are at their worst. If her acting is somewhat questionable, the same cannot be said, however, of Ms. Ciaravola’s dancing which is, invariably, both sensitively and often rather beautifully delivered. Of the men, Karl Paquette combines sheer energy with attention to detail in a winning performance that suffers only from an uncharacteristically drab and featureless costume, little suited, in my opinion, to the hero of a classical ballet. The role of Nouredda’s brother Mozdock, concerned about her only as far as she serves his own political ambitions, is taken by Christophe Duquenne who delivers an effectively villainous turn while leading his energetic and well-drilled soldiers in several lively numbers. Dancing as the elf Zaël, Mathias Heymann is the audience’s favourite as he leaps his way enthusiastically and repeatedly across the stage, creating a genuine character out of his role. The dancer portraying the libidinous khan, Alexis Renaud, makes the most of his opportunities but does not create as much of an impression as the other men. The rest of the company make a very positive contribution, to the extent that I thought that the numbers in which the primary focus was on the \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003ecorps de ballet\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e were among the most effectively delivered in the whole performance.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn the technical side, I was particularly impressed by the effectively realised stage lighting which has been very well captured on film. The sound, as relayed on this recording, is also more than merely acceptable and allows us to appreciate plenty of felicitous detail from the orchestra, led on this occasion by Koen Kessels who will be known to many as music director of the Royal Ballet. Meanwhile, the experienced François Roussillon’s film direction focuses our attention to everything that we need to see while not distracting us unnecessarily or drawing undue attention to itself.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis is an important release for balletomanes. It is, I think, unlikely that there will be an alternative version of \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eLa source\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e any time soon...\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eI repeat, therefore, my original reaction to the release of this new and well-produced Blu-ray disc – \u003c\/span\u003e\u003cem data-mce-fragment=\"1\"\u003eat last!\u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e \u003c\/em\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003eRob Maynard\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012526854378,"sku":"730099014564","price":17.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4069368-2800541.jpg?v=1784055051"},{"product_id":"wagner-gotterdammerung","title":"Wagner: Gotterdammerung","description":"Gotterdammerung ('Twilight of the Gods') is the final opera of Wagner's epic tetralogy \"Der Ring des Nibelungen\" ('The Ring of the Nibelung') in which his visionary masterpiece reaches it's cataclysmic conclusion. 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The release includes \"Making Of\" documentary featuring interviews with Stefan Herheim and Sir Donald Runnicles, and behind the scenes footage.","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012537864426,"sku":"730099016063","price":20.48,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4322703-3142902.jpg?v=1778237207"},{"product_id":"handel-brockes-passion-1","title":"Handel: Brockes Passion \/ Hofstetter, Halle Handel Festival Orchestra","description":"Influential German poet Barthold Heinrich Brockes reinvented the Passion oratorio tradition, transforming it's textures into a much-admired poetic meditation that took hold of the imagination of many German Baroque composers. Of several settings Handel's is by far the most famous, creating an eloquent and moving score from his friend's libretto. This acclaimed staged version directed by Walter Sutcliffe extends the vision of the original by asking fundamental questions about the evolution of mankind and it's dangerous implications for planet Earth.","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012543697130,"sku":"730099016766","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4368459-3232771.jpg?v=1778231358"},{"product_id":"langgaard-antikrist-br","title":"Langgaard: Antikrist (BR)","description":"Rued Langgaard's remarkable opera 'Antikrist' confronts the decline and fall of Western civilisation, critiquing modern lifestyles and ways of thinking, which resonates with our times more than ever before. Never performed in the composer's lifetime, 'Antikrist' blends Romantic and contemporary styles to create a score that is both seductive and opulent, while the lack of a conventional plot creates space for an ironic and sarcastic expos� of contemporary civilisation's weaknesses. This spectacular Deutsche Oper Berlin production was acclaimed in 'The New York Times' as a 'riotously colourful, boldly stylised staging [in] a near-breathless swirl'.","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012550545642,"sku":"730099017664","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4344189-3187733.jpg?v=1778236562"},{"product_id":"strauss-arabella","title":"Strauss: Arabella","description":"Richard Strauss's 'Arabella' is a lyric comedy that portrays hardships and obsessions in a society whose latebourgeois values are crumbling. An addiction to gambling has driven the family of cavalry officer Waldner into financial ruin, and their only hope for salvation lies in marrying off their daughter Arabella into a wealthy family. Strauss's orchestral opulence coupled with it's period Viennese setting has seen 'Arabella' perceived as a light-hearted comedy of errors, but Tobias Kratzer's multi-faceted production also explores the disunity between it's characters, spotlighting tensions that connect 19th-century Vienna to the present day.","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012554903786,"sku":"730099018265","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4393184-3307390.jpg?v=1778205560"},{"product_id":"hans-van-manen-moving-to-music-ballets-documentary","title":"Hans van Manen: Hommage à Hans van Manen \u0026 Moving to Music","description":"Guided by his idol George Balanchine, Hans Van Manen has striven all his life to create meaning in his choreography. 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In this acclaimed Viennese production, award-winning stage director Stefan Herheim contrasts Theodora's self-sacrifice with the lack of spiritual direction of our own times. La Folia Barockorchester and the Arnold Schoenberg Chor are conducted by the acclaimed countertenor and Handel specialist Bejun Mehta.","brand":"Naxos AudioVisual","offers":[{"title":"Blu-Ray","offer_id":46012557099242,"sku":"730099018463","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4376044-3271990.jpg?v=1778211989"}],"url":"https:\/\/arkivmusic.com\/collections\/blu-rays.oembed?page=5","provider":"ArkivMusic","version":"1.0","type":"link"}