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What a pompous and exquisite gala to celebrate opera legend Plácido Domingo in the breathtaking Arena di Verona! 50 years ago the young Madrilenian singer Plácido Domingo gave his debut at the ancient open-air theatre: the beginning of a lasting and exceptional relationship. To mark the anniversary, Domingo presents a programme entirely dedicated to Verdi, performing three of his most complex and majestic baritone roles. No effort was spared to create an unforgettable evening in a unique atmosphere in the completely sold-out amphitheatre, which has been at the heart of Italian entertainment for almost 2,000 years. Whether as Babylonian king Nabucco, Scottish general Macbeth or as Doge Simon Boccanegra: Domingo’s versatility and aura is more than impressive, with “top phrasing and articulation, his baritone with full and sonorous intonation and a unique timbre – all this substantiates his exceptional position” (Das Opernglas). At the side of Domingo shines an excellent cast including Anna Pirozzi and Arturo Chacón-Cruz, supported by a perfectly rehearsed ballet under the baton of conductor Jordi Bernàcer who sovereignly leads the Orchestra of the Arena di Verona from scene to scene. A triumphal, almost historic moment for Domingo and the Arena di Verona!

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Premiered in 1900 with huge success, Puccini’s “melodramma” Tosca is a political thriller with a heart-breaking love story. With his gripping opening scene, stage director Michael Sturminger sets the tone for a cinematic, richly detailed Tosca which is set in the Mafiosi world of modern day Rome and which is “the perfect thriller … reminiscent of Scorsese’s ‘Goodfellas’” (Kleine Zeitung), a “film noir” (FAZ). In this production soprano Anja Harteros is “a phenomenal Tosca!” (Kurier), “unparalleled in the world” (Der Standard) and Aleksandrs Antonenko is “a Cavaradossi of superlatives” (Kieler Nachrichten). The Staatskapelle Dresden under Christian Thielemann „show again that he is not only a master of German repertoire but also strikes the right note in Italian repertoire.“ (Focus)

The "superb, sinister" Tales of Hoffmann at the Dutch National Opera with "excellent soloists, the impressive John Osborn" (Theaterkrant) and "Christine Rice, a vocally and physically voluptuous Giulietta" (bachtrack. Com), "mezzo-soprano Irene Roberts, who plays and sings brilliantly" (Groene Amsterdammer) and "Erwin Schrott, singing the four villains for the first time, made it look like a blast. " (bachtrack. Com) "Les Contes d'Hoffmann is a parade of golden voices". (Volkskrant) Maestro Rizzi conducted with elegance and momentum the chorus and the "excellent playing Rotterdam Philharmonic Orchestra". (Volkskrant) "Spectacular" (Trouw) "This production effortlessly fascinates from start to finish. " (Theaterkrant)

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In 1957, Paul Anka’s debut hit single “Diana” immediately catapulted the 16-year-old into Hall of Fame status. For decades now, Anka has been one of the most successful composers around, penning the lyrics to such hits as Tom Jones’ “She’s a Lady” and Frank Sinatra’s signature song “My Way.” He has released over 120 albums, sold over 100 million records, and been named the 21st most successful artist in Billboard history. He is known today as the last great crooner. When he translates his own as well as cover songs into elegant swing and gives free reign to his charm on stage, Anka embodies the purest form of entertainment.

In this story ballet, choreographer Edward Clug merges the distinct versions of Peer Gynt by Edward Grieg and Henrik Ibsen into a new ballet experience. "A brilliant narrator" (Kronenzeitung), Clug captures the fantastic adventures of the boastful peasant boy, who sets off to become emperor of the world, with the help of the bold stage and costume design by Marko Japelij and Leo Kula�. The results are "magical scenes, never seen like this in conventional ballets" (Kurier) with "an outstanding cast, down to the smallest roles" (Opernfreund). This performance was recorded live at the Wiener Staatsoper in December 2018.

This release features five outstanding operas from Bregenz Festival’s amazing lake stage: Aida, Andrea Chenier, Die Zauberflote, Turandot, and Carmen. The reviews of these individual performances were gleaming. “Stage director Graham Vick and set designer Paul Brown conjure up an open-air spectacle of superlatives.” (Die Zeit about Aida) “A gigantic set with iconic qualities- a masterly achievement.” (Die Welt about Andrea Chenier) “David Pountney finds stunning answers to the everlasting questions surrounding The Magic Flute.” (Der Togesspiegel about Die Zauberflote) “A bit of Hollywood in Bregenz: Melodies for millions, impressively staged grand opera.” (ZDF heute journal about Turandot) “… Kasper Holten’s production of Carmen on Es Devlin’s extraordinary set was a knockout…” (The Telegraph) Elisabeth Sobotka, the artistic director of the Bregenz Festival, sums it up by saying “Art doesn’t belong to a clique in society. Art is a jewel, a rich resource that must be made accessible to a large audience. See, and hear, for yourself… and enjoy the richness of the artistic offerings on the incomparable lake stage.”

120 years after it's very first performance, which took place at Teatro Regio di Torino, La Boheme returns to the tradition-steeped Italian opera house. With director Alex Olle from La Fura dels Baus and music director Gianandrea Noseda the Teatro Regio presents a spectacular, up-to-date anniversary production. For Alex Olle, directing the opera for the first time, "La Boheme allows the young generation to get rid of everything that prevents them from flying, feeding only on their own vitality; the real hunger of the protagonists is the hunger for life. My production is set in a modern city outskirt. It is there where, in my opinion, the intellectual matrix of the future happens; in ugly, disreputable and poor places which are authentic. In this kind of environment, where life and art - as they did in Romanticism - belong to the survivors." "A triumphant youthful Boheme", in which the singers excel due to their naturalness. Giorgio Berrugi sings his Rodolfo "with a luminous timbre, in refined nuances" (La Stampa), perfectly matching "Irina Lungu's full-bodied Mimi" (The London Times). All in all, "this is theatre, this is life, this is passion" (Corriere della sera)

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The unforgettable "masterful use of light and silhouettes" (Milano Post) with which Giorgio Strehler interpreted the charm of Mozart’s Singspiel was conceived for the Salzburg Festival, where it was staged in 1965 under the baton of then 29 year old Zubin Mehta, and then regularly revived at La Scala from 1972 onwards. At twenty years since the death of the great director, who from 1951 staged some by-now legendary operas at La Scala, Teatro alla Scala proposed anew this celebrated staging and called to the podium the man who conducted it the first time – Zubin Mehta. "Extraordinary, a wonder …" (Corriere Della Sera). The stage set with magnificent palace architecture and a sea view at centre is a veritable feast for the eyes, which is equally true for the elaborately and lovingly designed costumes. The viewer feels like he‘s being transported into the oriental aura. The fact that the current performance is conducted by Maestro Zubin Mehta, now over 80 years old, builds a bridge to Strehler‘s Salzburg production, which dates back more than half a century, and at the same time provides a touching detail of this timelessly monumental performance.

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REVIEW:

This new release gives Zubin Mehta the honour of having four commercial recordings of Mozart’s Turkish opera. There is a CD of his 1965 Salzburg performance (Orfeo C392952I). VAI issued a video of the 1967 Salzburg revival (DVDVAI4521), and there is a rather colourful 2002 production from Florence (review). One might almost think that this is the opera that Maestro Mehta is most identified with. I suspect that many opera lovers would think first of his recordings Turandot with Pavarotti and Sutherland and Il Trovatore with Domingo and Price.

Mehta’s association with Entführung was first given international prominence at the 1965 Salzburg Festival in a brand-new production by Giorgio Strehler. He was the 32-year-old hotshot maestro of the Montreal Symphony Orchestra, seen as a rising star throughout the world. At the time of this 2017 performance he was 84, and had a long and varied career behind him. His direction on this evening is mellow and flowing. A great deal of consideration is given to the singers in their florid arias. His reading has warmth and charm, which I often find lacking in revivals of this opera. In comparison, the 1965 Entführung on CD has somewhat more excitement and edge to the reading. Yet throughout Mehta’s tempi have altered only slightly, and always there is warmth and care.

Mauro Peter as Belmonte has an elegant and burnished tenor sound, with something of a baritonal quality to his tone. His is a committed and impassioned portrayal which does not quite outshine some of his predecessors in the role. His stage presence is quite natural, and makes for a very appealing portrayal.

Lenneke Ruiten gives a tour-de-force reading of Konstanze. Her woodwind-like tone has grown in size since her Pentatone recording of Mozart arias in 2009 (PTC5186376). Her music is presented in a grand manner, with passionate expression. She is very impressive in executing the difficult coloratura roulades. I would go as far as stating that her assumption of Konstanze stands among the finest ever recorded. We can only be grateful that her performance was captured at the peak of her artistry. She also looks quite lovely, and her acting is on a level similar to her singing.

Maximillian Schmitt as Pedrillo has a very enthusiastic and charming stage presence. That helps him dispatch much of the humourous action that is relegated to Pedrillo; in this he does not disappoint. Vocally, he has an impressive-sounding top range for “Frisch zum Kampfe”, but tonal unsteadiness tends to creep into the mid- and low registers of his voice.

Sabine Devielhe is an adorable Blonde. Her natural stage presence shines through the soubrette traditions of this role. Her voice is diamond-bright, and she gives us an incredibly winning version of “Welche Wonne welche lust”.

Tobias Kehrer gives an adorable portrayal of Osmin. In this production he is more of a buffo rather than a threatening presence. This is matched by his vocal means of a rather soft-grained sound combined with a deeper, more impressive low range. Like many who have sung Osmin, he is challenged by the coloratura sections of “O wie will ich triumphieren”.

This production is a new staging of the 1965 Giorgio Strehler production for Salzburg. It was restaged by Mattia Testi in honour of the 20th anniversary of Strehler’s death. Strehler was a producer whose work in opera has become something of a legend over the years. Early in his carreer, he discovered the technique of Chiaroscuro lighting which was used in Renaissance paintings and early silent films. The complex lighting structure makes the rear of the stage more brightly lit than the front. On film, it can produce some truly wonderful cinematic images. It also has the ability to do this on stage but sadly in live performance it does not register well for home viewing. Even the exacting standards of today’s HD cameras are not up to the challenge of conveying the action which occur in the shadows at the front of the stage. Strehler’s Entführung production used this effect heavily.

In much of his later stage work, Strehler toned down the degree of use, as DVDs of his Nozze di Figaro from Paris and Don Giovanni from La Scala demonstrate. It is rather a pity that so much of the singing occurs in the dark part of the stage, which leaves us with soloists who are seen only in silhouette. In the opera house the audience are partly able to make out some of the singers’ expressions but that is not the case for home viewing. This mars what is in effect a very charming staging of Mozart’s opera. There are a few truly inspired moments where the shadow effect actually enhances the story, like when Pedrillo is tempting Osmin with the Cypriot wine. The imagery here is truly unforgettable for a moment that normally paces without much notice. The sets and costumes are spare but quite beautiful and elegant. Sound and picture quality of this Blu-ray are superlative, aside from the above-noted comments. Ultimately, while I am grateful to have this recording, the lighting issue will prevent it from being anyone’s first choice for this opera. Even so, the particularly fine singing of the female leads and Mehta’s warm and winning reading of the score should absolutely be heard.

– MusicWeb International (Mike Parr)

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Conducting the Wiener Philharmoniker, Andris Nelsons presents a concert night which concentrates every conceivable passion: Bernd Alois Zimmermann’s Trumpet Concerto “Nobody knows de trouble I see” performed with “technical perfection” (Kronenzeitung) by “the fantastic Håkan Hardenberger” (Salzburger Nachrichten) and Mahler’s Symphony No. 2 in C minor “Resurrection”. “Nelsons proved to be delicate but hearty when interpreting Mahler.” (Wiener Zeitung) The conductor led the Vienna Philharmonic Orchestra to “enticingly beautiful sounds” (Die Presse). “High praise goes to the vocal soloists Ekaterina Gubanova, Lucy Crowe and the Bavarian Broadcasting choir.” (Salzburger Nachrichten) “Standing ovation”! (Kurier)

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REVIEW:

This is a pretty compelling performance of the ‘Resurrection’ Symphony. The orchestral playing is superb, as you’d expect, and the quality of the singing is no less fine. Andris Nelsons is in his element with this dramatic, highly charged work and he does full justice to Mahler’s amazingly imaginative score. Lest it be thought that this is simply a no-holds-barred performance, let it be remembered that the less theatrical inner movements come off very well too.

Throughout the Zimmermann Concerto the soloist plays almost continuously and though the duration is only just over 15 minutes Hardenberger looks physically drained at the end. Nelsons is an alert and watchful accompanist. The Salzburg audience received the performance very warmly indeed.

– MusicWeb International

“During creation, every new ballet seems a possible film. When developing the idea of filming “A Midsummer Night’s Dream“, I insisted on planning a true ballet film which, for me, is completely different than a documentary. Within the three days of recording, we did not schedule a single complete run-through of the work. Instead, we recorded the film in sequences and with exciting camera positions which can be compared to the way one would film a drama. What we really love when watching films, is the immediacy, the vibrancy of the moment. The camera being so close, means that we don’t want the dancers representing something, we don’t want them presenting something, we want them simply being – “now”. We want that spark of truth that springs towards us and that touches us.” John Neumeier

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With fairytale-like staging and a "Pas de deux" that made Rudolf Nureyev and Margot Fonteyn a legend and always awaited in the ballet galas, Le Corsaire is considered a choreographic milestone in the history of ballet. Le Corsaire debuted with enormous success at La Scala to celebrate the 200th anniversary of the legendary choreographer Marius Petipa. The choreographic version by Anna-Marie Holmes after Marius Petipa and Konstantin Sergeyev made it „great fun! Spinatelli has given the dancers ravishing costumes and the orchestra plays some of ballet’s biggest hits. La Scala’s ballet company in top form.” (Gramilano) “A majestic staging and an excellent Dance Corps.” (L´ape Musicale) “Impeccable” (Informadanza)

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“Great moments: world premiere of Thomas Larcher's opera ’Das Jagdgewehr’ at the Bregenz Festival.” (Wiener Zeitung) Thomas Larcher has adapted Yasushi Inoue’s best-seller The Hunting Gun for his first opera, with a libretto by Austrian Book Prize winner Friederike Gosweiner. Austrian actor and film director Karl Markovics made his debut as stage director for an opera. The story tells of three women, who speak in three letters addressed to the same man, a hunter – his wife, his lover and his lover’s daughter. As the women react to the revelation of illicit love, the hunter’s life is laid bare. “The Austrian composer’s first opera is inventive” (The Times), “a clear, powerful text, some striking imagery and a luminous score of great beauty and originality ensure this opera’s success.” (The Observer)

A century to the day after the orchestra's first concert on 24th October 1919, the centennial season culminates in a "splashy gala night" (San Francisco Classical Voice) at the Walt Disney Concert Hall with the current and former chief conductors Dudamel, Mehta and Salonen sharing the podium. The repertoire is a true reflection of the DNA that makes the LA Phil the LA Phil and "the defining factor of this orchestra is it's ability to blend genres and styles to create totally new takes on classical works." (The Guardian) The New York Times recently called the LA Phil "America's most important orchestra. Period". Look no further than this concert�s program: Ravel's La Valse - Zubin Mehta; Lutoslawski's Symphony No. 4 - Esa-Pekka Salonen; Strawinsky's Firebird Suite - Gustavo Dudamel and the World Premiere of Daniel Bjarnason's New Work for Three Conductors! This release also includes the bonus film LA Phil - The Tradition of the New. The documentary portrays the LA Phil and it's continual creative reinvention on the occasion of this jubilee. Including a historical part to trace the steps that played a part in where the orchestra stands today and interviews with the current and former chief conductors Dudamel, Mehta, Salonen, Frank Gehry, John Adams and music critics, and members of the Los Angeles Philharmonic staff. 1. Die Meistersinger von N�rnberg: Prelude (NTSC) 2. La Valse (NTSC) 3. Symphony No. 4 (NTSC) 4. The Firebird Suite (1919 version) (NTSC) 5. From Space I Saw Earth (NTSC) Disc: 2 1. The Los Angeles Philharmonic - The Tradition of the New (NTSC)

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Herbert von Karajan broke boundaries in many aspects of conducting, among those being that he was the first conductor to become interested in filming his performances to preserve his cultural heritage. This exceptional documentary begins with his first concert productions, taken in Japan in 1957. Following those first recordings is his cooperation with director Henri-Georges Clouzot, then Karajan’s own film company Telemondial. Karajan’s language for orchestral film productions is seen here through all of its stages. This documentary also includes interviews with Karajan and his collaborators.

Picture Format: 1080i, 16:9
Sound Format: PCM Stereo
Subtitles: German, English, French, Spanish, Italian, Korean, Japanese
Region Code: 0 (All)
Total Running Time: 84 mins