The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein, are special concerts reserved for subscribers, hence the name. But to become a subscriber, due to the exceptional quality of the concerts and the limited offer, the average waiting time 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. With Zubin Mehta and Martha Argerich "two veteran musicians gave rise to real storms of enthusiasm in the Musikverein." (Wiener Zeitung) "The power of true 'Old Masters' - Martha Argerich sat at the piano as spiritedly sparkling as ever. Just as Bruckner's Fourth subsequently succeeded in becoming a magnificent dialogue between orchestra and conductor: Bruckner impulsive, intimate, poignant, stirring." (Kronenzeitung) Program: Robert Schumann: Piano Concerto in A minor Robert Schumann: From Kinderszenen, Op. 15: No. 1 Von fremden Landern und Menschen Anton Bruckner: Symphony No. 4 "Romantic"

Discover the brilliance of the iconic John Neumeier in this captivating double feature. The Glass Menagerie, inspired by Tennessee Williams' poignant drama, showcases Neumeier's extraordinary talent for storytelling through movement. At the center of this production is renowned ballet dancer Alina Cojocaru, who inspired John Neumeier to create the piece. Together with the acclaimed Hamburg Ballet, she delivers a performance that dances on the heartstrings and lingers in the soul. Complementing this masterpiece is John Neumeier - A Life for Dance, Andreas Morell's intimate documentary that offers a glimpse into the passion and vision of one of the greatest choreographers of our time. This edition is a must-have for dance enthusiasts and lovers of profound artistic expression.

Discover the brilliance of the iconic John Neumeier in this captivating double feature. The Glass Menagerie, inspired by Tennessee Williams' poignant drama, showcases Neumeier's extraordinary talent for storytelling through movement. At the center of this production is renowned ballet dancer Alina Cojocaru, who inspired John Neumeier to create the piece. Together with the acclaimed Hamburg Ballet, she delivers a performance that dances on the heartstrings and lingers in the soul. Complementing this masterpiece is John Neumeier - A Life for Dance, Andreas Morell's intimate documentary that offers a glimpse into the passion and vision of one of the greatest choreographers of our time. This edition is a must-have for dance enthusiasts and lovers of profound artistic expression.

Also available on Blu-ray

Subtitles: German, French
Booklet: English, German, French
No. of Discs: 2
Run time: 134 minutes
Disc Format: DVD
Picture: NTSC, 16:9
Audio: PCM Stereo, PCM 5.1
Bonus Material: The little Mermaid- behind the scenes
Region Code: 0 (worldwide)

R E V I E W:



AUERBACH The Little Mermaid • Martin West, cond; John Neumeier (choreography); Yuan Yuan Tan ( Little Mermaid ); Lloyd Riggins ( Poet ); Tiit Helimets ( Prince ); Sarah van Patten (Princess ); Davit Karapetyan ( Sea Witch ); San Francisco Ballet; San Francisco Ballet O • C MAJOR 708608 (2 DVDs: 119:00 + 35:00); 708704 (Blu-ray: 119:00 + 35:00) Live: San Francisco 4/30–5/7/2011


Bleak, brutal, and heartbreaking, John Neumeier’s dance adaptation of The Little Mermaid is likely to traumatize those children it does not baffle; this is a thoroughly adult account—inspired by certain aspects of Hans Christian Andersen’s life as well as his source story—of sexual repression, longing, and denial, and the literally disabling nature of unrequited love. The Mermaid, after saving a dashing Prince from drowning, falls in love with him and wants to pursue him onto land. But to do so, she must be stripped of her tailfin, which Neumeier presents as an agonizing flaying; the Mermaid’s new legs and feet, awkward and weak, are so useless that she spends most of her time on land despondent in a wheelchair. The Prince, meanwhile, regards the Mermaid lightly as a funny, gangly, odd little kid sister; his romantic attention turns elsewhere. All the while, in Neumeier’s account, the story is being written as we watch by an emotionally wrung-out Poet, a stand-in for Andersen, who himself seems to have been gut-wrenched by an adored male friend who went off and married a woman. No, actually the Poet doesn’t write the story as we go; it seems to unfold almost against his will, and ultimately to his horror. The Poet shadows the Mermaid through much of the ballet, and the story ends not at all happily, but with a duet that suggests the possibility of future transfiguration after long suffering.


Neumeier, as usual, employs only some elements of traditional ballet vocabulary, melding them into movement patterns drawn from modern dance, and paying special attention to gesture and facial expression; this story is acted as much as it is danced. Yuan Yuan Tan portrays the Mermaid as a happy, graceful creature in her natural element who becomes gangly, awkward, even a bit physically ugly when she thrusts herself into a realm in which she doesn’t belong. Together with choreographer Neumeier, in the “Mermaid’s Room” scene she creates a particularly realistic and distressing depiction through movement of claustrophobia and depression. Lloyd Riggins, as the Poet, has a role that is nearly as challenging, and turns in the most poignant performance here. Tiit Helimets is a virile, athletic Prince, and manages to make his character seem obtuse but not unlikeable. Davit Karapetyan is a menacing, very physical presence as the Sea Witch, who strips the Mermaid of her tail, while Sarah van Patten is more ethereal in her more limited role as the Princess.


Neumeier designed every element of this production except the music; that task fell to Lera Auerbach, whose chamber scores, at least, often call to mind Shostakovich and the more accessible side of Schnittke. Here, wresting much color from a full orchestra (including a subtly employed theremin, associated with the Mermaid), Auerbach knits together some memorable motifs and sequences that sometimes evoke other composers without ever seeming derivative (but what about that bit in the Sailors’ Dance that sounds like an allusion to Rota’s La Strada —accidental, or sly and intentional?). Perhaps the best stylistic comparison would be to John Corigliano’s Red Violin Passacaglia, although an actual passacaglia Auerbach provides for an intricate pas de quatre is more reminiscent of early Panufnik. In other words, it’s a dark work, but something easy enough for an audience to embrace. The excellent playing of the orchestra under Martin West puts the lie to the notion that pit orchestras are the worst orchestras.


The Blu-ray edition provides clarity through the underwater murk without sacrificing atmosphere, and the DTS-HD audio track gives the orchestra realistic depth and timbral precision. The 35 minutes of interviews are actually quite worthwhile in terms of expressing the dancers’ approaches to characterization, not the usual tedium of each artist praising all the others as geniuses who are wonderful to work with.


Neumeier’s Little Mermaid is not for people who prefer the pretty, psychologically shallow old story ballets. Put the kids to bed, watch this, and weep.


FANFARE: James Reel

This very special release includes the legendary concert of the Original Three Tenors - José Carreras, Plácido Domingo and Luciano Pavarotti, conducted by Zubin Mehta at the Terme di Caracalla, Rome 1990 on the eve of the Football World Cup in Italy, watched by 1.6 billion spectators worldwide. For the first time available on Blu-ray, digitally remastered! This edition includes the new documentary The Three Tenors - From Caracalla to the World featuring recent interviews with José Carreras, Plácido Domingo, Zubin Mehta, Pavarotti‘s widow Nicoletta Mantovani, Lalo Shifrin, Brian Large, Mario Dradi, Paul Potts, Sir Bryn Terfel, Norman Lebrecht, Didier de Cottignies and many more. Previously unpublished backstage material shows the tenors unadorned and offers a fascinating insight into what takes place beyond the spotlight in Rome, 1990 and the sequel in Los Angeles, 1994. The film takes a completely new look at the concert legends. For the first time, they talk about José Carreras‘ struggles with leukemia, their rivalries and friendships, their spectacular contract poker and life as an opera star.

There is no better repertoire with which to display a leider singer than the Schubert Song Cycles. For this release, baritone Hermann Prey tackles Schubert’s Die Schone Mullerin, Schwanengesang accompanied by Leonard Hokanson and Winterreise accompanied by Helmut Deutsch. As a bonus, this release includes an interview with Prey on these song cycles and a documentary on the artist. “In his finest interpretations Hermann Prey sang “Winterreise” and “Die schone Mullerin” with a captivatingly natural phrasing that flowed organically like a river and as such was the very opposite of the more intellectual approach of his rival, Dietrich Fischer-Dieskau.” (Die Zeit online) “The velvety, silky timbre of his soft-grained and yet distinctively striking baritone voice, his charm, his excellent diction and the naturalness of his delivery spiced with a hint of emotion- it is all this that distinguishes the truly outstanding lieder singer.” (Opernglas)

Also available on Blu-ray

THIELEMANN CONDUCTS FAUST

Richard Wagner: A Faust Overture

Franz Liszt: A Faust Symphony, S108/R425
Endrik Wottrich, tenor
Dresden State Opera Chorus
Dresden Staatskapelle
Christian Thielemann, conductor

Recorded live from the Semperoper Dresden, 2011.

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Korean, Chinese, Japanese
Running time: 90 mins
No. of DVDs: 1

R E V I E W:



LISZT A Faust Symphony. WAGNER A Faust Overture • Christian Thielemann, cond; Endrik Wottrich (ten); Dresden St Op Ch; Staatskapelle Dresden • C MAJOR 707708 (DVD: 90:00) Live: Semperoper, Dresden 02/21–22/2011


Now here’s a good release, entering an uncluttered field with repertoire that coincides neatly with an anniversary and that fits its performers like a glove. Where I recently argued that Christian Thielemann just about makes a (flawed) case for himself in the congested world of Beethoven symphonies, his credentials for Wagner and Liszt are far less controversial. A retro knight of big-boned, smoothly contoured orchestral playing, he is here heard to great effect in repertoire that is shamefully underrepresented. I also cannot fault the pairing of a young Wagner’s aborted attempt at a symphony with Liszt’s epic achievement on the same subject. Before Cosima, what linked Wagner and Liszt were their respective attempts to set Goethe’s Faust to music. Wagner intended this, written during his Paris years, to be merely the first movement of a Faust symphony, before Der fliegende Holländer and his Saxony post got in the way. So it remained an overture, and it was Liszt who would carry on some of Wagner’s initial intentions, such as a second movement based on the character of Gretchen. Liszt himself conducted Wagner’s piece in 1852, but despite a final revision in 1855 (the version given here) and a sketch for Gretchen’s theme, Wagner’s “symphony” remains a tantalizing what-if, giving clearance for the older composer to work on his vast set of Faustian character portraits. As Tobias Niederschlag’s admirable notes point out, Lizst’s late addition of tenor and chorus (always a bit of an afterthought in my view) to his tonal portraits can be seen as a nod to Beethoven’s Ninth, a sign of the massive ambition on display.


Given its fractious birth, Wagner’s A Faust Overture tends, not surprisingly, to be dismissed as a rather nothingy, juvenile work, but Thielemann and the Dresdeners really do make a fine case for it. Despite the full string textures and grandly played climaxes, Thielemann wisely doesn’t linger or pull things about for effect, as he sometimes does, and the Dresdeners’ dark, burnished sound helps underline the familiar traits of mature Wagner, without preventing it from being an intense, nimble account of a work that deserves to be better known. Yes, there are hangovers of Weber in the tuttis, and obvious foreshadows of the Holländer overture, but also there is a germ of Wagner’s later epic arches of texture and melodic development. The dying chords of Tristan und Isolde , for instance, can surely be heard in the finals bars of this piece.


With those mournful broken woodwind phrases in the “Nostalgia” opening, Wagner must have had Liszt’s symphony at the back of his mind during Tristan’s development. Although grotesque humor doesn’t feature in Wagner’s opera, both pieces share that introverted sense of Weltschmerz that naturally brings out the best from Thielemann. Faust’s feverish obsession is brilliantly conveyed in the frenzied string writing, but Thielemann doesn’t let the symphony as a whole become the empty showpiece that some of Liszt’s vast tapestries can become. The second movement (Gretchen) is, likewise, very well controlled, with the love theme played with sincerity, but no less heartfelt than many more drawn-out versions, and with much exquisite solo playing from the orchestra.


I still have the occasional feeling of extreme control-freakery, as on Thielemann’s recent Beethoven, but here his quirks and homogenized sound fit the repertoire brilliantly, and although as typically plush and molded an experience as I had predicted from this team, this DVD confounds a lot of my prejudices about him. Most surprising is how swift Thielemann is, with the Liszt falling roughly between young (Sony audio) and old (Euroarts DVD) Leonard Bernstein in basic length, and similar in scale to Barenboim’s audio version. Likewise I wouldn’t have predicted how well Thielemann creates a sense of fun on the podium; the ironisch comes out well in the opening of the grotesque Mesphisto episode, spritely in tone, in complete contrast to the opening two sections. I would almost say light and fleet-footed, but after some comparison with 1960s Bernstein, or a terrific YouTube clip of Dmitri Mitropoulos rehearsing the same section, Thielemann cannot yield all of his steeliness. Choral singing is excellent, although I can think of more alluring sounds than the rather pinched, clunky tones of tenor Endrik Wottrich, in rather tense form here. DVD competition is scarce, but Kenneth Riegel on Leonard Bernstein’s 1976 Boston DVD is better. For true vocal allure, if weird German, Plácido Domingo on Barenboim’s Warner CD is the obvious choice.


I do wish concert DVDs would come with the option of having an mp3 of the audio only. I, for one, would love the Wagner overture on my iPod. But C Major’s presentation is still very fine, with good booklet notes and logical DVD menuing. Pity that there are no extras (Thielemann’s Beethoven symphonies on the same label came with a 60-minute discussion of each work), but camerawork is unobtrusive and the sound is very clear and balanced, possibly at times allowing that Dresden acoustic to give quieter moments a rather cold demeanor. Perhaps, because of that last point, I find myself preferring the Bernstein DVD, boisterous and all-embracing despite much slower tempi throughout. But it is not a clear victory, especially considering modern picture, sound, and so fine a Faust Overture performance as a filler. So, yes, unlikely readers who only want one version: Get the Thielemann.


FANFARE: Barnaby Rayfield

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

Also available on standard DVD

Under the musical direction of their chief conductor designate, Christian Thielemann, the Staatskapelle Dresden performed this special concert to celebrate Franz Liszt and his bicentenary. At its home, the prestigious Semperoper in Dresden, the orchestra presented a Faust-themed concert with two works by Wagner and Liszt inspired by Goethe’s drama. “Fired up by inspiration, the Dresden musicians and their leader offer a superb demonstration of their ability, their precision and their feeling for colour and temperament … A top orchestra and a top conductor have found each other” (Die Welt).

THIELEMANN CONDUCTS FAUST

Richard Wagner: A Faust Overture

Franz Liszt: A Faust Symphony, S108/R425
Endrik Wottrich, tenor
Dresden State Opera Chorus
Dresden Staatskapelle
Christian Thielemann, conductor

Recorded live from the Semperoper Dresden, 2011.

Picture format: 1080p High Definition
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Korean, Chinese, Japanese
Running time: 90 mins
No. of Discs: 1 (BD 25)

The documentary Three Tenors – Voices for Eternity tells the story of the most successful concert in the history of classical music, featuring recent interviews with José Carreras, Plácido Domingo, Zubin Mehta, Pavarotti‘s widow Nicoletta Mantovani, Lalo Schifrin, Brian Large, Mario Dradi, Paul Potts, Sir Bryn Terfel, Norman Lebrecht, Didier de Cottignies and many more. Behind-the-scenes-footage, showing the emotional highlights of the first concert and the sequel in Los Angeles offers a fascinating insight into what takes place beyond the spotlight, and includes excerpts from the legendary concert of the Original Three Tenors - José Carreras, Plácido Domingo, and Luciano Pavarotti, conducted by Zubin Mehta at the Terme di Caracalla, Rome 1990 on the eve of the Football World Cup.

Also available on Blu-ray

This film is a journey with the famous pianist Yuja Wang. With more than 120 performances a year, she lives a nomadic lifestyle. The exploration of Yuja’s wanderings is a travelogue of exciting venues, glitzy cities and encounters with extraordinary artists, such as Gustavo Dudamel, Gauthier Capucon and Leonidas Kavakos and personalities of other professional horizons but there is also a downside: fatigue, jet lag, pressure, doubts, hostilities, disorientation, and loneliness. With a bittersweet reference to the transience of life, the film reveals the invisible that complements the visible and shows us this artist in a very personal way. “Pianists have to be alone all the time, and it’s hard, it’s lonely. Being a musician is almost like a very isolated life, and the only time you actually get to communicate is on stage with music. It’s not a bad thing. I think being solitary, it really allows us to think about life and to think about why people write this music. [...] It makes you start to wonder about things that are beneath the surface.” (Yuja Wang)

DETAILS:

Picture format: NTSC 16:9
Filmed in: High Definition
Sound: PCM Stereo / DTS 5.1
Languages/Subtitles: English; Ger, Fr, KOR, JPN
Region: 0 (Worldwide)

Semperoper Dresden presents an historic performance of Tristan and Isolde, directed by Marco Arturo Marelli and conducted by world-leading conductor Christian Thielemann. The sound he obtains from the Wagnerian score "fills the room with elegiac longing, drawing listeners into the emotional depths of the famous lovers." (Opera Online) Klaus Florian Vogt, in his debut as Tristan, is "fully present and convincing with natural phrasing and clear diction" (Opernmagazin), while Camilla Nylund as Isolde "convinced with her still incredibly lyrical, light soprano" (Sachsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression. "It would be most wonderful if this Tristan never ended." (Opernmagazin). "Brilliant performances that bring you to your knees". (Sachsische Zeitung)

Semperoper Dresden presents an historic performance of Tristan and Isolde, directed by Marco Arturo Marelli and conducted by world-leading conductor Christian Thielemann. The sound he obtains from the Wagnerian score "fills the room with elegiac longing, drawing listeners into the emotional depths of the famous lovers." (Opera Online) Klaus Florian Vogt, in his debut as Tristan, is "fully present and convincing with natural phrasing and clear diction" (Opernmagazin), while Camilla Nylund as Isolde "convinced with her still incredibly lyrical, light soprano" (Sachsische Zeitung). At the zenith of his career, Christian Thielemann manages to set a new standard with his permeation of this difficult score and leads the Staatskapelle Dresden to new heights of artistic expression. "It would be most wonderful if this Tristan never ended." (Opernmagazin). "Brilliant performances that bring you to your knees". (Sachsische Zeitung)

It is an event that attracts thousands of music lovers to Verona every summer: the opera season in the ancient Roman Arena. Nearly 22,000 spectators regularly fill the amphitheater for the performances. The Arena di Verona honours Italian stage director and filmmaker Franco Zeffirelli and his legendary production of Turandot. His imposing cinematographic production reproduces imperial China thanks to it's impressive scenery and scenes, enriched by the sumptuous costumes of the Oscar-winning Japanese costume designer EMI Wada. Everything helps to highlight the atmosphere of the drama of enigma per excellence, where life itself is in danger and the answer lies in love, which melts the protagonist's icy heart. "Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual" (La Stampa)

It is an event that attracts thousands of music lovers to Verona every summer: the opera season in the ancient Roman Arena. Nearly 22,000 spectators regularly fill the amphitheater for the performances. The Arena di Verona honours Italian stage director and filmmaker Franco Zeffirelli and his legendary production of Turandot. His imposing cinematographic production reproduces imperial China thanks to it's impressive scenery and scenes, enriched by the sumptuous costumes of the Oscar-winning Japanese costume designer EMI Wada. Everything helps to highlight the atmosphere of the drama of enigma per excellence, where life itself is in danger and the answer lies in love, which melts the protagonist's icy heart. "Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual" (La Stampa)

Also available on Blu-ray

From the innovative and gorgeous "Tutto Verdi" project comes a chance to catch all the high points! "Tutto Verdi" includes arias from 20 Verdi operas. The selections hail from the best-known and loved productions like Aida, La Traviata and Rigoletto as well as lesser-known beauties, all in HD.

Giuseppe Verdi
TUTTO VERDI - The Complete Operas
(Highlights)

excerpts from:
Oberto
Un Giorno di Regno
Nabucco
I Lombardi alla prima crociata
Ernani
I due Foscari
Giovanna d’Arco
Attila
Macbeth
Il Corsaro
Luisa Miller
Rigoletto
Il Trovatore
La Traviata
I Vespri Siciliani
Simon Boccanegra
Un Ball in Maschera
La Forza del Destino
Falstaff

with:
Anna Caterina Antonacci
Barbara Bargnesi
Silvia Dalla Benetta
Daniela Dessì
Norma Fantini
Tamar Iveri
Nino Machaidze
Susan Neves
Dimitra Theodossiou
Sylvie Valayre
Svetla Vassileva
Marcelo Alvarez
Marco Berti
Francesco Demuro
Antonio Gandia
Carlo Guelfi
Ambrogio Maestri
Francesco Meli
Leo Nucci
Luca Salsi
Roberto Scandiuzzi
Vladimir Stoyanov

Parma Teatro Regio Chorus and Orchestra

Recorded live from the Teatro Regio di Parma

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: Italian, English
Running time: 94 mins
No. of DVDs: 1

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

Also available on standard DVD

From the innovative and gorgeous "Tutto Verdi" project comes a chance to catch all the high points! "Tutto Verdi" includes arias from 20 Verdi operas. The selections hail from the best-known and loved productions like Aida, La Traviata and Rigoletto as well as lesser-known beauties, all in HD.

Giuseppe Verdi
TUTTO VERDI - The Complete Operas
(Highlights)
(Blu-ray Disc Version)

excerpts from:
Oberto
Un Giorno di Regno
Nabucco
I Lombardi alla prima crociata
Ernani
I due Foscari
Giovanna d’Arco
Attila
Macbeth
Il Corsaro
Luisa Miller
Rigoletto
Il Trovatore
La Traviata
I Vespri Siciliani
Simon Boccanegra
Un Ball in Maschera
La Forza del Destino
Falstaff

with:
Anna Caterina Antonacci
Barbara Bargnesi
Silvia Dalla Benetta
Daniela Dessì
Norma Fantini
Tamar Iveri
Nino Machaidze
Susan Neves
Dimitra Theodossiou
Sylvie Valayre
Svetla Vassileva
Marcelo Alvarez
Marco Berti
Francesco Demuro
Antonio Gandia
Carlo Guelfi
Ambrogio Maestri
Francesco Meli
Leo Nucci
Luca Salsi
Roberto Scandiuzzi
Vladimir Stoyanov

Parma Teatro Regio Chorus and Orchestra

Recorded live from the Teatro Regio di Parma

Picture format: 1080i High Definition
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: Italian, English
Running time: 94 mins
No. of Discs: 1 (BD 25)

Tutto Verdi- this edition sets standards by which all similar projects will be judged. It includes all twenty-six operas by the greatest Italian stage composer, together with his immortal Requiem, all of them in definitive performances. “This is how Tutto Verdi should be played.” (Frankfurter Allgemeine Zeitung) As a bonus, this impressive set also includes ten minute introductions to each opera as well as the documentary “Verdi’s Backyard,” and a 280 page booklet detailing each performance. The Orchestra e Coro del Teatro Regio di Parma shines in each of these productions, as do the world-renowned soloists that include Daniela Dessi, Marcelo Alvarez, Leo Nucci, Fiorenza Cedolins, Irinia Lungu, and many more. Subtitles are available in Italian, English, German, French, Spanish, Chinese, Korean, and Japanese.

Un ballo in maschera is a poignant love story between two complex, mature characters torn between their desires, loyalties and the inevitable consequences of their choices. In this production, stage director Vincent Boussart delves deeply into the theme of masks, revealing a rich interplay of drama and comedy, human duplicity, lies and truth. "The two male protagonists, Piotr Beczala as Riccardo and Carlos Alvarez as Renato, were the outstanding performances for the evening." (Bachtrack) "A deeply moving play of masquerade and humanity" (El Pais)

Un ballo in maschera is a poignant love story between two complex, mature characters torn between their desires, loyalties and the inevitable consequences of their choices. In this production, stage director Vincent Boussart delves deeply into the theme of masks, revealing a rich interplay of drama and comedy, human duplicity, lies and truth. "The two male protagonists, Piotr Beczala as Riccardo and Carlos Alvarez as Renato, were the outstanding performances for the evening." (Bachtrack) "A deeply moving play of masquerade and humanity" (El Pais)

Also available on Blu-ray

This scintillating opera gala offers you the chance to experience the Odeonsplatz Concert 2013 with Rolando Villazón, Thomas Hampson and Yannick Nézet-Séguin in all its glory, featuring opera arias, duets, overtures and choruses by Verdi and Wagner.

THE ODEONSPLATZ CONCERT – Verdi and Wagner
Klassik am Odeonsplatz

Giuseppe Verdi:
Les vêpres siciliennes (I vesperi siciliani): Overture
Don Carlos: Autodafé / Dio, che nell’alma infondere
L’esule (arr. L. Berio)
Il trovatore, Act II: Vedi, le fosche notturne, “Anvil Chorus”
Il corsaro, Act III: Alfin questo corsaro … Cento leddiadre vergini
Oberto, conte di San Bonifacio, Act II: Ciel, che feci!
Nabucco, Act III: Vá pensiero, “Chorus of the Hebrew Slaves”

Jules Massenet:
Hérodiade, Act II: Ce breuvage pourrait … Vision fugitive
Le Cid, Act III: Ah! tout est bien fini … Ô souverain, ô juge, ô pere
Maurice Ravel: La valse (version for orchestra)

Richard Wagner:
Lohengrin: Preludes to Acts I & III
Tannhäuser: O du mein holder Abendstern / Entry of the Guests on the Wartburg

Rolando Villazón, tenor
Thomas Hampson, baritone

Bavarian Radio Symphony Chorus
Bavarian Radio Symphony Orchestra
Yannick Nézet-Séguin, conductor

Recorded live at Odeonsplatz, Munich, 2013

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, German, French, Spanish, Korean, Chinese, Japanese
Booklet notes: English, German, French
Running time: 111 mins
No. of DVDs: 1 (DVD 9)

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).

The present release features three great performances from Arena di Verona, featuring some of opera’s finest artists including Luca Salsi, Anna Netrebko, Yusif Eyvazov, Irina Lungu, Marko Mimica, and many more. Each of these recordings has garnered critical acclaim. Of Carlos Alvarez’s performance as Don Giovanni, GP Opera wrote that Alvarez is “of beautiful voice” and L’ape musicale is “presumably today’s best Don Giovanni.” Das Opernglas writes of Simon Boccanegra “top phrasing and articulation, his baritone with full and sonorous intonation and a unique timbre.”

This new release features five outstanding operas from the legendary Teatro Alla Scala. The selections include Aida: “A perfect coup de theatre” (Giornale della Musica); I Due Foscari: “[Domingo’s performance] was sublime”; Die Zauberflote: “[Adam Fischer] gets the best out of the Academy Orchestra with delicate execution and humane phrasing” (Die Presse); Le Nozze Di Figaro: “… when Diana Damrau enters as the Countess, we get a performance of special gravitas. Even the orchestra, under Franz Welser- Most’s baton, melts to such grace” (Financial Times); and Die Entfuhrung Aus Dem Serail: A “masterful use of light and silhouettes” (Milano Post)

Originally commissioned to celebrate the completion of the Suez Canal and the opening of Cairo’s new opera house, Verdi’s Egyptian epic Aida is here seen in a spectacular new staging in the Teatro Regio Torino by the Oscar-winning American film director William Friedkin, creator of such famous movies as The Exorcist and The French Connection. The cast features American soprano Kristin Lewis who has been heralded for her “remarkable voice, which she uses with powerful dramatic instinct” (La Stampa), and Georgian mezzo-soprano Anita Rachvelishvili, whose Amneris “dominates the stage with her dark, rounded, irresistible voice and extraordinary stage presence” (La Gazzetta Musicale). Gianandrea Noseda leading the Orchestra and Chorus Teatro Regio Torino received accolaides from all: “he controls everything- orchestra, singers, chorus, dancers, acrobats- with an all-encompassing overview.” (La Stampa) “he knows exactly when it’s time to linger over a timbre, a color, an expressive chord.” (Corriere della Sera)

Also available on Blu-ray

Giuseppe Verdi's masterpiece Aida at La Scala in Milan is an experience in itself. Consequently, this new production is an event barely to be surpassed, especially when played before La Scala's notoriously critical audience. Legendary stage director Peter Stein succeeds in delivering a lucid production acclaimed in equal measure by the press and public.

Giuseppe Verdi
AIDA

Il Re - Carlo Colombara
Amneris - Anita Rachvelishvili
Aida - Kristin Lewis
Radamès - Fabio Sartori
Ramfis - Matti Salminen
Amonasro - George Gagnidze
Messaggero - Azer Rza-Zada
La Gran Sacerdotessa - Chiara Isotton

Milan La Scala Ballet
Milan La Scala Chorus and Orchestra
(chorus master: Bruno Casoni)
Zubin Mehta, conductor

Peter Stein, stage director
Ferdinand Wögerbauer, set designer
Nanà Cecchi, costumer designer
Joachim Barth, lightning designer
Massimiliano Volpini, choreographer

Recorded from Teatro alla Scala, 2015

Picture format: NTSC 16:9
Sound format: Dolby Digital Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: Italian, German, English, French, Spanish, Chinese, Korean, Japanese
Running time: 151 mins
No. of DVDs: 1 (DVD 9)