Visually, it's a theatrical feast of eccentricity... witty, irrepressible, unforgettable... (The Guardian) One of Mozart's most enchanting works, Die Zauberfl�te is a fairytale that uses familiar archetypes to ask provocative and difficult questions about religion, the nature of power, the bonds of family, and of course love. Premiered just months before Mozart's death, Die Zauberfl�te in many ways represents a new departure for the composer. Catching the spirit of revolution in the air, Mozart turned his attention for the first time from court opera to popular opera, writing this singspiel ('sung-play') for a new and much broader audience. Celebrated Canadian directing duo Barbe & Doucet make both their British and Glyndebourne debuts here with their new Die Zauberfl�te, a veritable "theatrical feast of eccentricity." (The Guardian). Ryan Wiggleworth conducts an outstanding cast including Russian soprano Sofia Fomina as Pamina, David Portillo as her beloved Tamino, Brindley Sherratt as Sarastro, and the ebullient Bj�rn B�rger as Papageno.

Suor Angelica is one of the three one-act operas that comprise Puccini’s Il Trittico. Of the three, it’s the most lyrical and tragic; it also features an all female cast. Set in a 17th-century convent near Florence, it tells the tragic tale of a noblewoman who is forced to become a nun to repent the sin of having had a child outside wedlock, thus causing a huge scandal in her social circle. The baby is immediately taken from her, and Angelica is left with no news about him, nor her family, for seven long years. Although seemingly adjusted to the convent’s daily routine – she has become an expert in herbal remedies – Angelica is desperate to hear from her family, but when an aunt finally visits her, Suor Angelica is coldly informed that her son died from an incurable disease two years earlier. The aria Senza mamma (Without Mama) is the tragic peak of both this moment and the whole opera. In her distress, Angelica resolves there is only one option left to be reunited with her child: she proceeds to prepare some poison and drink it. On the verge of death she asks for forgiveness, which the Virgin Mary grants her, appearing with a young boy by her side. “Anna Maria Chiuri, who plays the character of the Princess, has a beautifully projected and even contralto voice, a monumental fraseggio which well suits the character’s elusiveness… Valerio Galli directs the Orchestra del Maggio Musicale Fiorentino with great self assurance. The performance is excellent, the sound is homogeneous, round and sparkling with energy. Suor Angelica’s intimate religious sense flows naturally into the colors and shades of the finale.”

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Based on an historical case, Nikolai Rimsky-Korsakov’s The Tsar’s Bride takes place in the suburbs of Moscow during the reign of Tsar Ivan IV, “the Terrible”, during the latter half of the 16th c. Widowed, he is looking for a new wife, his third. He chooses the young Marfa. She loves another man but bends to the Tsar’s will and renounces her love for the other. From this plot, Russian director Dmitri Tcherniakov retains only the frame. A live competition is organized for a virtual monarch, much like the reality shows of today. Here, the characters become the various players of the audiovisual industry bringing an acerbic critic to contemporary television. Daniel Barenboim conducts the Staatskapelle Berlin. With Olga Peretyatko, Anita Rachvelishvili and Johannes and Martin Kränzle. Recorded at Staatsoper, Im Schiller Theater Berlin, in October 2013.

Starring Pavel Sporcl.

Parsifal, Wagner's last opera, is a work of intense humanity. + Created in honor of the Wagner bicentenary, Stephen Langridge's new production, with designs by Alison Chitty, distils with 'intellectual fiber and visual eloquence' (Financial Times) the timeless and universal nature of the Parsifal story. + Tenor Simon O'Neill stars in the title role. + Ren� Pape as Gurnemanz is 'immaculate' (Guardian), Gerald Finley as Amfortas is 'compelling' (Telegraph) and Angela Denoke as Kundry is 'dramatically electrifying' (Telegraph). + Antonio Pappano leads the Orchestra of the Royal Opera House

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Norma is considered not only Bellini’s masterpiece, but also one of the best 19th century operas tout court. Yet, its premiere at La Scala in 1831, three months from the beginning of its composition, was received with a coldness that surprised even Bellini. However, in the space of a few days Norma dispelled all doubts and started on a triumphant journey. This production was recorded at the Macerata Opera Festival, and features a superb cast. It was a particularly great success for Uruguayan soprano Maria Jose Siri, who performs the title role, and Italian mezzo Sonia Ganassi who is Adalgisa. “A perfect synthesis of cast, direction, sets, lighting, and costumes,” according to Italian critics. The aria “Casta diva” received a standing ovation.

Classical, Original recording Berliner Philharmoniker Puccini

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Natalia Makarova’s acclaimed production of this 19th-century classic ballet brings an exotic world of temple dancers and noble warriors to life. Featuring opulent sets by Pier Luigi Samaritani and beautiful costumes by Yolanda Sonnabend, it stars Marianela Nuñez as the Bayadère (temple dancer) Nikiya, Vadim Muntagirov as Solor, and Natalia Osipova as Gamzatti, whose alluring presence challenges Solor’s love for Nikiya. La Bayadere (The Temple Dancer) was originally staged in four acts and seven tableaux by French choreographer Marius Petipa to the music of Ludwig Minkus. The ballet was staged especially for the benefit performance of the Russian Prima ballerina Ekaterina Vazem, who created the principal role of Nikiya. From the first performance the ballet was universally hailed by contemporary critics as one of the choreographer Petipa's supreme masterpieces, particularly the scene from the ballet known as The Kingdom of the Shades, which became one of the most celebrated pieces in all of classical ballet.

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Haydn’s oratorio ‘The Creation’ is one of the greatest masterpieces in the repertoire. Its libretto was constructed by Gottfried von Swieten who took texts from the Book of Genesis, the Psalms, and who employed his own original poetry. In this radical and compelling staging by the ground-breaking Catalan theatre collective, La Fura dels Baus, and internationally acclaimed stage director Carlus Padrissa, the oratorio is seen through the prism of a stream of refugees expelled from Paradise. Stunning light projections encapsulate the stage space and incorporated philosophical and scientific perspectives make this truly an oratorio for our time.

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REVIEW:

Many productions these days use video as part of the design but this is the first I can recall which is so wonderfully—often breathtakingly—effective.

– Lark Reviews

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CORIGLIANO Symphony No. 3, “Circus Maximus.” Gazebo Dances • Jerry Junkin, cond; U Texas Wind Ens • NAXOS NBD0008 (Music-only Blu-ray disc: 52:54)


This program is the first music-only Blu-ray release from Naxos; when the busiest classical record label on the planet decides to take a particular technical direction, it behooves us to take note. Naxos has previously issued both SACDs and DVD-Audio discs but has fallen silent for some time, as far as a high-resolution product is concerned. DVD-Audio is gone and SACD, despite the fierce loyalty of a relatively small base of enthusiasts (like me), hasn’t moved beyond the category of a niche product. Blu-ray movies, of course, have been selling like hotcakes to a wide audience and it follows that there are a hell of a lot of Blu-ray players out there. The technology also provides a medium for state-of-the-art music reproduction, and Naxos now joins a number of more obscure labels including 2L, AIX, and Surround Records to provide us with a specimen of what could become the dominant physical carrier of high-resolution digital music.


Significantly, Naxos has not chosen a “sonic spectacular” warhorse to introduce the new format—another Planets, Carmina Burana, or 1812 —but instead offers the first recording of a major work by an important contemporary composer. John Corigliano’s Symphony No. 3 for large wind ensemble, “Circus Maximus,” composed in 2004, is certainly the right stuff to show off the possibilities of an audiophile medium. The piece considers the similarities between the appetite in ancient Rome for spectacle of ever-increasing extremity and the media-driven, lowest-common-denominator reality-show entertainment culture of our own day. The composer observes in his liner note: “Many of us have become as bemused by the violence and humiliation that flood the 500-plus channels of our television screens as the mobs of imperial Rome, who considered the devouring of human beings by starving lions just another Sunday show.”


Corigliano’s technique involves settling on an “architecture” for a piece before actually developing specific musical materials. The Circus Maximus was, of course, Rome’s enormous outdoor public entertainment venue and the composer wanted his work to “justify the encirclement of the audience by musicians, so that they were in the center of an arena.” His “Circus Maximus” is scored for a typical concert wind ensemble positioned onstage, in front of the listener, plus a substantial “surround band” deployed quite specifically around the hall. (The notes reproduce a diagram for positioning the instruments as published in the G. Schirmer score.)


The 35-minute composition consists of eight sections that run continuously. “Introitus” opens with fanfares from 11 trumpets located around the perimeter of the auditorium’s first tier, soon joined by the onstage players. This attention-grabbing movement leads to “Screen/Siren”—a quartet of saxophones plus string bass placed distantly and emitting plaintive, beckoning cries, a song sung in a tritone-laden harmonic milieu. This is rudely interrupted by “Channel Surfing,” as hyperactive music seems to come from every direction. In the manner of Mahler’s Seventh, there are two contrasted “Night Music” sections, one evoking a dangerous backwoods—wild animals howl—and the second an energetic nocturnal urban environment. Then comes the “Circus Maximus” itself: “Exuberant voices merge into chaos and a frenzy of overstatement,” in the words of the composer. Relief follows in the form of a “Prayer” that possesses a degree of harmonic uncertainty but always seems to have a IV to I resolution as the favored destination. “Coda: Veritas” reprises the first section’s fanfares, building to an almost unbearably intense unison note for all the trumpets, terminated by the firing of a 12-gauge shotgun. (Thoughtfully, Corigliano suggests in the printed score that a performing organization may want to hire “a licensed pyrotechnician,” rather than entrust the operation of the firearm to an everyday percussionist.)


The multichannel audio program, DTS-HD Master Audio 5.1, is virtually mandatory for a full appreciation of a work in which the spatial deployment of the performers is critical. (In the “Circus Maximus” section, a marching band actually moves through the cacophony produced by the other considerable forces.) Producer Stephen Epstein and engineer Richard King—both have worked for Sony Classical—have created an incredible sonic experience that may change your outlook in terms of the level of visceral excitement achievable with large-scale repertoire in a home listening environment.


Corigliano’s Gazebo Dances, composed originally for piano four-hands, is a much earlier work. There have actually been six previous recordings of the version for band. The four brief movements are inspired by a turn-of-the-last-century concert-band-in-the-park ethos. The composer describes the opening Overture as “Rossini-like”—I hear the Bernstein of Candide. There’s an off-kilter Waltz and a wistful Adagio that reaches a troubled climax. An exuberant Tarantella ends this affable piece, which is surely within the capabilities of most college bands and maybe even a few ambitious high school groups. Delightful stuff.


FANFARE: Andrew Quint


There are two distinct issues with this disc: the music and the recording. Readers of MusicWeb International want to know what to expect from two unknown works by a rarely heard composer. Your reviewer would however be failing in his duty if he did not herald the arrival of a 'new' format for music.
 
The music first. The symphony is scored for a large wind-band which is detailed in the insert giving not only instrumentation but a diagram of its distribution around the large auditorium at the University of Texas. As it is the composer’s intention that we are surrounded by the players and impacted from all angles, the DTS Master soundtrack is the one to hear. The opening leaps out from behind the listener and much of the first three movements come from discrete groups of musicians placed behind and to the sides. The work fully deserves the title 'symphony' because the themes announced in the early stages are developed extensively in proper symphonic style culminating in recalls of earlier music near the end. Corigliano writes about his wish to draw parallels between the shows at the Ancient Roman Circus Maximus and the current preoccupation with an increasingly intrusive media pandering to the lowest common denominator through 'reality' shows. Whilst we may not feed the religious to the lions, we do seem to watch public humiliation with greater and greater relish. The idea also gave him the excuse he sought to surround his audience with performers. For me the music works quite well and is certainly not hard to enjoy even if it is a bit nerve-racking awaiting the next unexpectedly angled assault. The two Night Music movements are reminiscent of Mahler's pairing in the Seventh Symphony with their fierce activity but here the two nights are of nature and of the city. Night Music 1 is atmospheric but more than just sound-effects because it is thematically linked to what has gone before, particularly the 'primitive calls' heard in the Introitus. Night Music 2 serves as a scherzo for his Symphony, full of dance rhythms and punctuated by fierce outbursts culminating in a climax of quite devastating impact. This is followed by the reflective Prayer and a short but dramatic coda Veritas. The work closes with a gun-shot for which detailed instructions are given in the score, just in case anyone should try to use the 'wrong' gun! The Gazebo Dances are orchestrated from a set of piano four-hand pieces and scored for a more normal wind-band. They are very agreeable with the easy charm of Malcolm Arnold's light music and as beautifully recorded as the main work.
 
To focus on the recording and the medium. This is not the first music issue on Blu-Ray but it is the first from mass-market leaders Naxos and they have announced several more including four Dvorák symphonies. Clearly they are seriously testing out the market for a medium which will not play on anything except a Blu-Ray-capable player, thus the notice on the packaging about it not working on a CD or standard DVD player. Given that the classical market is a tiny fraction of the CD market, that modern classical music is a fraction of that fraction, and finally that Blu-Ray is a fraction of the DVD market, Naxos have set themselves a huge task to sell more than a handful of any one disc in this series. This 2006 recording was made in 24-bit 88.2 kHz and this fact is emblazoned across the top of the cover as if it mattered. What you hear is not 24-bit / 88.2 kHz, that was the digital format for the failed DVD-Audio market, but DTS High Definition Master Audio and that provides 24-bit 96 kHz in 6 channels: 5 surround and one for the subwoofer if you have one. Naxos made a series of DVD-A discs a few years back, thus the present recording format; then they tried out SACD - yet another format. Both failed because few people had the equipment to play the discs and Naxos withdrew from that market. Blu-Ray is different because it is possible to play these music-only discs on any Blu-Ray video equipped home cinema system. How many people will purchase both the latest Hollywood blockbuster and John Corigliano's latest symphony remains to be seen! This particular issue is very well recorded indeed. I would go so far as to say it is one of the best I've ever heard. Since the music demands actual surround distribution of forces the use of the extra channels is not merely self indulgence by the engineers. The dynamic range on the disc is little short of frightening. If you do not jump when the music starts you have not turned the volume up far enough and you will not hear the quietest passages, of which there are plenty. Why the disc requests contact with the internet I do not know. I tried saying yes and no for two playings and detected no change in facilities. Maybe someone somewhere in Naxos marketing has noted the fact that I played the disc. I will be very interested to hear the Dvorák symphonies which make very different, much subtler, demands on a surround recording.  

-- Dave Billinge, MusicWeb International

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John Cranko’s mastery of the art of the pas de deux finds its climax in Onegin, one of the most successful full length ballets of the 20th century. Set to sweeping music by Tchaikovsky, it tells Alexander Pushkin’s tragic love story of the world-weary aristocrat Onegin and the naïve country girl Tatiana in a superbly nuanced way. Featuring world stars Friedemann Vogel and Alicia Amatriain, this production is a must for all lovers of dramatic – and romantic – ballets. With Onegin, John Cranko secured his place in the pantheon of great 20th century choreographers. He created the three act work for the Stuttgart Ballet – of which he was Director – in 1965 and revised the ballet two years later. Over the last 50 years, the ballet has entered the repertoire of almost every leading ballet company in the world, including the Paris Opera Ballet, the Royal Ballet in London, the Bolshoi Ballet, the Ballet of the Teatro alla Scala and the American Ballet Theatre. Friedemann Vogel and Alicia Amatriain – the leading couple of the Stuttgart Ballet who have been showered with international prizes and accolades demonstrate here why they are deemed the elite of the dance world. But it is legendary Marcia Haydee who creates the night’s special magic: Once Cranko chose her to be the very first Tatiana, now she guest stars as nurse; the close bonds between Haydee and the ensemble are palpable throughout and it is a truly touching moment when the original Tatiana meets the current one.“Onegin is the perfect Ballet” (Marcia Haydée) “Onegin is so good, that it can easily hold its own against any Broadway show!” (Newsday)

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Celebrating his 75th birthday with a programme of Stravinsky, Hummel and Beethoven, “everything about Mariss Jansons exudes joy and sovereignty,” wrote Süddeutsche Zeitung. This thrilling, varied concert was recorded in January 2018, with Jansons and the Bavarian Radio Symphony Orchestra demonstrating the close relationship which has developed between them over the past 18 years. This recording also features a stellar quartet of soloists partnering with one of this fine orchestra, playing under the conductor who, even at 75, continues to inspire them to great artistic heights. Born in 1943 in the Latvian capital of Riga, Mariss Jansons grew up in the Soviet Union as the son of conductor Arvid Jansons, studying violin, viola and piano and completing his musical education in conducting with high honours at the Leningrad Conservatory. Further studies followed with Hans Swarovsky in Vienna and Herbert von Karajan in Salzburg. In 1971 he won the conducting competition sponsored by the Karajan Foundation in Berlin. His work was also significantly influenced by the legendary Russian conductor Yevgeny Mravinsky, who engaged Mariss Jansons as his assistant at the Leningrad Philharmonic in 1972. Over the succeeding years Mariss Jansons remained loyal to this orchestra, today renamed the St. Petersburg Philharmonic, as a regular conductor until 1999, conducting the orchestra during that period on tours throughout the world. Since 2003 Jansons has been Chief Conductor of the Bavarian Radio Symphony Orchestra and Chorus.

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REVIEW:

Beethoven insisted that the keynotes of his Mass were cheerfulness and gentleness, and these qualities are evident in a tenderly shaped Sanctus and Benedictus.

– Gramophone

He is the most performed contemporary composer in the world. And yet he rarely ventures out in public, prefers to keep quiet about his music, feels at home in the forests of Estonia and generates therewith - perhaps involuntarily - the impression of a recluse, which is attributed to him again and again: Arvo P�rt. Adam's Passion is the moving first collaboration between two "masters of slow motion who harmonize perfectly with each other" (Frankfurter Allgemeine Zeitung). In the spectacular setting of a former submarine factory, American director and universal artist Robert Wilson creates a poetic visual world in which the mystical musical language of the Estonian composer Arvo P�rt can cast it's meditative spell. The Lost Paradise: In The Lost Paradise, we follow Arvo P�rt over a period of one year in his native Estonia, to Japan and the Vatican. The documentary is framed by the stage production of Adam's Passion in which the artistic visions of Arvo P�rt and Robert Wilson mirror each other. Tracing their creative process, the film offers rare and personal insights into the worlds of two of the most fascinating personalities in the international arts and music scene.

Two very rare operas in one act. Pigmalione was Gaetano Donizetti's first opera, written to a libretto by Simeone Antonio Sografi in just two weeks at the age of nineteen. The "lyrical scene" Pigmalione, as Donizetti himself defined it, is the composer's only approach to a mythological subject and tells the story of a sculptor whose statue becomes alive. The main role is sung by Antonino Siragusa, who gives a masterful interpretation, especially in the long and significant recitatives, and displays a polished and colourful voice. Excellent also is the Japanese soprano Aya Wakizono, Galatea, whose enticing voice well suits the requirements of her short part. Che originali! Is a little-known farce in a single act on a libretto by Gaetano Rossi, and was, from the very beginning, one of Giovanni Simone Mayr's most successful operas. The opera tells the story of a music fanatic, Don Febeo: in his house everybody must know and love music. Emanuele Sinisi's beautiful sets are almost surreal but well suited to Febeo's bizarre affair. The direction is humorous, often verging on the grotesque, in line with the style of the farce but always elegant and well-structured from a dramaturgical point of view. The protagonist, Febeo, is entrusted to Bruno de Simone, an excellent actor endowed with a clear and precise voice, and a master in the fast spelled-out passages.

The Niquet, Shirley & Dino trio was formed on the occasion of Purcell's King Arthur, a show that marked the lyric stage and the world of the DVD. Five years later, their complicity has been further reinforced, and they present a work close to Herv� Niquet's heart: Boismortier's Don Quichotte chez la Duchesse. This opera-ballet, written for Carnival and first performed in Paris in 1743, occupies a particular place in Herv� Niquet's career since it was the first work played by Le Concert Spirituel 27 years ago: 'In addition to being composed by a genius of the Enlightenment, this comic opera is a gem of music, wit and humour,' says he. The wit of the famous Benizio couple is felicitously expressed in this story of which they have rewritten the comedy scenes, which had disappeared: 'From this succession of episodes, one more incongruous than the next, from this incredible accumulation of remarkably constructed gags (Niquet as Don Quichotte, Corinne Benizio/Shirley in a hilarious cantadora number, accompanied by Herv� Niquet with castanets, Gilles/Dino singing - not too badly! - a courtly air with harpsichord whilst the hysterical Duchess bellows in the wings), ensues a perfectly mad show' (ResMusica). The whole thing with all the necessary strictness in reproducing the music... Worth noting: the performance of the singer-actors and the splendid costumes and sets. A total spectacle filmed at the Royal Opera of the Ch�teau de Versailles. Bonus: a 52-minute documentary on the behind-the-scenes preparation of the production. 'First of all, we must hail the remarkable writing and dramaturgical work that is marvellously faithful to the work's off-beat universe. In phase with the reading of Shirley and Dino, the prize goes to the orchestra and dynamic, lively and invigorating conducting. Decidedly, Niquet has no rivals for transmitting his boundless love for this Poulenc of the Enlightenment.'

One of the foremost British ensembles, the Kreutzer specializes in new music and has already made many recordings for Metier and other labels. This superb film is not only the record of brilliant performances of major modern quartets and fine entertainment, it is also a valuable and rewarding tool for observing how the players of an ensemble communicate and interact, especially in works like that of Lutoslawski which allow performers a degree of choice. Above all it is a demonstration that music very often should be seen as well as heard. This disc is universal-play (Region 0) and double sided PAL/NTSC so will play in any country.

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Il Farnace is the most re-written and re-proposed of Vivaldi’s operas. Versions of Farnace, two in 1727 and one each in 1730, 1731 and 1732, were conceived and adapted to the different circumstances for Venice, Prague, Pavia and Mantua, always with a cast to Vivaldi’s satisfaction and with the composer in control of the production. The greatest appreciation of Vivaldi’s operatic music was expressed in a letter by a spectator of the 1727 Carnival season. The abbot Antonio Conti wrote that of all the operas of the Venice season he liked best Farnace because its music was varied, “between the sublime and the tender,” and because Vivaldi’s pupil worked wonders. In 1738, for the Ferrara Carnival season, Vivaldi wrote a new score of the opera. This is the last Farnace, in two acts, as the third was lost.

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“He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had to offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research – an “enthusiastically acclaimed cycle!” (news.at). PART I - Le nozze di Figaro + Documentary: Nikolaus Harnoncourt - Between Obsession and Perfection (Le nozze di Figaro)

On a distant island, a man waits. Robbed of his posiiton, power and wealth, his enemies have left him in isolation. But this is no ordinary man, and this is no ordinary island. Prospero is a magician, able to control the very elements and bend nature to his will. When a sail appears on the horizon, he reaches out across the ocean to the ship that carries the men who wronged him. Creating a vast magical storm, he wrecks the ship and washes his enemies up onto shore. When they wake, they find themselves lost on a fantastical island where nothing is as it seems

MacBeth undoubtedly marked a turning point in Verdi's operatic writing, i. e. , the foregrounding of the characters' introspective, psychological aspects. This DVD/Blu-ray captures the production staged at Novara's Teatro Coccia during the 2013-14 season, with thriller/horror filmmaker Dario Argento tackling opera direction for the first time. One could only expect a direction in line with his films, and from that point of view this MacBeth meets expectations, with the visualization of the opera's bloody, indeed gory scenes matching the dark, brutal character of Shakespeare work.

Also available on Blu-ray

A performer of fierce integrity and dazzling communicative power, young French pianist Lucas Debargue became the most talked-about artist of the fifteenth International Tchaikovsky Competition. Placed Fourth in the final round, he was however awarded the coveted Moscow Music Critic’s Prize as a player whose ‘incredible gift, artistic vision, and creative freedom have impressed the critics as well as the audience.’ This film offers unique insights into Debargue’s life as a musician at the beginning of a remarkable career, with rehearsals and concerts from Moscow to Chicago via Weimar and Salerno, revealing talents as a composer and jazz improvisor and his first-time entry into a world of recording studios, touring and fame, in a crucial year of discoveries.

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The Royal Ballet celebrates the centenary of Leonard Bernstein’s birth with this all-Bernstein collection. The Company’s three associate choreographers respond to the varied styles of Bernstein’s music in ballets that are lyrical, beautiful, exuberant and moving. Wayne McGregor’s ‘Yugen’ is set to Chichester Psalms. In ‘The Age of Anxiety’ Liam Scarlett responds to Bernstein’s eclectic Second Symphony, itself a response to W.H. Auden's poem. ‘Corybantic Games’ by Christopher Wheeldon responds to the Serenade after Plato’s ‘Symposium’. Filmed in High Definition and recorded in true SS. ‘‘…one of the most beautifully achieved dances of his career.’’ (The Guardian- ‘Yugen’) ‘‘…a cascade of showstopping, kaleidoscopic configuration.’’ (The Guardian – ‘Corybantic Games’) ‘‘…moments that catch at the heart.’’ (The Arts Desk – ‘The Age of Anxiety’)

The old Tzar Dodon, tired of ruling his country, manipulated by his political advisors - among which the obscure Astrologer - and showing little interest in protecting his kingdom against foreign agression, relies on a magic Golden Cockerel to warn him in case of an attack. But when the Cockerel tells him of his own defeat, the Tzar quickly falls in love with his enemy, the beautiful Tzaritza of Shemakha, who easily convinces him to surrender his empire by making him propose to her. A cruel and sardonic fairytale, Rimsky-Korsakov's Golden Cockerel draws from a poem by Alexander Pushkin, and undoubtedly counts among the most subversive works in the history of music. A very direct attack against autocracy, stupidity and political inertia, it was censored and premiered only in 1909, one year after Rimsky-Korsakov's death. This new production from the The�tre de la Monnaie was imagined by Laurent Pelly. Drawing from the modernity of Rimsky-Korsakov's musical and dramatic imagination, the ambiguities of it's specular structure, and it's underlying reflection on language, manipulation and absurdity, the French stage director underlies the heavily symbolical aspects of this fierce and pitiless tale, all the while remembering both it's historical context and it's universal philosophical depth... French conductor Alain Altinoglu works wonders with the The�tre de la Monnaie Symphonic Orchestra, and reaffirms his strong affinities with Russian music, which were already made clear in the Tchaikovsky dyptich Iolanta / The Nutcracker at the Paris Opera in 2015.

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Mozart’s Singspiel Die Zauberflöte seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflöte a refreshing treatment both thrilling and simple. Following overwhelming stage success, McBurney’s unique production received five-star reviews in the Dutch press: ‘a feast for the eyes and ears’ (Het Parool) and ‘Delicious!’ (Trouw) ‘‘...inventively staged...’’ (Daily Telegraph)
Running time: 156 minutes
Subtitles: English/German/French/Dutch/Japanese/Korean
Picture Format: 16:9, NTSC
Sound format: PCM Stereo / Dolby Digital 5.1 Region: All Region

This is the third volume in the documentary series of Milan's La Scala theatre's "golden years." Renowned Italian journalist Enzo Biagi conducted these interviews that were originally produced on 16mm film. This installment documents La Scala's 1981 tour of Japan. It includes an inteviews with Claudio Abbado, Piero Cappuccilli, and Mirella Freni. There are also clips of Verdi's "Otello" conducted by Carlos Kleiber with performances by Placido Domingo, excerpts from "Simon Boccanegra," and Verdi's "Messa da Requiem."