Rafael Kubelik's excellence in Mahler can almost be taken for granted. In general, his live performances offer a higher degree of risk-taking than his studio efforts, which show more care for balance and proportion (generally with no loss of excitement, it must be stressed). The pattern holds here in this live Ninth, recorded in Japan in 1975. A horn bobble here and there notwithstanding, the Bavarian orchestra plays with fire and conviction, and somewhere along the line it has acquired a decent sounding tam-tam, which does wonders for the first movement's dramatic final collapse. The performance resembles Kubelik's Deutsche Grammophon recording in most respects. His "live" tempos are a bit more contrasted in the Rondo:Burleske, and he gets punchier accents from the muted brass in the first movement, resulting in creepier quiet interludes. The finale still moves along at a flowing tempo, rising to a positively incandescent principal climax. NHK Radio's sonics make the BRSO strings sound thinner than they do on DG, but surely closer to an actual concert experience since in all other respects the balances faithfully reproduce the dynamic nuances of Mahler's score. Kubelik's way with this composer certainly was special, and no Mahlerian will want to miss this chance to hear him conduct the Ninth live. --David Hurwitz, ClassicsToday.com

Jonathan Nott’s Mahler cycle has now reached the fourth installment. Recordings have already been issued of the First Symphony, the Fifth Symphony and the Fourth. This is the first in the series to come my way.

Before considering the performance I think a few words about the recording itself may be helpful – I listened to these hybrid SACDs as conventional CDs. When I first started listening I thought that the sound appeared almost too close. In fact, I found that my ears soon adjusted as the performance continued and that I didn’t find the closeness to be as much of an issue on further hearings. I suppose the effect is rather akin to sitting just a few rows back from the stage in the concert hall. The orchestra sounds very ‘present’. There certainly seems to be a good spread of sound from one side of the platform, as it were, to the other but I’m less sure that there’s adequate front-to-back perspective. Another feature of the recording is that Nott has divided his violins left and right – of which I heartily approve. However, until the finale, where the strings dominate the scoring for much of the time, I couldn’t hear much of the viola, cello or double bass lines. In fact the strings as a whole are too easily swamped by the wind and brass sections in the first three movements.

For comparison I put on Simon Rattle’s Berliner Philharmoniker recording, which I so much admired in 2008 (see review by Tony Duggan). Here too the recording is fairly close but much more inner string detail is evident. I strongly suspect that the Tudor engineers have used a limited microphone array in an effort to present a truthful concert hall sound image whereas the EMI team have probably used multiple microphones placed within or above the orchestra in order to capture much more detail. I think the Tudor sound does indeed present the sort of sound that you’d hear in a concert hall – and Mahler’s scoring is very often wind- and brass-heavy – and it depends whether you want a recording for home listening to give you a concert hall perspective or whether you want as much detail as possible.

So you might want to sample the recording before purchasing. However, even if the sound is not quite your ideal – and, as I say, my ears adjusted quite quickly – sonic considerations aren’t everything here for Nott leads a fine performance of this magnificent, complex symphony.

He takes a fairly spacious view of I. In fact, at 29:46 his is one of the longest performances I know. Rattle is slightly quicker overall (28:56) but it’s interesting to note that some, though by no means all, conductors of the previous generation have taken less time over this movement. Barbirolli, for example, took 26:53 in his famous EMI Berlin recording, while Kubelik’s live 1975 reading (Audite) took 26:44. The celebrated 1938 Bruno Walter recording flashes by in 24:47. Have Mahler performances broadened over the years?

Nott may be spacious but throughout the movement his control and concentration are impressive. His reading isn’t as passionate as Rattle can be at times; it’s more patient. There were one or two occasions when I thought his speeds were just a little bit too measured but as a whole his reading is impressive. The climaxes are thrust home – at these points one has the impression that the orchestra is playing flat out – but the quiet passages often impress. For example the ghostly passage between 8: 01 and 9:47 is imaginatively presented with lots of good detail – I like the distanced muted horns, for instance. I think it would be fair to say that sometimes the violins sound just a little thin in alt and the string bass line is certainly underpowered – no doubt because one is so used, with many other conductors, to hearing the cellos and basses prominently through the right hand speaker. But, set against that I must say straightaway that much of the playing is vivid, the orchestra’s response is totally committed and there’s a lot of fine solo playing to admire. I have heard more dramatic, angst-ridden accounts of this amazingly rich movement but drama isn’t the whole story by any means and Nott’s account is very convincing and never less than wholly musical. He seems to see the whole movement in one long sweep and I admire his way with it very much.

The two inner movements go very well. There’s a good deal of sharply etched, piquant playing in II. Nott paces the music very well and he judges the many tempo modifications expertly. His reading of III is dynamic and thrusting. He and the engineers bring out a great deal of the teeming contrapuntal detail in the score. The trio (from 5:55) is taken at a suitably relaxed pace. This is nostalgic music but I like the fact that Nott never wallows in the sentiment; on the contrary, forward momentum is nicely maintained – and praise too for the solo trumpeter, whose silvery tone is just right. When the Rondo resumes (10:23) the music is turbulent and exciting right to the last bar.

The strings come into their own in the finale. The opening paragraphs are full-toned but the emotion is not overdone – Nott doesn’t play his cards too soon. The string playing is very good, the tone just weighty enough - and now we do hear a satisfyingly strong bass line. One rather special moment occurs between 4:05 and 4:54 where Nott obtains the most atmospheric playing imaginable from his strings. At this point the bass line is spectral with a wafer-thin violin line on top.

Nott unfolds the finale compellingly and the Bamberg strings and horn section in particular do him proud. Once again, this isn’t perhaps the most overtly emotional reading I’ve heard but the patience – perhaps even a degree of reserve? – brings its own rewards. Nott’s ability to take the long view and to build the movement incrementally means that when we reach the sustained ardent passage that lies at the heart of the movement (14:18 – 17:03) the effect is all the greater. The closing pages of this movement are always a huge test for players and conductor alike. Here the test is passed very successfully. During the last four minutes or so, starting with the second violin entry at 21:07, the music gradually winds down, all passion spent.

This Mahler Ninth is a very fine achievement. A host of great conductors and leading orchestras have essayed this symphony on disc over the years and though the seventeen versions on my own shelves don’t quite go from A to Z they do go from Barbirolli to Walter. This new version can certainly contend with the best of them and it’s one to which I’m sure I shall be returning frequently in the future.

-- John Quinn, MusicWeb International

Gustav Mahler's Ninth Symphony is primarily regarded as the composer's reaction in the summer of 1908 to the diagnosis of a heart ailment, which he received just before writing the first sketches for the work. Mahler was deeply distraught and cannot have known how few years he still had left to live. His processing and exploration of his life experiences, and of valedictions, the meaning of life, death, salvation, life after death and love, always took playce in and through his music. The Ninth Symphony was composed between 1909 and 1920 in Toblach, in a kind of creative frenzy, and was first performed in Vienna on June 26, 1912 by the Vienna Philharmonic, under the baton of Bruno Walter. Mahler had already died on May 18, 1911, and was no longer able to experience the premiere of his last completed work. Willem Mengelberg, the first ardent conductor of the composer's works, wrote in his score: "Mahler's soul sings its farewell!" Mahler's Ninth Symphony represents the culmination of a development process. The progressive chromaticism and maximum utilization of the tonal are here taken to their limits - and, for the first time, beyond them. Indeed, the two movements that fram the work, in particular, depart from the tonal entirely, pointing clearly to the dawn of a new musical epoch. Alban Berg even called this symphony "the first work of New Music".

Gustav Mahler was already very close to the after-world when he ceased work on the 9th Symphony. So, the work is permeated by a permanent presentiment of death. At the same time, Mahler’s music vibrates full of vital energy, putting the listener in a melancholic, yet optimistic mood simultaneously. The result is a harrowing work with moving passages and violent explosions, mirroring Mahler’s personal drama between life and death. The present recording from the Essen Philharmonie (April 2018) is a perfect proof of all these facts. Tomas Netopil took up the position of General Music Director of the Aalto Theatre and Philharmonie Essen at the start of the 2013/14 season. Netopil made his debut with Sachsische Staatsoper Dresden in 2008. An inspirational force in Czech music, Tomas Netopil is one of the two Principal Guest Conductors of the Czech Philharmonic Orchestra.

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

Also available on standard DVD

Gustav Mahler’s Ninth Symphony shows the culmination of the composer’s career. The concert recorded in this landmark live performance was part of The Mahler Project, in which friends and conductors Daniel Barenboim and Pierre Boulez tackled all of Mahler’s symphonies with the Staatskapelle Berlin. A documentary from Christoph Engel accompanies the concert, in which a diverse selection of statements and conversations from both conductors is featured.

Also available on Blu-ray



MAHLER Symphony No 9 • Claudio Abbado, cond; Lucerne Fest O • ACCENTUS ACC20214 (DVD: 94:56) Live: Lucerne 8/19-21/2010

EuroArts released a DVD of Claudio Abbado conducting the Gustav Mahler Youth Orchestra in Mahler’s Ninth in 2004, a recording I reviewed in Fanfare 29:2. This new series of Mahler recordings from the Lucerne Festival complements Abbado’s earlier recordings for DG; but for many listeners, among whom I number myself, these DVDs supplant the CDs. Abbado has sometimes been criticized for the detached manner of his Mahler recordings, but the emotional commitment on view at the Lucerne Festival concerts is undeniable.

On this new recording of the Ninth, however, restraint is the order of the day. String sonorities predominate, and in the first movement, there is sweep to the exposition and development, but the brass seems to be reined in, except in the snarling three-note motive in the climax leading to the recapitulation. In the second movement, the jaunty Ländler isn’t heavily accented; Rattle’s EMI CD is more obviously pesante by comparison. The waltz is stiff, almost as though serving as a corrective to its less suave country cousin; there is a tinge of nostalgia to the slow Ländler.

There is admirable precision in the onslaught of fragmented themes in the beginning and ending of the Rondo. This third movement isn’t as emphatic as those by Rattle or Bernstein; the satire here is laid on with a subtler brush. The Trio is gently intrusive and heartfelt, giving way to intrusive and carping winds, then to a final sigh as the Rondo reasserts itself. Restraint is again the watchword in the Adagio finale. These aren’t the emphatic, intense phrases of Bernstein or Tilson Thomas; though there is feeling here, it just isn’t as obviously heart-on-sleeve. This concert introduces an intriguing touch: During the last few minutes, the stage lights are dimmed, becoming a visual complement to the dying moments of the symphony. Abbado now takes these measures very slowly. As the last notes decay, the orchestra sits in silence, Abbado is motionless, and for over two minutes there is no sound, until the audience erupts for what becomes an extended ovation. It’s all quite theatrical, but there is no denying its effectiveness.

Abbado’s is not my ideal Ninth: I prefer the more highly contrasted approach of, most recently, Simon Rattle/Berlin and MTT/San Francisco, and of Bernstein/New York before them. When the performance is at this level of professionalism, however, my preferences hardly matter. Those listeners/viewers seeking consummate musicianship and masterly conducting need look no further. The sound production (stereo, DTS, and Dolby 5.1) is better than those heard on DG’s Abbado CDs, and the video production is crisp and sensible. Abbado in Lucerne: What else needs to be said?

FANFARE: Christopher Abbot

-----

This captures much of the peerless tone-colour, shape, drive and above all those hushed dynamics of [the] performance, awarded what feels like an infinite silence at the end... Abbado's pacing is unrivalled... the mixture of close-ups and wide shots in the final rituals is superb as ever from this team. Finest concert DVD ever? I think so.

– David Nice, BBC Music Magazine [6/2011]

-----

Recorded live at the Concert Hall of the Culture and Convention Center, Lucerne, 19-21 August 2010.

Extraordinary highlight of the program is the additional perspective of the “Conductor Camera”. This special feature offers the option to experience Claudio Abbado from the orchestra’s perspective.

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 95 mins
No. of DVDs: 1 (DVD 9)

MAHLER Symphony No. 8 in E?, “Symphony of a Thousand” • Rafael Kubelík, cond; Martina Arroyo, Erna Spoorenberg, Edith Mathis (sop); Julia Hamari (mez); Norma Procter (alt); Donald Grobe (ten); Dietrich Fischer-Dieskau (bar); Franz Crass (bs); Bavarian R Ch; North German R Ch; West German R Ch; Regensburger Domspatzen; Women of the Munich Motet Ch; Eberhard Kraus (org); Bavarian RSO • AUDITE 95.551 (73:37 & Latin/German only) Live: Munich 6/24/1970


It’s really a pity that this disc is just a reissue of a performance previously available in DGG’s set of complete Mahler symphonies conducted by Kubelík, as there’s so much I’d like to say about it that’s probably already been said, so I shall reduce my comments to the minimum.


Being personally very fussy in regard to symphonies including singers, I’ll automatically reject performances with defective voices even if the conducting is considered to be the best ever. For this reason, I don’t own the otherwise fantastic performances by Jascha Horenstein and Klaus Tennstedt, and never will, just as I don’t own or even listen to most recordings of the Beethoven Ninth made after, say, 1980. Solti’s famous studio recording of this Mahler symphony had, perhaps, the best eight singers amassed in one place, but they were recorded separately from the orchestra, which created a flat, two-dimensional sound I find offensive. That being said, I am partial to the recordings by Leopold Stokowski (1950), Bernard Haitink (the earlier recording with Cotrubas, Harper, and Prey), and Antoni Wit, in which the defective voices are, to my ears, less annoying than in the others, and generally just one bad voice per ensemble.


The fact that Kubelík, who never pushed his name or fame and in fact retreated from a publicity machine, was able to entice these eight outstanding singers to Munich for this performance says a lot for how much he was respected as a musician. The one name not universally feted at the time was tenor Donald Grobe, and ironically he produces the finest singing of this very difficult music I’ve ever heard (James King with Solti notwithstanding). Kubelík also managed to get truly involved and exciting singing out of Martina Arroyo, and that in itself is a miracle. (He did the same with Gundula Janowitz in his studio recording of Die Meistersinger, though overall his conducting on that set, like most of his conducting in a studio environment, lacks the full power and emotional commitment of his live work). Sometimes the singers are a little off-mike, coming only out of the left or right speakers, but that’s a condition of the original microphone setup and can’t be changed.


Undoubtedly the most controversial aspect of this performance is its full-speed-ahead tempos, particularly in “Veni, Creator Spiritus,” which Kubelík dispatches in a mere 21 minutes. (Don’t believe the designation of 21:30 on the CD box; 25 seconds of that is silence with audience coughing before part II.) But, shockingly, it doesn’t sound terribly rushed most of the time, there are few dropped notes, and the whole thing has the ecstatic quality of a satori. If you happen to be allergic to fast tempos in Mahler, then, this recording is not for you, but if that’s not a problem you’ll find this the greatest Mahler Eighth ever issued. I’ve hereby retired the Haitink recording from my collection; good as it is, it doesn’t have Kubelík’s overwhelming emotional impact. Since not every performance in the Kubelík set is of equal quality (no conductor’s integral set is consistently great), I encourage you to add this disc to your collection. Audite’s 24-bit remastering brings out every detail of this performance with stunning warmth and clarity. I’d compare the sound favorably to any all-digital Eighth on the market.


FANFARE: Lynn René Bayley

Gustav Mahler’s 8th Symphony breaks the boundaries of the symphonic form in a world-embracing gesture. Riccardo Chailly is one of the staunchest performers of this work, and therefore it seemed appropriate in many ways that he chose this work for his inaugural concert as Claudio Abbado’s successor and new music director of the Lucerne Festival Orchestra. The artistic statement was combined with a deeply personal conviction: it should be a “tribute to Claudio,” the highly esteemed friend and colleague to whom Chailly, as he emphasizes, owes very much. On 12 August 2016, Claudio Abbado’s unfinished Mahler cycle with the Lucerne Festival Orchestra was completed in a breathtaking performance of the Mahler 8th, simultaneously heralding in a new era in Lucerne.

Also available on Blu-ray

Mahler’s Eighth Symphony is arguably the grandest and most ambitious piece of symphonic music ever written. The composer himself regarded it as his opus summum, and an incredible number of participants at the hugely successful Munich première in 1910 earned it the nickname “Symphony of a Thousand”. At Leipzig’s International Mahler Festival, Riccardo Chailly commanded almost 500 musicians, and the overwhelming result of their joint effort inspired the Leipzig-based and internationally renowned artist Neo Rauch to the painting for the cover of this DVD.

Recorded live at Gewandhaus zu Leipzig, 26–27 May 2011.

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German & Latin (original sung texts), German, English, French
Running time: 92 mins
No. of DVDs: 1 (DVD 9)

If Mahler did indeed strive for a glorification of pantheistic feeling for nature in his Symphony No. 7, then the result turned out to be extremely broken and complex. A letter from Mahler to a friend may here contribute to a better understanding: 'I am always strangely moved by the fact that most people, when they speak of nature, only think of flowers, birds and forest air. No one seems to know the god Dionysus, the great Pan. Well, there you already have a kind of programme describing how I make music.' The work appears in a live recording made on 5 February 1976 in the Hercules Hall of the Residenz in Munich. This live recording is also available on 2 LPs [180 g Virgin Vinyl]: aud 95476: G. Mahler: Symphonie Nr. 7 (Rafael Kubelik, Symphonie-Orchester des Bayerischen Rundfunks)

Neeme Järvi has been recording for Chandos for several decades now, especially with the Royal Scottish National Orchestra, with which he has made more than 100 CDs. Many of these recordings have received tremendous critical acclaim and include several Gramophone Award Winners.

This is his second Chandos recording with the Residentie Orchestra The Hague, of which he is chief conductor. The first, of Bruckner’s Fifth Symphony (CHSA5080) was released in April to excellent acclaim. Gramophone wrote: ‘Järvi is too good a musician not to take his players with him. Indeed the Dutch musicians display a certain daredevil nonchalance as they breeze their way through the epic 635-bar finale.’

Mahler’s Seventh Symphony is perhaps the least well known of all Mahler’s symphonies. Its five movements were written over a period of two years, 1904 – 05, and scored and revised in 1906. The symphony has no programme, but the two serenade movements were influenced by the German romanticism of the poetry of Eichendorff, and elements of the fairytale, the macabre, and the sentimental permeate these movements.

Even though the symphony is imbued with a richness of melody, and bold and original harmonies, it is perhaps the most enigmatic of all Mahler’s symphonies. It begins with a striking funeral march, which develops into a powerful allegro, though the music is at the same time full of ‘dream-like’ elements. These dream-like fantasy elements pervade the serenade movements, which are separated by an exciting central scherzo, and the symphony ends with a vigorously contrapuntal finale. Perhaps the symphony can be seen as a journey from darkness to light, from the B minor gloom of the beginning, to the blaze of C major at the end. The journey is fascinating and very rewarding.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

A performance that emphasises every detail.

By accident or design, two high profile recordings of Mahler’s Seventh, both conducted by Mariss Jansons, have been released in recent months. His Oslo Philharmonic recording on Simax (PSC1271) has garnered praise in some quarters, but is going to have to beat the odds to compete with this one, which sports both SACD sound and the revered Bavarian Radio Symphony Orchestra. Jansons uses a new edition of the score, prepared by the International Gustav Mahler Gesellschaft, and whatever its innovations might be, he directs a performance that emphasises every detail, as if striving to make audible each minute amendment and correction.
 
The approach sits well with the superior audio quality. On one level, the recording functions as a catalogue of fascinating orchestral details, obscured in previous recordings by poorer orchestral standards and more homogenised sound reproduction. But it is not just the details that make Mahler’s Seventh an unusual work. Jansons also brings his interpretive clarity to the symphony’s unique structure. Other conductors - and I’m thinking of Bernstein and Rattle in particular - often treat the work’s sprawling structure and wayward progressions as problems that need fixing or covering up. Their methods include faster tempos, less rubato, and emphasis on the excitement of the louder passages over the quieter meditative ones, so as not to lose the audience. Jansons takes the opposite approach. He does not apologise for anything he finds in the score. Rather, he goes to great lengths to ensure that every passage and every counterpoint is clearly articulated, skilfully phrased and propelled as if with an inner momentum.
 
The result demonstrates just what a revolutionary work the Seventh Symphony is, with its incongruous dance episodes, its evocative orchestration (guitar, mandolin, cowbell), its precisely notated string portamento, and its dizzying climaxes. Tempos are almost always on the slow side, which again emphasises the details at the possible expense of the whole. Adhering to Mahler’s notated rubato gives the composer’s structural thinking its due. It is found wanting but Jansons never goes so far as to offer a purely sectional structure as an alternative; the immaculate details are always part of a symphonic argument, however flawed.
 
While the overall sound quality is extremely high, some sections of the orchestra benefit more than others. The string sound is particularly impressive: the intensity of the high violins, the presence and timbral variety of the violas and the agogic weight of the cellos and basses. It may well be that the most radical aspect of Mahler’s orchestration in the Seventh is his use of the strings. Its sound-world relies on a complex vocabulary of counter-intuitive doublings, chord spacings and bowings. The combination of high quality audio, world-class playing and forensic detail from the podium allows each of these curiosities to shine through. Things are slightly less clear from the back of the stage, and the percussion in particular often seems muffled, or at least not given the clarity that a studio recording would have been able to ensure.
 
Those, like me, who are more familiar with British and American orchestras performing the work may be surprised by the central European brass sound, which can be quite nasal and vibrato-laden. Even the bass trombone solo in the first movement has a pronounced wobble. It is an upward trajectory throughout the work for the brass. The opening solo for Tenorhorn in Bb’ - presumably a Wagner tuba here rather than a euphonium - has a rich tone, but amazingly vie with the woodwind. The trumpets in the first movement struggle to synchronise in a number of important passages, and the horns are on the brash side. However, the horns more than redeem themselves in the solos of the second movement, while the trumpets come into their own in the finale.
 
In fact, the finale is the best part of this recording. The rondo structure withstands Jansons’ emphasis on detail better than the more complex structures of the earlier movements. His loyalty to Mahler’s notated rubato pays dividends, as there are many surprises in the tempo changes that would be lost in a more four-square reading. It remains a long and challenging movement, but Janson’s balances the expansiveness with a focused orchestral sound and a clear sense of direction. The result, in the closing pages, is a paradoxical sense of inevitability, the music’s goal apparently preordained, despite its remaining unconventional and unpredictable right up to the very last chord.
 
Although I have mixed feelings about this recording, it has a great deal to commend it. The standard of the audio is sufficiently high to appeal to the SACD buyers who would consider it for this reason alone. I would also recommend the disc to those who have heard the work and think they know it. I was in that boat and found myself continually surprised by Jansons’ many revelations. To those completely unfamiliar with the symphony, I would have reservations about recommending this recording, if only because the interpretation is so radical. But there is an admirable honesty about every interpretive decision Jansons makes, and by highlighting the many unusual details of the score, he demonstrates just what an innovative and unusual work it is. These are not the interpretive priorities of most performers approaching Mahler’s most problematic symphony, but Jansons’ advocacy, and his multiple recordings, may yet persuade other conductors to stop making excuses for it.
 
-- Gavin Dixon, MusicWeb International

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

Also available on standard DVD

“It is my best work, with a primarily cheerful character”. This was Gustav Mahler’s assessment of his Symphony No. 7, which was also highly regarded by Arnold Schoenberg, who said, “I had an impression of absolute peace based on artistic harmony. Something able to set me in motion without recklessly unsettling my center of gravity.” Riccardo Chailly, in his internationally acclaimed interpretations of Mahler’s symphonies – which he and the Gewandhaus Orchestra are bringing together in a complete cycle – focuses on the musical qualities of the works, eschewing false pathos and sentimentality while giving up none of the music’s dramatic intensity. “Mahler’s Seventh Symphony, in which the composer pulled out all expressive stops and revealed himself to be an innovative modernist, has seldom been as persuasive and direct as in Chailly’s interpretation”, said the Frankfurter Neue Presse.

MAHLER, G.: Symphony No. 7 (Chailly) (Blu-ray, Full-HD)

Gustav Mahler
SYMPHONY NO. 7
(Blu-ray Disc Version)

Leipzig Gewandhaus Orchestra
Riccardo Chailly, conductor

Recorded live at Gewandhaus zu Leipzig, 27–28 February and 2 March 2014

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Running time: 83 mins
No. of Discs: 1 (BD 25)