It should be noted that this is NOT the EMI edition of Der Fliegende Holländer that Klemperer conducted in the early 1960s. Instead, it is the 1968 BBC live recording, which, in addition to a sound that is sometimes even superior to the EMI recording, unlike the studio recording, offers the first, Dresden version of the opera.

On STRANGER THINGS, pianist and composer Inna Faliks reflects on the musical forces that have shaped her artistic voice. Childhood compositions written just before emigrating from Odesa appear alongside works by Arnold Schoenberg and Johannes Brahms, tracing a path from Romantic tradition to the expressive freedoms of early modernism. Two of Faliks' own compositions set the stage for a program where memory, discovery, and creative identity converge - revealing how the unexpected often guides an artist's journey.

Wagner defined Die Meistersinger von Nürnberg as the most complete work that he had ever created. The Bayreuth Festival 2025 presents the comedy in a new production staged by Matthias Davids, whose playful irreverence stands between tradition and renewal. Under the exceptional baton of Daniele Gatti, who debuted in Bayreuth in 2008 with Parsifal, the cast showcases it's brilliance and finesse. Georg Zeppenfeld, at the core of the performance, interprets Hans Sachs with excellent vocal skills and particular sensibility. Equally remarkable performances are given by Michael Spyres and Christina Nilsson, respectively, as Walther and Eva, and by Michael Nagy as a finely drawn Beckmesser. The result is a compelling piece of music theatre: 'A comedy of manners where themes of art, tradition and human love arise naturally.' (Seen and Heard International) Michael Spyres 'has everything a Stolzing needs: he is effortlessly present, sounds light yet embodied in the upper register, a German knight with italianità.' (BR-KLASSIK)

Wagner defined Die Meistersinger von Nürnberg as the most complete work that he had ever created. The Bayreuth Festival 2025 presents the comedy in a new production staged by Matthias Davids, whose playful irreverence stands between tradition and renewal. Under the exceptional baton of Daniele Gatti, who debuted in Bayreuth in 2008 with Parsifal, the cast showcases it's brilliance and finesse. Georg Zeppenfeld, at the core of the performance, interprets Hans Sachs with excellent vocal skills and particular sensibility. Equally remarkable performances are given by Michael Spyres and Christina Nilsson, respectively, as Walther and Eva, and by Michael Nagy as a finely drawn Beckmesser. The result is a compelling piece of music theatre: 'A comedy of manners where themes of art, tradition and human love arise naturally.' (Seen and Heard International) Michael Spyres 'has everything a Stolzing needs: he is effortlessly present, sounds light yet embodied in the upper register, a German knight with italianità.' (BR-KLASSIK)

Germany
Majestic Marches

A Musical Visit to Kulmbach and the Tin Soldier Museum

The Places:
On a hill above the ancient town of Kulmbach stands the imposing 12th century Hohenzollern fortress of Plassenburg. Among various collections on display is the remarkable Tin Soldier Museum, with various figures and dioramas that recreate battles and mirror the great castle itself, with a variety of scenes from all periods of human history.

The Music:
The March has an inevitable part to play in human history. Marco Polo remarked on the use of music by the armies of China to terrify the enemy before a battle. Military music, however, has a more precise purpose, whatever alarm it may strike into the hearts of those who hear it. Drums and trumpets may serve as useful signals, to advance or retreat, to eat or to sleep. The same instruments and their near relations may serve to keep an army moving together, and may serve to inspire feelings of bravery and patriotism. At the same time a march can provide a suitable accompaniment to an occasion of solemnity, a wedding, a funeral or a state ceremony. The music chosen for this tour offers a series of Marches by different composers, culminating in Mendelssohn’s Wedding March.

Picture Format: NTSC, Color, 4:3
Audio Format: DTS 5.1, Dolby Digital 5.1, PCM Stereo 2.0
Region: 0 (All Region)

The composer's great-granddaughter was keen to stage Cord Garben's abridged version of the cycle at the Teatro Colin in Buenos Aires, but in the event things turned out rather differently. The present documentary provides a thrilling and visually memorable account of the long journey taken by this version from it's inception to the first night.

With this remastered edition of Richard Wagner's Tristan und Isolde from the 1952 Bayreuth Festival, Note One label launches it's new series Note One Heritage, which makes important historical recordings in music history accessible again. The legendary performance on 23 July 1952 at the Bayreuth Festival Theatre is considered one of the most striking documents of the early post-war years and the artistic renewal of the festival in the era of the so-called New Bayreuth. At the podium is Herbert von Karajan, whose conducting steadily intensifies the dramatic tension of the score, ultimately culminating in an almost ethereal Liebestod. At the centre are two extraordinary singers: Martha Modl, one of the most dominant dramatic voices of her time, and Ramon Vinay, whose powerful, passionate Tristan ranks among the greatest interpretations of this role. Their encounter unites two contrasting temperaments in an electrifying musical dramaturgy - from eruptive passion to meditative introspection. The cast is complemented by outstanding Bayreuth forces such as Hans Hotter as Kurwenal, Ludwig Weber as King Marke and Ira Malaniuk as Brangane. The Bavarian Radio recording - long out of print and now remastered - reveals the atmosphere of a performance whose intensity and immediacy were celebrated as extraordinary even at the time. Note One Heritage's first release invites listeners to rediscover a pivotal moment in the history of opera and the festival.

The gala concert to celebrate the 475th anniversary of the foundation of the Sachsische Staatskapelle Dresden on September 22, 2023 After the introductory tones of Carl Maria von Weber's festive 'Jubel' Overture have died away, conductor Christian Thielemann turns round and addresses himself to the audience: not an official pronouncement with an edited manuscript but a spontaneous, deeply felt expression of commitment. The principal conductor praises the 'wondrous way' in which the orchestra's sound has remained true to itself over the centuries, recalling the great succession of it's Kapellmeisters 'from Hasse through Weber and Wagner to Busch and Bohm' and relating it to the exceptional artistic depth of the city. With a nice touch of irony he quotes Rousseau, who praised Dresden's 'splendid orchestra' at a distance in 1763, and Beethoven, who wrote half a century later: 'It is said to be the best in all Europe.' Finally Thielemann finds words that sound like a gentle reminder in this splendid hall: 'Take care of this orchestra of mine the way you take care of Meissen porcelain and your art collections! It is an appeal and an avowal of love too - for the musicians, for the city, for a 475-yearold tradition that never gathers dust but is constantly renewing itself. The gala concert of September 22, 2023 is more than a celebration of the past: it is an affirmation of what remains present - that Dresden light that streams forth from this recording.

The full glory of Karajan's "beautiful, dramatic reading" (High Fidelity) of Die Walk�re is revealed by Blu-ray technology. Half a century later, this recording still offers up surprises, especially now when fans can hear it at it's very best. "Listen to Gundula Janowitz and Jon Vickers in Act 1 and be seduced" (Limelight). Blu-ray Audio in DTS-HD Master Audio 2.0. The CDs are produced from Emil Berliner Studios remastering. Clamshell Box; 106pg booklet with libretto in German and English. 4CDS/1BR

For sheer vocal opulence in Wagner, these tracks would be hard to equal. Her ‘Ho-jo-to- ho!’ in 1935 announced on the gramophone her arrival as a Wagnerian prima donna and the splendour of the singing is unsurpassed.

-- Gramophone [10/1990]

This 1961, Wieland Wagner directed Bayreuth Tannhäuser, conducted by Wolfgang Sawallisch, stars Victoria de los Angeles as Elisabeth and Dietrich Fischer-Dieskau (at his last Bayreuth Festival) in the role of Wolfram. This discovery in the radio archives of a Tannhäuser from the first of the subsequent performances to a less-than-optimal initial performance is a real find, and is here released on CD in the series of historical recordings of the Bayreuth Festival. By a stroke of luck, all the protagonists were on form on this early August evening, as can now be heard for the first time.

Another marvellous night at Bayreuth

This is a revelatory interpretation of a work which is not easy to bring off. André Cluytens had taken over the musical direction from Eugen Jochum at short notice, and he seems energised by the challenge. Contemporary reviews spoke of the bright, shining strings and the luminous texture of the orchestra, and of the ‘intoxicating magic’ of the whole concept – all of which is confirmed by this first release. It comes from the second year of what is still considered one of Wieland Wagner’s most elevating productions, and the photos in the booklet show us its moving simplicity and sense of dedication. Director and conductor seem to have persuaded a fine cast to give of their very best. Wolfgang Windgassen, who also takes the title-role in Wolfgang Sawallisch’s 1962 recording from Bayreuth, is here in fresher voice and is even more alternately elated and anguished in his delivery than seven years later. His paean to Venus in Act 1 is as heroically fervent as his narration in Act 3, telling of the Pope’s rejection of his appeal for pardon, and expressing his own terrible torment of the spirit.

His true love, Elisabeth, is sung with total commitment and vibrant, outgoing voice by Gré Brouwenstijn. Her radiance in ‘Dich teure Halle’ and her reverence in her Act 3 Prayer could hardly be better done, equalling if not surpassing Anja Silja’s rather different but just as valid approach in 1962. Just before the Prayer she sings ‘Er kehret nicht zurück’ – ‘he has not come back’ – with utter conviction. The young Fischer-Dieskau is a model Wolfram with a heart of gold and tone to match, each phrase benefiting from his eloquent approach. Josef Greindl, if you can excuse variable intonation, is an imposing Landgraf. Herta Wilfert, a little-known mezzo, is competent but perhaps a little staid as Venus, certainly when compared to the young Grace Bumbry in 1962.

Wieland, as later in 1962, opts for the Paris version in Act 1, the Dresden in Act 2. The latter restores Walther’s solo, a definite plus when it is sung with such beauty by Josef Traxel. The choral singing is up to the superb standard of Wilhelm Pitz during his long reign as Bayreuth’s chorus-master, and Cluytens draws playing of tremendous élan from what sounds like a vintage Bayreuth band. The mono sound is so good that you soon forget any limitations. This set enters the pantheon of great Bayreuth performances on disc.

Alan Blyth, The GRAMOPHONE

A remarkable record of a live performance, capturing a collection of Wagner greats and a few surprises.

This disc captures, unadulterated and unadorned, the opening night of a new production of Lohengrin at the Vienna Staatsoper. One glance down the cast-list will tell you that this is something special. It must have been even more special to have been in the theatre, for not only was Karl Böhm in the pit but Wieland Wagner himself was directing the staging, something illustrated generously in the accompanying booklet. The sound, recorded for broadcast by Austrian Radio, is in mono, which is undeniably regrettable, but it’s surprisingly good for its age. The only place where it brings real losses is in the chorus scenes, which are many in this opera. The natural point of comparison for this set is Kempe’s classic set, which shares the same orchestra, the same Lohengrin and the same Ortrud, and was recorded two years previously. The comparisons are fascinating.

The most interesting contrast, and the factor which impels this release, is the conducting of Karl Böhm. Where Kempe is rapt, Böhm is driven. Like his live Ring and Tristan from Bayreuth, he prefers fast tempi, and this drives the drama along at an exciting pace. You can tell that when you compare the timings: Böhm is more than 20 minutes faster than Kempe. In fact he achieves the feat of making this one of the very few Lohengrins on disc (perhaps the only one?) to fit each act complete onto a single CD. Yet Böhm never feels unduly rushed. Instead, the strength of his vision convinces the listener that this is an entirely appropriate view of the piece. Furthermore, he knows how to relax when he needs to, and he does so liberally, particularly for the Grail music. The Act 1 Prelude is markedly slower than what follows it. He broadens out the soundscape after Lohengrin’s arrival in the middle of the act, the excitement of the crowd giving way to a gently meditative first utterance from the knight.

That first utterance is, in fact, something pretty special. Jess Thomas is on top notch form here and he sounds sensational in his farewell to the swan in the first act, as in his declaration of love for Elsa. He is, perhaps, a little anonymous in the second act, but he is moving and remarkably sympathetic in the bridal chamber scene. In fernem Land, similarly slowed down by Böhm, unfolds at an unhurried pace and in one single-minded direction. He was an extraordinary swan knight for Kempe, and it’s exciting to hear him in the live context here. Claire Watson is also on her very finest form as Elsa. There is clarity and purity to her voice that, to my ears at least, comes close to making her the equal of Elisabeth Grümmer - high praise indeed. She is helpless and vulnerable in the first act but brims over with optimism at the start of the second, and her address to the breezes is a delight. Perhaps you don’t get quite the same sense of impending doom in the bridal chamber scene, but she summons up the correct sense of terror as that scene reaches its climax and she is full of pathos in her sense of loss in the final scene.

Kempe’s set gave us the finest Ortrud on disc in Christa Ludwig, and she is every bit as sensational here. If anything, the live event inspires her to give of herself with even more commitment. The dramatic temperature of the whole set rises when she enters at the start of Act 2. There is something darkly insidious in her vocal presence, and the way she seems to pour scorn on her husband is magnificently dramatic. She then inveigles her way into Elsa’s confidence with the skill of the greatest of con artists, and the power of her invocation at Entweihte Götter! is so great that it brings the house down, forcing Böhm to halt proceedings for about twenty seconds. She then chews up the scenery in the great crowd scene at the end of Act 2 and manages a wonderful groan of defeat when the swan is revealed as Gottfried at the very end of the opera. Her husband both on and off the stage, Walter Berry, isn’t quite the match for Fischer-Dieskau either in vocal beauty or in acting - he sounds overly gruff in the first act - but he rises to a climax at the start of Act 2 and is never less than a convincing stage presence. It’s a real treat having Martti Talvela as the King, his rich, fruity bass giving the part an extra level of character that it doesn’t always get. Eberhard Wächter is luxury casting as the Herald.

I doubt that anyone will take this as a top choice, especially not over any stereo sets, because sound quality is important in this opera. However, it’s a remarkable record of a live performance, capturing a collection of Wagner greats and a few surprises, and it will be especially interesting for anyone who knows and loves the Kempe set.

Incidentally, this whole production was double cast. The other cast that alternated with this one included the likes of James King, Gustav Neidlinger and Astrid Varnay. Having not one but two such legendary casts available for one opera in the same city seems like an extravagant dream to us nowadays, but what fun to dream it!

-- Simon Thompson, MusicWeb International

German bass-baritone Theo Adam sings the role of the generous philosopher-poet Hans Sachs in this dazzling performance at the Metropolitan Opera from January 15, 1972 of Wagner’s only comedy, with Spanish soprano Pilar Lorengar as Eva and American tenor James King as the young hero Walther von Stolzing.

Thomas Schippers conducts the Metropolitan Opera Orchestra and Chorus with a cast that includes the famous German character singer Benno Kusche (as the pathetic villain Beckmesser) and a host of much-admired American singers including Shirley Love (Magdalene), Loren Driscoll (David), Ezio Flagello (Pogner), Donald Gramm (Kothner) and – in a small role, early in his career – the Met’s current (2011) Hans Sachs, James Morris (Schwarz).

Elisabeth Meyer-Topsøe’s debut CD (KPT 32156) was Editor’s Choice in Gramophone (Jan. 94). “An impressive new soprano” (Gramophone) “Here is a discovery, perhaps the most promising Jugendlich-Dramatische soprano to burst on the scene since Studer…a burgeoning talent with almost limitless possibilities…” (Alan Blyth, Gramophone)