Also available on Blu-ray



ADAMS Doctor Atomic & • Lawrence Renes, cond; Gerald Finley ( Oppenheimer ); Jessica Rivera ( Kitty ); Eric Owens ( General Groves ); Richard Paul Fink ( Teller ); James Maddalena ( Hubbard ); Thomas Glenn ( Wilson ); Ellen Rabiner ( Pasqualita ); Netherlands PO & Op Ch • BBC/OPUS ARTE 998 (2 DVDs: 168:09)


& Illustrated synopsis; documentaries on opera, cast, composer, and director; interview with director


John Adams has already analyzed Nixon as he visited China and scrutinized terrorists and cruise ship passengers in extremis. Now, Doctor Atomic focuses on the final days of the Manhattan Project as J. Robert Oppenheimer and his colleagues struggle to produce the first atomic bomb. The moral dilemmas presented by that weapon drive the conflict, but though the effects of its future use are made starkly obvious and are central to the purpose of the creators, no conclusion is imposed. Rather, Doctor Atomic is an exploration of the extraordinarily gifted people who, for the cause of good, created a diabolical device that irrevocably changed them and the world that summer of 1945.


Long-time Adams collaborator Peter Sellars fashioned the libretto. Using historical sources throughout, he gives the work a strongly documentary flavor, allowing the viewer to piece together the events, personalities, and conflicts. However, it is Sellars’s use of poetry that is the most striking. Oppenheimer makes love to his wife Kitty with Baudelaire’s sensual verse, and quotes him again as the final countdown stretches time agonizingly. Kitty voices Muriel Rukeyser’s vision of peace in a world facing inescapable death. Pasqualita sings evocative Native American verse as a lullaby; and the atomic blast is anticipated with quotes from the Bhagavad Gita . In the finale to act I—a stunning piece of theater—Oppenheimer cries out his personal agony in the words of John Donne’s sonnet “Batter my heart,” as the enemy, the “Gadget,” hangs shrouded Ark-like behind him. That many of these poems and poets were significant to Oppenheimer—the Donne sonnet inspired the project’s code name “Trinity,” and he learned Sanskrit in order to read the Bhagavad Gita —adds yet another layer to this strikingly profound work.


The role of the intense and driven Oppenheimer was created by Gerald Finley, a singer who inhabits every part with his superb acting and his tightly focused, richly expressive baritone. Other excellent artists from the San Francisco Opera premiere include sonorous bass Richard Paul Fink, a Mephistophelian Edward Teller, cynical and provocative; lyric tenor Thomas Glenn, whose sensitively performed Robert Wilson is uneasy but likeable; baritone Eric Owens, a physically and vocally imposing General Leslie Groves, the no-nonsense military commander of the project; and baritone James Maddalena—Nixon in Adams’s earlier opera—a long-suffering meteorologist Jack Hubbard. New to this production are mezzo-soprano Jessica Rivera and contralto Ellen Rabiner. Rivera’s Cassandra-like Kitty Oppenheimer, the conscience of the work, is vocally vivid, though some of the acting seems posed. Pasqualita, the Oppenheimer’s Tewa Indian housekeeper, is the only fictional character. Rabiner sings her role with a rich, if not always steady, voice, balancing Kitty’s intensity with quiet compassion. The fine Netherlands Opera Chorus, playing scientists and project personnel, serves as Greek chorus, intoning the opening scientific credo, chanting the targets, crying out in fright at the vision of Vishnu and staring into the blast in stunned silence at the culminating moment.


Edgard Varèse and 1950s science-fiction movie scores are John Adams’s acknowledged inspirations, and the combination is winning. The ostinatos of traditional minimalism are used sparingly and are often disjointed and irregular, creating an undercurrent of disequilibrium. More often, Adams employs extended chords, late Romantic in their chromatic richness, punctuated with bells, shrieks of brass, snatches of melody, and electronic roars and rumbles. Above this, Adams’s lyrical vocal lines wheel, often fraught with tension. This compelling score is by far the richest and most complex Adams has created.


Not all is perfect. Well as it recreates the anxiety of the night of the test, with its portentous storm, the second act occasionally makes repetitious dramatic points and is in need of some tightening. More troubling, there are a number of visual distractions, especially the rather silly choreography, expressing heaven knows what, and the frenzied video editing with its constant cutting, panning, and zooming, and continual, often shaky, tight close-ups. The editing seems to highlight the mechanics of vocal production as much as the acting and often leaves one with no sense of what is happening on the stage as a whole. Peter Sellars was both stage and video director, so I have to assume these were important parts of his conception. There is much to admire in that vision, but sometimes less is more.


By this time, many interested readers will either have seen the Metropolitan Opera broadcast of this work in the movie theater or heard it on the radio. Despite the similarities in casting and the typically small audience for modern operas, I hope it appears on DVD. This powerful opera deserves the documentation of both directorial visions. This Netherlands Opera production, in any case, should not be overlooked. It presents Sellars’s original concept, more abstract than the Met’s, well sung, conducted, and played, and with several fine performances not reprised in the Met production. Give it a try.


FANFARE: Ronald E. Grames
CAST:
J. Robert Oppenheimer – Gerald Finley
Kitty Oppenheimer – Jessica Rivera
General Leslie Groves – Eric Owens
Edward Teller – Richard Paul Fink
Jack Hubbard – James Maddalena
Robert Wilson – Thomas Glenn
Captain James Nolan – Jay Hunter Morris
Pasqualita – Ellen Rabiner

Bonus:
- Interview with Peter Sellars
- Illustrated synopsis and cast gallery

Picture format: NTSC 16:9 anamorphic
Sound format: Dolby Digital 2.0 / DTS 5.1
Region code: 0 (All Regions)
Menu language: English
Subtitles: English, German, French, Spanish, Dutch
Running time: 228 mins
Number of DVDs: 2

Also available on Blu-ray

This release is the world premiere recording of Brett Dean’s new opera based on Shakespeare’s best-known tragedy: To be, or not to be. This is Hamlet’s dilemma, and the essence of Shakespeare’s most famous and arguably greatest work, given new life in operatic form in this original Glyndebourne commission. Thoughts of murder and revenge drive Hamlet when he learns that it was his uncle Claudius who killed his father, the King of Denmark, then seized his father’s crown and wife. But Hamlet’s vengeance vies with the question: is suicide a morally valid deed in an unbearably painful world? Dean’s colorful, energetic, witty and richly lyrical music expertly captures the modernity of Shakespeare’s timeless tale, while also exploiting the traditional operatic elements of arias, ensembles and choruses. Matthew Jocelyn’s inspired libretto is pure Shakespeare, adhering to the Bard’s narrative thread but abridging, reconfiguring and interweaving it into motifs that highlight the main dramatic themes: death, madness, the impossibility of certainty and the complexities of action. ‘World Premiere of the Year’, 2018 International Opera Awards, London ‘…one of the unmissable operatic events of the year.’ (The Sunday Times 4 Stars) ‘…a richly imaginative composer at the top of his game.’ (The Times 4 Stars) ‘Dean’s music is many-layered, full of long, clear vocal lines … new opera doesn’t often get to sound this good … Hannigan’s spectacular high-soprano unhinging is the more shocking following her poise and inwardness’ (The Guardian 4 Stars) Clayton triumphs with ‘unimpeachable vocal and acting credentials’ (The Independent 4 Stars)

“As we relate to music in an on-going condition of becoming, and not (like painting) a state of being, we're able to experience these works much as Morton Feldman did, as they happen, with an equal sense of wonder and delight.” (Art Lange) A major figure in 20th-century music, Morton Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of Composers. Feldman’s works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating, pitch shadings that seem softly unfocused, a generally quiet and slowly evolving music, and recurring asymmetric patterns. He wrote the title track of this album, Atlantis, in 1959.

Classical Music

A fiercely independent composer, Henri Dutilleux wrote music that is refined, colorful and scrupulously crafted. Symphony No 1, his first purely orchestral score, established his international reputation. Structurally unconventional- it opens, unusually, with a passacaglia- it illustrates his principle of ‘progressive growth’ through its sustained lyricism and towering, chorale-like statements. Metaboles was inspired by the virtuosity of the woodwind section of George Szell’s Cleveland Orchestra. Distinctive instrumentation for each movement allows for deep expression, jazzy rhythms and moments of irony. The enigmatic diptych Les Citations quotes from fellow composers Benjamin Britten and Jehan Alain. After over 40 years at the head of the Orchestre National de Lille (ONL), of which he was the founder, Jean-Claude Casadesus enjoys an international career that has brought seasons in Germany, Russia, Japan, Latvia, and in Lille. His 30 albums with the orchestra have won critical and public acclaim and as a guest conductor he has appeared in Moscow, Singapore, Montreal, Baltimore, Seoul, St. Petersburg and Berlin. He is an enthusiastic champion of contemporary music and set up residences for composers with the Lille orchestra.

With the belated success of his Third Symphony ‘Symphony of Sorrowful Songs’ Gorecki emerged in the 1990s as a composer of world stature. Between 1988 and 1995 he wrote three string quartets for the Kronos Quartet that are among his most important mature works. String Quartet No. 1 reveals chorale-like themes, so much a feature of his later writing, as well as hectic, dance-like motion, while the Second Quartet’s wider range of expression explicitly evokes Beethoven. Genesis I: Elementi offers a powerful contrast- a string trio from 1962 of uncompromising immediacy. The Tippett Quartet appear regularly at King’s Place, the Purcell Room, Wigmore Hall, the Queen Elizabeth Hall and Bridgewater Hall, and perform regularly on BBC Radio 3. They have performed at the BBC Proms and toured Europe, Canada and Mexico. Their broad and diverse repertoire highlights the Tippett Quartet’s unique versatility. Their impressive catalogue of recordings has been released across several labels to universal acclaim and with classical chart-topping success.

Classical Music

Carson Cooman is many things musical - organist and Composer in Residence at the Memorial Church, Harvard University; writer, critic and consultant, concert organist, and above all a highly prolific composer of music in a wide variety of genres, from orchestral to song. His organ compositions come in many styles, from liturgical models, to more gritty and substantial pieces such as his organ symphonies and preludes and fugues. This album contains a mix of liturgical and secular works of great variety and individuality. Erik Simmons is a superb organist, making his tenth Cooman organ album for Divine Art. He is playing the wonderful 'Sun Organ' of St. Peter & Paul, G�rlitz, recorded through the Hauptwerk system. This is volume 10 of this highly praised series. Volume 11 has been recorded and is scheduled for release in mid 2019.

Classical Music

Lutoslawski: Double Concerto for Oboe and Harp / Dance Prelu

This release features key works by Astor Piazzolla, the king of composed tango, performed by three outstanding musicians. Shifting between fiery and melancholic, the tango nuevo is just irresistible. Born in 1971 in Münster, Germany, Friedemann Eichhorn studied violin with Prof. Valery Gradow in Mannheim, Alberto Lysy at the International Menuhin Music Academy in Switzerland and with Margaret Pardee at the Juilliard School New York. He regularly performs with orchestras such as St. Petersburg Philharmonic or the SWR-Radio-Orchestra and has concertized with Yuri Bashmet, Saschko Gawriloff, Gidon Kremer, Yehudi Menuhin and Igor Oistrakh. The German cellist Julius Berger studied at the Musikhochschule of Munich, Germany under Walter Reichardt and Fritz Kiskalt. Later, he studied at the Mozarteum in Salzburg, Austria under Antonio Janigro and at the University of Cincinnati under Zara Nelsova. When he was just 28 years old he was appointed to the Musikhochschule Wuerzburg and was one of the youngest Professors in Germany. A native of Buenos Aires, José Gallardo started piano lessons at the age of five, at first at the Conservatory in Buenos Aires, later continuing his studies with Poldi Mildner in the Faculty of Music at the University of Mainz, where he completed his diploma in 1997. Since autumn 2008 he has been teaching at the Leopold Mozart Centre at the University of Augsburg.

The works on this recording embrace a varied miscellany of Peter Maxwell Davies’ orchestraloutput from the early 1990s. The ‘choreographic poem’ The Beltane Fire pits the sternness of theReformation clergy against the pagan traditions of the Orkney Islands. Concerned withenvironmental pollution, The Turn of the Tide ultimately reaches “a triumphant dance of allcreation”, while the Threnody and Pavan are poignant memorial tributes for significant figuresin the composer’s life.

Hanno Koivula and the Royal Scottish National Orchestra turn in very good performances of these two works. Symphony No. 7, a beautifully luminous piece that has helped to establish Rautavaara's high reputation outside of his native Finland, sounds as lovely as ever in this expertly paced and confidently played rendition. In terms of timings, it falls midway between the premier recording by Segerstam (Ondine) and its slightly leaner immediate successor (Vänskä on BIS), and the bottom line is that there's very little to choose between them. If this performance has any drawbacks, it lies in the somewhat thin sounding violins in the first and third movements, a problem exaggerated by the bright and vivid recorded sound. For this reason Segerstam's recording remains the performance of choice, but only by a hair.


Angels and Visitations presents the composer in a more aggressive mood, a fact that leads some listeners to prefer it to the symphony's melancholy mellowness. Gorgeous string tone is also less of an issue here, and the orchestra's exciting brass and percussion sections make their presence felt to impressive effect. In fact, this coupling offers an excellent overview of Rautavaara's mature style, and even if you own one or all of the previous recordings of this music, you may well want to hear this disc as well. The important point is this: Rautavaara's music rewards the attention, and the fact that large works such as the Symphony enjoy multiple recordings speaks eloquently of their quality and of his importance in today's contemporary music scene. [2/15/2003]
--David Hurwitz, ClassicsToday.com

Originally released in 2007, James MacMillan’s ‘Tenebrae’ is now available once again as part of Linn’s ECHO re-issue series. Tenebrae Responsories is scored for vocal octet and speaks to all of every faith and none, of the power of love and redemption through personal sacrifice. The famed Scottish group Cappella Nova has enjoyed a 25-year association with MacMillan. ‘Tenebrae’ was previously chosen a Gramophone ‘Editor’s Choice’ album. Mr. MacMillan’s international career was launched at the BBC proms in 1990 with The Confession of Isobel Gowdie.

Jorma Hynninen and Paivi Nisula star in this Finish National Opera performance of the Sallinen opera conducted by Mikko Franck and directed by Pekka Milonoff. Also included are interviews with Sallinen, Milonoff, Franck, and Hynninen.

Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. Since the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice. The Divine Art Artyomov Retrospective is a mix of new recordings and former Melodiya releases. It continues with the 7th album containing two works for percussion ensemble and one orchestral – all typifying Artymov’s true genius as a truly individual composer who can make thoroughly modern music listenable and demanding further regular hearings. Mark Pekarsky leads the first percussion ensemble established in Russia and still the foremost group in that country. Russian-American conductor Virko Baley directs the superb Moscow Philharmonic.

Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. After the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice. The Requiem, together with his massive Symphony cycles, was the work which brought enormous acclaim to Artyomov both in Russia and in the USA. It was the first Requiem to be written by a Russian and the first to be performed in the former USSR. Dedicated ‘to the Martyrs of Long-Suffering Russia’ it is a true masterpiece in which several parts of the mass are given treatments very different from the ‘norm’. Exciting, moving and bristling with power and passion, this is a Requiem to stand alongside the established great Requiems of the past. The performers are those who gave the Moscow premiere, and give a stunning performance.

Carson Cooman is many things musical - organist and Composer in Residence at the Memorial Church, Harvard University; writer, critic and consultant, concert organist, and above all a highly prolific composer of music in a wide variety of genres, from orchestral to song. His organ compositions come in many styles, from liturgical models, to more gritty and substantial pieces such as his organ symphonies and preludes and fugues. The music in this programme, all composed in 2016 and 2017, is varied and consists of concert pieces (though suitable for church use) as opposed to explicitly liturgical works. Erik Simmons is a fine organist, making his seventh Cooman organ album for Divine Art. He is playing the Cavaille-Coll organ of the Abbey of Saint-Etienne, Caen, France in a live performance recorded through the Hauptwerk system. This is volume 7 of this highly praised series.

Antoni Wit's ongoing cycle of Penderecki orchestral works is yet another of those truly outstanding Naxos projects that's unlikely to get the attention it deserves. The music isn't easy, or popular, but Wit is a marvellous conductor in this repertoire, and his unfailingly intense and idiomatic performances look to become the standard by which all others will be judged. This new release just may be the best so far.


The Seven Gates, though largely unthreatening in its use of consonant harmony, is a very difficult work to perform. The choral and solo writing is tiring (if often incredibly moving and impressive), and the presence of a lengthy narration may bother some listeners. In my opinion Penderecki is one of the very few composers who can pull it off, and here he does so magnificently.


Perhaps the most wonderful thing about this recording is its ability to be serious (isn't Penderecki always?) without sounding labored, or relentlessly heavy. Partly it's a function of really exceptional choral singing and a uniformly high-quality bunch of soloists. The rest, though, is Wit's ideal pacing and that feeling for timbre and texture that made his Messiaen Turangalila-Symphonie so memorable. In short, even if you don't normally warm to Penderecki, you probably will find this disc surprisingly appealing. The sung texts are available on Naxos' website, but it's just as much fun to simply wallow in the evocative sonorities that Penderecki gets from his very large vocal and instrumental forces. Excellent engineering makes the music both rage and shimmer as it must. A splendid release in every way! [1/24/2007]
--David Hurwitz, ClassicsToday.com

Per Norgard, who turned 85 this year, is widely regarded as the most influential Danish composer since Carl Nielsen. Since the beginning of his career, Norgard has composed music for all kinds of instruments, but the piano is probably the one he has remained closest to. Illustrating the development of the ‘universe of the Northern mind’ as well as early influences by both Bach and Stravinsky, the acclaimed pianist Niklas Sivelov presents a unique portrait of Norgard’s earliest musical thinking, including world premiere recordings of the Sonata determinate, Miniature Concerto G Major and Trifoglio. In fact, four of these six works are dedicated to Niklas Sivelov because Norgard is supremely pleased with Sivelov’s interpretations, making this a uniquely authentic recording.

Astor Piazzolla’s much-loved tangos have been arranged for all manner of instrumental line-ups, this album presenting an exuberant selection specially arranged for the acclaimed Tuscan Brass and Percussion Quintet whose members are professors of their instruments in leading Italian conservatories. The Quintet is joined by guest violinist Andrea Tacchi. The result is a thrilling new take on nuevo tango, passionate yet poised, sharp and shiny as a knife-blade. The centrepiece of this album, Piazzolla’s witty Four Seasons Suite takes Vivaldi’s famous violin concertos for a stroll through the docklands of Buenos Aires, the original home of tango itself.

Arvo Pärt’s piano works range from his first public statement as a composer, the Zwei Sonatinen, to his latest, the life affirming miniature Für Anna Maria. Moving away from his 1960s atonal language, Pärt found an essence of truth in music embodied in the simple lines of Für Alina. Lamentate is a vast monument which the composer has described as a lament ‘not for the dead, but for the living’. Multi award-winning pianist Ralph van Raat has been praised for his ‘sensitive and technically refined’ playing of Hans Otte’s Book of Sounds (8.572444) (MusicWeb International).

This release includes new works written by Peteris Vasks (b. 1946), internationally the most well-known composer from Latvia, performed by his compatriots, the Latvian Radio Choir and Sinfonietta Riga under the direction of Sigvards Klava. During the years both the choir and the orchestra have collaborated extensively with the composer and premiered several works by him, including Da pacem, Domine which was premiered as a part of Peteris Vasks' 70th anniversary concert in 2016. This album is the third album dedicated to works by Vasks by the Latvian Radio Choir and Sigvards Klava on Ondine. Three works included on this album were written in 2016: Da pacem, Domine is according to the composer, a powerful “cry of desperation for our times, a prayer for our mad world. I believe that music strengthens our faith, love and soul.” Mein Herr und mein Gott is a work inspired by a solemn meditation written by a 15th century Swiss mystic Nicholas of Flüe, also known as Brother Klaus. The lyrics of Laudate Dominum, the title piece of the album, consist of only one sentence which is repeated by the choir. The choral texture of the work alternates with majestic organ episodes. The remaining two works in the album are based on texts by Mother Teresa.

Classical Music

Cello Recital: Gustafsson, Jan-Erik - SZYMANOWSKI, K. / KODA

Yacheslav Artyomov is considered by many to be Russia’s greatest living composer. After the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Honegger and Messiaen to name a few – but melded into a unique voice. This is one of a pair of related albums and contains a Symphony which is the third of his gigantic symphonic tetralogy “Symphony of the Way” - it was given its premiere by Mstislav Rostropovich to whose memory the disc is dedicated. The symphony is accompanied by another major work, Tristia II, a Fantasy for piano and orchestra with poems and prayers by Nikolai Gogol. The two conductors are among the cream of Russia’s younger generation, both amassing a very fine reputation in their own fields. Overall, this is a release of high importance in the symphonic repertoire (world premiere recordings).

Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. His music is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice. The Divine Art Artyomov Retrospective is a mix of new recordings and former Melodiya releases. This is the eighth instalment, containing three orchestral works, with an over-arching sorrowful cast – remembering, like his Requiem, the suffering of the Russian peoples under Soviet rule (and for In Memoriam, a tribute to the composer’s mother), and all typifying Artyomov’s true genius as a truly individual composer who can make thoroughly modern music listenable and demanding further regular hearings. Three fine orchestras and conductors, and superb soloists, provide a rich and satisfying program of substantial modern orchestral music.

He has now been composing for nearly half a century, Wolfgang Rihm, born in Karlsruhe in 1952, where he was already learning composition from Eugen Werner Velte while still a high school student, later also from Klaus Huber in Freiburg and Karlheinz Stockhausen in Cologne, belonged to the so-called "young savages" at the famous Donaueschingen Festival for contemporary music back in the 1970s. Two Other Movements is a composition commissioned by the New York Philharmonic Orchestra that premiered under the baton of Lorin Maazel in New York in March 2005. The title is intended to signify that every new work is, as it were, a commentary on the one preceding it; the "two other movements" therefore make up the continuation of those completed beforehand. Abkehr, whose premiere was performed by the Junge Deutsche Philharmonie conducted by Gary Bertini in Zurich on April 4, 1986, was written as a supplement to a rendition of the Ninth Symphony by Gustav Mahler.

One of Britain's most accomplished, celebrated and prolific composers, Michael Finnissy here plays a programme of works based on folk music from several countries.

REGIONS: All Regions
PICTURE FORMAT: 16:9
LENGTH: Approx 156 Mins
SOUND: 5.0 DTS SURROUND / PCM STEREO
SUBTITLES: ENGLISH/FRENCH/GERMAN/SPANISH/ITALIAN/DUTCH
NO OF DISCS: 1

In ‘Marco Polo, an opera within an opera’, composer Tan Dun portrays the Venetian explorer’s travels to the Far East as a journey of both inner and physical discovery, a voyage depicting spiritual experiences as well as a geographical expedition. At the same time the work, on a libretto by Paul Griffiths, can be seen as a compositional adventure of the composer himself, unifying the various cultural worlds he occupies: a blend of Western avant garde and Oriental traditions. Pierre Audi’s mythical staging and Jean Kalman’s fabulous set design complement the composer’s own musical direction, forging the dazzlingly versatile soloists, the Netherlands Chamber Orchestra and Capella Amsterdam to a stunning symbiosis of elements across time and space, a true testimony to cultures intertwined in globalisation.

Polo: Charles Workman
Marco: Sarah Castle
Kublai Khan: Stephen Richardson
Water: Nancy Allen Lundy
Shadow 1/Rustichello/Li Po: Zhang Jun
Shadow 2/Sheherazada/Mahler/Queen: Tania Kross
Shadow3/Dante/Shakespeare: Stephen Bryant
Chinese/Arabian dancer: Mu Na

Netherlands Chamber Orchestra
Cappella Amsterdam
Musical Director: Tan Dun
Stage Director: Pierre Audi

Recorded live at Het Muziektheater, Amsterdam, on 13th and 18th November 2008.

Plus
Illustrated synopsis.
Cast gallery.
Documentary: The Music of Tomorrow – including interviews with the creative team and principle cast members.

Reviews
‘Tan Dun’s Marco Polo was, for me, a multi-dimensional experience which went beyond my expectations and indeed overwhelmed my senses… Here was an opera of our generation: a fusion of elements across time and space, a true testimony to the way our worlds have become intertwined in the globalisation process.’ Anne Ku, Bonjournal.com