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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)

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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’)

Three masterworks by Kader Belarbi shine in these stunning Ballet du Capitole productions. Hailed by Le Figaro as ''simply magnificent: a miracle in two acts'', Le Corsaire is a bold reinvention of a 19th-century classic. La Bete et la Belle - a compelling reimagining of the classic fiary tale Beauty and the Beast - had its place affirmed among hte best of modern ballets by Belarbi's much-lauded production for Theatre du Capitole. La Reine morte, based on Montherlant's play of the same name and set to an enchanting score by Tchaikovsky, tells the tragic story of King Peter I of Portugal's devotion to his beloved Ines.

Moscow, 1917. The wind of the Bolshevik Revolution blows away the old Russian society and brings along a new order. Lenin decides to nationalize the great private art collections, one of which belongs to the formidable collectors, brothers Mikhail and lvan Morozov. For more than two decades, these two Muscovite patrons, textile billionaires, acquired an astonishing collection of paintings, masterpieces by Monet, Renoir, Cézanne, Van Gogh, Matisse, Picasso, Gauguin, Serou and Vroubel. This film tells the story of these two flamboyant characters, bath major figures in the modern art scene, and follows the destiny of their fabulous collections

More than 200 years after it's premiere at the Gewandhaus in Leipzig, Isabelle Faust, Jean-Guihen Queyras and Martin Helmchen have congenially mastered the artistic challenge of Beethoven's gemstone. Under Herbert Blomstedt's sensitive direction, the soloists unite chamber musical intimacy together with virtuoso sophistication - and prove once again that the Triple Concerto is an unduly underestimated, much too rarely programmed masterpiece. With the composer's 5th Symphony, Blomstedt succeeds in achieving an entirely new perspective of this work. In his Sixth Symphony, the "Pastoral", Ludwig van Beethoven conveys his musical message in such a way that let's the listener literally "see" images of beautiful nature, tempestuous storms, and shepherds singing in the fields, whereas in his Seventh Symphony, Beethoven let's the music speak for itself. The performances of these works by the Gewandhausorchester give the uplifting feeling that the intentions of both composer and performers are united in serving the musical message. The humanist and musician Herbert Blomstedt embodies this truth in a unique way, creating an atmosphere where the wonders of music all become true. Ludwig van Beethoven's 9th Symphony and the musical city of Leipzig are closely intertwined with each other: Felix Mendelssohn, Kapellmeister of the Gewandhausorchester, made the work an indispensable part of the concert hall repertoire and Arthur Nikisch, one of his successors, established in 1918 the worldwide tradition of performing this groundbreaking and pioneering work at the end of the year. Herbert Blomstedt once again conducted Beethoven's Ninth in Leipzig for the 2016 New Year celebrations. With his former orchestra, of which he has been Conductor Laureate since 2005 and with whom he enjoys a close friendship, he achieves a gripping interpretation of this monumental work.

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Pietro Antonio Cesti was one of the most outstanding champions of 17th-century Venetian opera, and La Dori was both his greatest success and a major influence on the genre in the expressiveness of its arias and duets. The story is set in Babylon on the shores of the Euphrates, and is a convoluted and richly tragicomedic tale of lost lovers, disguises and mistaken identities filled with larger-than-life and colourfully costumed characters. This revival of a forgotten masterpiece was acclaimed as ‘a production of the highest level in every aspect’ (musicaculturaonline.it).

Verdi's masterpiece "Simon Boccanegra" is presented in a "clear and levelheaded" (The New York Times) staging by Andreas Kriegenburg from the Salzburg Festival. The tragedy of the corsair who becomes Doge of Genoa and is poisoned shortly after having found his lost daughter is conducted by Valery Gergiev, "makes for gorgeously beautiful tone colours" (Der Kurier). The excellent cast includes Luca Salsi ("Italy's finest baritone today", Financial Times) in the title role, Ren� Pape ("in sumptuous voice", Financial Times) as his contrahent Fiesco, as well as Marina Rebeka and Charles Castronovo as the loving couple Amelia and Adorno who "together create islands of bliss in duet and action." (Neue Z�rcher Zeitung). Valery Gergiev provides for an excellent musical realization, the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsopernchor perform superbly: "The Wiener Philharmoniker seemed to have virtually conspired with the conductor and the work, shining into every hidden sound angle, playing out all their sovereignty and opera experience" (S�ddeutsche Zeitung).

This release presents a rarely performed masterpiece: Gioachino Rossini's Mos� in Egitto at the Bregenz Festival staged by Lotte de Beer, who retrieves this hidden gem of opera literature for a spectacular staging. de Beer, one of the most sought-after stage directors of her generation (International Opera Newcomer Award 2015) teams up with the Dutch theatre collective Hotel Modern to tell the story of the Biblical Exodus. Their unique production concept for Mos� in Egitto revolves around the ingenuity of Hotel Modern. The theatre group conjures up it's own reality by using live animations to portray the mass scenes and the parallel narratives of the people and the slaves. Miniature cameras, thousands of puppets, models of villages and cities and a spectacular aquarium installation present the biblical tale of plagues and the parting of the Red Sea on the Bregenz stage - "a stroke of genius" (Der Standard).

This fascinating release of Beethoven’s Symphony No. 9 stands apart from any other recording of the work. This is the first time that the magnificent piece has been recorded in HD and 5.0 surround sound, offering the most outstanding sound quality available today. Christian Thielemann leads the Wiener Philharmoniker in this moving interpretation. “Thielemann’s reading of the Beethoven symphonies stands heads and shoulders above the countless and mostly undistinguishable versions on offer.” (Die Presse) This performance is accompanied by an hour-long documentary featuring the conductor and Germany’s foremost music critic, Professor Joachim Kaiser. The film provides insights into Beethoven’s thinking, as well as interpretal comparisons from conductors like Karajan, Bernstein, and Jarvi.

Titus has returned from a brutal 10-year war having lost 21 sons in battle. Betrayed by his nation, and with his family in pieces, a series of bloody events follows as he and Tamora, Queen of the Goths, begin a violent cycle of revenge. Rape, cannibalism, mutilation and murder are the gruesome tools in Shakespeare's bloodiest play. "The title role could not currently be better cast. David Troughton is a fine deadpan comic yet one who always ensures there's a shadow lowering across the joke, and is also first-rate at the serious, even somber material. Blanche McIntyre's production appears at first to be simply modish in setting the play amid contemporary-flavored upheavals, but this pays off increasingly as she gets both humorous and serious mileage out of the conventions and nuances of public political rhetoric, with figures behind a lectern delivering pieces to camera." (The Financial Times) "A sharp, confident and imaginative modern-dress reading. Bloody good." (Evening Standard) "A terrific cast give a masterclass in power and paranoia in this tremendous modern-day revival of Shakespeare's tale of revenge." (The Guardian)

Arturo Benedetti Michelangeli – even among fellow pianists this name almost evokes reverence, because it stands for the highest perfection, for a cult of beauty that perhaps no other master pianist has ever practiced. But it also stands for concert cancellations at short notice and artist’s neuroses, which the media spread with delight. “Beyond Perfection - Arturo Benedetti Michelangeli” is the result of a 30-year search for traces, which has not only led to interesting contemporary witnesses, but in particular has brought to light a wealth of new archive material: Arturo Benedetti Michelangeli has never been seen and, above all, never heard like this before. Thus one can experience at first hand how the severely stricken maestro fights his way back to his old perfection after a heart attack. This is the first comprehensive and multi-faceted portrait of the legendary pianist. “A whole lifetime only just suffices to learn to do something well.” (Arturo Benedetti Michelangeli)

Acclaimed across the globe for the beauty of his voice and the emotional power of his performances, Peruvian tenor Juan Diego Flórez, famous for his bel canto repertoire by Rossini, Donizetti and Bellini, shows in this concert another fascinating side to his vocal personality. The concert program includes many of the most popular Mozart arias – all of them magnificently performed by the Orchestra La Scintilla, an ensemble with outstanding reputation for their historical performance practice, led by Riccardo Minasi. This all-Mozart recital takes place at the Cuvilliés Theatre of Munich, one of the most beautiful Bavarian Rococo theatres. “Beautiful lyrical and elegant, Flórez shows all the emotions that Mozart captured in his scores – and the tenor's multi-colored spectrum of expression is impressive.” (Musik Heute)

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Katie Derham introduces highlights from the past ten years at the Royal Ballet, weaving the history of ballet through carefully curated excerpts from the past decade, and goes behind the scenes to see what it takes to be a dancer in the company of The Royal Ballet as they prepare to take to the stage. With stunning solos, passionate pas de deux and jaw-dropping numbers for the corps de ballet, it is a chance to see your favourite dancers up close, including Carlos Acosta, Marianela Nuñez, Natalia Osipova and Steven McRae, alongside rising stars like Francesca Hayward and Matthew Ball, who will introduce their favourite ballets and share stories of their life on the stage. The ballets featured include the classics Giselle, La Bayadere, Swan Lake, The Sleeping Beauty and The Nutcracker while the 20th-century heritage of The Royal Ballet is explored in works by Frederick Ashton and Kenneth MacMillan. The contemporary life of the company is showcased in works by Christopher Wheeldon and Wayne McGregor

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Russian dance superstar Natalia Osipova joined The Royal Ballet as a Principal in 2013 and has since filled each of her leading roles with an unforgettable passion, fiery energy and technical prowess. This collection brings together some of her most spellbinding performances: her dramatic dual performance of Odette and her rival Odile in Swan Lake; outstanding solos and flair for comedy as the young lover Lise in La Fille mal gardée; and her electric stage presence in the title role of the quintessential Romantic ballet Giselle where she was hailed as ‘technically and artistically supreme… ethereal and desperately moving’ (The Daily Telegraph). The set is completed with an in-depth portrait, Force of Nature Natalia, which provides an unparalleled opportunity to become closely acquainted with one of the leading ballerinas of her generation, and invites you to discover why critics and audiences all over the world call her a ‘force of nature’ of the dance world.

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Russian dance superstar Natalia Osipova joined The Royal Ballet as a Principal in 2013 and has since filled each of her leading roles with an unforgettable passion, fiery energy and technical prowess. This collection brings together some of her most spellbinding performances: her dramatic dual performance of Odette and her rival Odile in Swan Lake; outstanding solos and flair for comedy as the young lover Lise in La Fille mal gardée; and her electric stage presence in the title role of the quintessential Romantic ballet Giselle where she was hailed as ‘technically and artistically supreme… ethereal and desperately moving’ (The Daily Telegraph). The set is completed with an in-depth portrait, Force of Nature Natalia, which provides an unparalleled opportunity to become closely acquainted with one of the leading ballerinas of her generation, and invites you to discover why critics and audiences all over the world call her a ‘force of nature’ of the dance world.

Also available on Blu-ray

Katie Derham introduces highlights from the past ten years at the Royal Ballet, weaving the history of ballet through carefully curated excerpts from the past decade, and goes behind the scenes to see what it takes to be a dancer in the company of The Royal Ballet as they prepare to take to the stage. With stunning solos, passionate pas de deux and jaw-dropping numbers for the corps de ballet, it is a chance to see your favourite dancers up close, including Carlos Acosta, Marianela Nuñez, Natalia Osipova and Steven McRae, alongside rising stars like Francesca Hayward and Matthew Ball, who will introduce their favourite ballets and share stories of their life on the stage. The ballets featured include the classics Giselle, La Bayadere, Swan Lake, The Sleeping Beauty and The Nutcracker while the 20th-century heritage of The Royal Ballet is explored in works by Frederick Ashton and Kenneth MacMillan. The contemporary life of the company is showcased in works by Christopher Wheeldon and Wayne McGregor

This is the definitive video biography of rock 'n roll legend Buddy Holly. Produced and hosted by former Beatle, Paul McCartney.

It's one of Wiener Staatsoper's most outstanding opera productions for children: Cinderella - Viennese version for children by Alma Deutscher, the musical prodigy of our times. Based on the popular fairy tale, Deutscher tells a modern version of the story, combining humor, poetry and the magic of theatre. Alma Deutscher began composing Cinderella, her favorite fairy tale, at the age of eight. However, she does not directly follow the Brothers Grimm original, as music plays a central role in her version. Cinderella is a young composer whom her stepmother and stepsisters envy because of her talent and demote to working as a music copyist. The prince is a poet who finds Cinderella through their common love of art.

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Stefano Landi was an influential early opera composer, and La morte d’Orfeo is regarded as a milestone in the development of the genre. The narrative starts where Monteverdi’s L’Orfeo ends, taking us through the remaining adventures of Orpheus in the underworld. Beaten to death and torn apart by the fearsome maenads, Orpheus survives as a wandering soul and is finally reincarnated as a star in the sky. Landi succeeded in turning Greek tragedy into timeless music-drama, the starting point of all opera, and Seen and Heard International declared that it had ‘never before encountered such technical perfection’ in Pierre Audi’s Amsterdam production.

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Rossini wrote L’equivoco stravagante (‘The Curious Misunderstanding’), his first full-length opera, when he was only 19 years old. As its title suggests, the plot of this dramma giocoso offers a panoply of absurdist stagecraft with one character being led to believe that the work’s heroine is in fact a castrato trying to avoid military service. Full of his trademark buffo humour, melodious and musically buoyant, the opera ran foul of the censors and was swiftly banned, which accounts for its rarity in performances and recordings. The new edition of the score used in this production corrects numerous previous errors.

When Kit Armstrong was only 14 , he overcame his mentor Alfred Brendel's reluctance to take on pupils. Brendel said ''He played so beautifully that I thought to myself, 'I have to make tiem for him.' It was a performance that really led you from the first to the last note.'' Soon Armstrong was winning international prizes both as pianists and as composer and was appearing as soloist at some of the world's foremost venues. At the Concertgebouw, Armstrong mesmerized his audience with Bach's monumental Goldberg Variations - preceded by earlier polyphonic variation masterpieces by William Byrd, Jan Pieterszoon Sweelinck and John Bull. ''Enlightening and exhilarating'' (Revierpassagen). ''Armstrong's phenomenal recital was so exceptional that every attempt to describe it falls short'' (NRC).

Stefano Landi was an influential early opera composer, and La morte d'Orfeo is regarded as a milestone in the development of the genre. The narrative starts where Monteverdi's L'Orfeo ends, taking us through the remaining adventures of Orpheus in the underworld. Beaten to death and torn apart by the fearsome maenads, Orpheus survives as a wandering soul and is finally reincarnated as a star in the sky. Landi succeeded in turning Greek tragedy into timeless music-drama, the starting point of all opera, and Seen and Heard International declared that it had 'never before encountered such technical perfection' in Pierre Audi's Amsterdam production.

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These two pinnacles of Italian opera, Pagliacci and Cavalleria rusticana have it all – love, infidelity, betrayal, jealousy and murder. Both are classic examples of verismo operas that dramatise the lives of ordinary people: Pagliacci fuelled by the tension between everyday life and the aesthetic world of the stage, Cavalleria rusticana juxtaposing unbridled passion with profound faith. Robert Carsen’s widely acclaimed 2019 production plays a masterful game of theatre-in-theatre, avoiding clichés and calling into question the nature of reality.

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Ottorino Respighi’s La bella dormente nel bosco (‘The Sleeping Beauty’) was originally commissioned by the renowned puppeteer Vittoria Podrecca. The revised version we hear today preserves much of the kaleidoscopic approach and magnified characters and emotions of that original; now enhanced by the composer’s matchless orchestration. This famous story in which the Princess pricks her finger on a spindle and sleeps for centuries until kissed by her Prince is given a magical atmosphere through director Leo Muscato’s colorful staging, and the superb cast of this Teatro Lirico di Cagliari production truly inhabits an enchanted realm.

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REVIEW:

One of his finest operas, at once ravishingly beautiful and capable, I suspect, of casting its considerable spell on adults and children alike. Angela Nisi makes a fine, silvery-toned Princess...Shoushik Barsoumian does ravishing things with the Blue Fairy’s coloratura. The staging, meanwhile, is a thing of great charm. The whole thing provides some much-needed magic at a time when we really could do with it most. I loved every second of it.

– Gramophone

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These two pinnacles of Italian opera, Pagliacci and Cavalleria rusticana have it all – love, infidelity, betrayal, jealousy and murder. Both are classic examples of verismo operas that dramatise the lives of ordinary people: Pagliacci fuelled by the tension between everyday life and the aesthetic world of the stage, Cavalleria rusticana juxtaposing unbridled passion with profound faith. Robert Carsen’s widely acclaimed 2019 production plays a masterful game of theatre-in-theatre, avoiding clichés and calling into question the nature of reality.