The legendary progenitor of cool jazz in a historic live performance! The cool tones of one of jazz's iconoclastic figures ring out vibrantly on this set of deeply felt performances by Chet Baker, filmed at a Tokyo concert in 1985, three years before his tragic death. Crooning some of his signature tunes including My Funny Valentine and Stella By Starlight, he delivers a fragile and memorable program. Features Chet Baker on trumpet and vocals, Harold Danko on piano, Hein van de Geyn on bass, and John Engels on drums.

Classical Music

Format: Color, Dolby, NTSC
Language: English
Region: Region 1 (U.S. and Canada)
Aspect Ratio: 1.33:1
Number of discs: 5

The music chosen for this tour or Hangzhou is played on traditional Chinese instruments. Unusually there is a Bach Minuet, transcribed for the Chinese dulcimer, the yangqin, used to accompany a visit to a silk museum.

The music chosen for this tour of Shanghai is played on traditional Chinese instruments. Performing the music are the wind and string ensembles known as "silk and bamboo," from their silk strings and bamboo pipes.

As winner of the inaugural Tchaikovsky Competition in 1958, Van Cliburn was lauded by the greats, including Shostakovich, Gilels and Sviatoslav Richter, who is said to have proclaimed 'he is a pianist, the others are not'. The three Chopin performances on this DVD were filmed by the BBC just one year later, when Cliburn was still very much in his prime. His performances of these three popular Chopin works exude controlled brilliance - grandeur and virtuosity without ostentation. Claudio Arrau, recognizable for his rich, sonorous tone and often described as 'Prince', 'Emperor', and 'King' of the keyboard, is an excellent companion to Cliburn on this DVD. Widely considered one of the greatest pianists of the 20th century, he was renowned for his definitive interpretations of almost every composer he engaged with, although he remains most celebrated for his Beethoven.

This elegant release from the ICA CLASSICS LEGACY series captures two memorable ballet performances, rescued from the depths of the BBC archives: Les Sylphides, danced by Svetlana Beriosova in 1953, and Giselle, danced by Nadia Nerina in 1958.

Also available on Blu-ray

Recorded live at the Filharmonia Narodowa, Warsaw, 26-27 February 2010.

Picture format: NTSC 16:9
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 97 mins
No. of DVDs: 1 (DVD 9)

R E V I E W:



CHOPIN Piano Concertos: No. 1 in e 1; No. 2 in f. 2 Mazurka in a, op. 17/4. 1 Etude in c, op. 10/12. 2 Waltz in e, op. posth. 2 • 1 Nikolai Demidenko, 2 Evgeny Kissin (pn); Antoni Wit, cond; Warsaw PO • ACCENTUS 20104 (DVD: 96:54) Live: Warsaw 2/27/2010

I would hate to have been a music critic for a newspaper sitting in the audience at this concert. Newspaper reviewers are allowed only one chance to hear the music and then get their story straight. I’ve watched this video four times, and just am beginning to appreciate what went on at the concert. In sum, it is a tale of two pianists, Nikolai Demidenko and Evgeny Kissin. The former receives a notable reception from the audience, while the latter elicits a roaring standing ovation and rhythmic applause. The two even are a contrast in their appearance: Demidenko with his grey beard and bald spot, the leonine Kissin every inch the romantic idol. Yet, on repeated listening, I find myself drawn at least as much to Demidenko’s performance as to Kissin’s. This video is a superb example of how completely differently one can approach Chopin, with equally satisfying results.

The First Concerto opens with refined playing in the orchestral tutti. Antoni Wit and his Warsaw forces only recently recorded both concertos with Eldar Nebolsin. Demidenko begins introspectively, with a lovely sonority. His romantic hero, as portrayed in the music, is a poet rather than an adventurer. The third subject is full of yearning and pathos. Elegance and passion characterize the subsequent filigree work. The return of the first theme sounds ruminative. When the second subject comes back, it is wistful and tentative. Throughout this movement, the Warsaw first chairs play beautifully, particularly the flute, bassoon, and horn.

Demidenko opens the second movement with a gorgeous, singing bel canto line. It is a love song with plenty of heart. Unlike in the first movement, the piano part now has a slightly naive quality. The solo bassoon plays wonderfully. Here and in the finale, Demidenko handles transitions magically. He performs the last movement very much in the style galant . His playing now is rhythmically subtle; he doesn’t attempt to be a powerhouse. The B section sounds like a mazurka. Demidenko’s left hand produces deftly judged harmonies. His soft playing is superbly virtuosic. As an encore, Demidenko plays a mazurka raptly and ravishingly, almost as a commentary on all that has gone before it.

Kissin first came to prominence in a concert of both Chopin concertos at age 12, conducted by Dmitri Kitaenko. At present, he plays the Second Concerto in the grand manner. His fingers are fascinating to watch, reminding me of tentacles. Kissin treats the first movement rhapsodically, rather freely in tempo. His soft passages are especially luminous. The program annotator for the DVD suggests that Kissin’s tactile connection to the keyboard is almost erotic. I prefer to say that Kissin’s performance possesses an animal quality. In the second movement, Kissin produces lush sonorities with almost heartbreaking phrasing. His playing in the string tremolo section seems tragic, evoking the pain of the lover. Following this outburst, the return of the initial theme sounds subdued. Kissin’s finale is a romp, with plenty of fire. Differences in dynamics are finely judged. The audience erupts on the orchestra’s final chord. For his first encore, Kissin gives us a stunning version of the last of the op. 10 etudes, with an almost supernatural left hand. It perhaps exemplifies the two pianists here that this encore is so virtuosic, while Demidenko’s is reflective. Kissin’s next encore is a somewhat Mendelssohnian treatment of a waltz, like fairy music. Kissin shows an endearingly light touch here.

The sound engineering on the DVD is very good, clear and full if a little monochromatic. Surround sound was unavailable to me. Occasionally the picture is out of sync with the music for a second or two. The director of the video does a satisfying job; nothing essential is overlooked in the camerawork. If you are looking for a CD of both concertos, I would recommend those by Annerose Schmidt, Janne Mertanen, and Janina Fialkowska. For an opportunity to experience two marvelous players in concert, this DVD probably will have great staying power. It is a true privilege to witness Demidenko and Kissin’s artistry up close.

FANFARE: Dave Saemann

Classical Music

BIS' first-ever DVD is dedicated to one of the label's most charismatic and longest-standing artists: Christian Lindberg. It forms an extensive - 3h 40 minutes - portrayal of this multi-faceted musician who has since his début in 1984 almost single-handedly turned the trombone into a solo instrument.

Plenty of interesting content, well photographed, complements the musical arrangements of popular Christmas tunes.

Might as well get my grumble out of my system at the start, particularly as I enjoyed much of the photography, most of the locations and all the musical arrangements. It is just that the title could be deemed misleading as only two Chapters of the thirteen are not of Switzerland and two of the remaining eleven are not focused on Zurich. No problem though about the preponderance of Zurich.
 
Switzerland has existed as the world’s oldest democracy for some seven hundred years. It is the most linguistically and culturally diverse western European nation. Its diversity derives from its history; having experienced internal religious conflict, the Congress of Vienna guaranteed independence and neutrality in 1815. A new federal state of Cantons was formed in 1848 with Bern as the capital. The Cantons reflect cultural and linguistic variety. With borders with France, Germany and Italy these are the appropriate languages of the population who usually speak at least two along with English. The Romantsch dialect is also spoken by about one percent of its people. Zurich is the largest city, located at the north-western end of Lake Zurich, and has long been the industrial and banking centre of the country as well as a magnet for tourism. Its history includes being a centre of Protestantism.
 
It is on Zurich that the opening Chapters focus with views of the city streets at night dressed in resplendent Christmas decorations (CH.1). In the daylight, dusted in snow with a misty hue, the city looks less inviting albeit the bridge over the river Lammat and the mighty twin towers of the Cathedral are imposing (CH.2). The tradition of Christmas is central in December and the film visits the mechanical Father Christmas, a wonderful Christmas crib and the various toyshops with captivated children peering through the windows (CHs. 3-5). The great Minster, in all its internal magnificence appears to the melody of God Rest Ye Merry Gentlemen played in a baroque manner (CH.6). After brief visits to the Toy Museum in Nuremberg, a city well known as the centre of the German toy-making industry (CH.8), it’s back to Zurich to one of their leading toy emporia with a final visit to a window display of model trains zipping around snowy mountain scenery and model houses; captivating for the children, and, I do not doubt, their parents (CH.13). In between these last two visits, filming takes in a Brussels restaurant where seafood, not just moules and frites, is being prepared and where one can lust over the chocolates, not all Pralines (CH.10). Swiss winter landscapes (CH.12) and the Einsieden Monastery, an important centre of Catholic pilgrimage, are further diversions from Zurich. The monastery church is largely baroque in form (CH.11). The other interesting church visited is that at Engadine, a Romantsch-speaking district set in mountains and popular with visitors (CH.7). Both religious buildings have interesting frescoes and murals.
 
Each visit throughout this tour is accompanied by Baroque-type arrangements of mainly well-known Christmas music. Those chosen include Good King Wenceslas, The First Nowell, Jingle Bells, Silent Night and We Wish You A merry Christmas. With the arrangements being based on Baroque practice, brass is prominent but not overdone. Once or twice, as with O Tannenbaum (CH.12) the arrangement loses the underlying melody, for me at least.
 
-- Robert J Farr, MusicWeb International

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Picture format: NTSC 4:3
Sound format: PCM Stereo 2.0 / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 54 mins
No. of DVDs: 1

CHRISTMAS WITH WINCHESTER COLLEGE CHAPEL CHOIR

Sara Macliver, soprano
Winchester College Chapel Choir
Hong Kong Philharmonic Orchestra
William Lacey, conductor
Recorded live at the Hong Kong Cultural Centre Concert Hall, 22-23 December 2004

Picture format: NTSC 4:3
Sound format: PCM Stereo / AC3 5.1 / DTS
Region code: 0 (all)
Booklet notes: English, German (sung text included)
Running time: 102 mins
No. of DVDs: 1

* This selection of music for Christmas brings together East and West in the collaboration of Winchester College Chapel Choir and the Hong Kong Philharmonic Orchestra. Recorded live in Hong Kong in December 2004, this disc features a selection of perennial favourites from the Baroque period, including Bach cantatas and Handel’s Messiah, and three exquisite modern carols.

Chapter 1:
Arcangelo Corelli: Concerto Grosso, Op. 6 No. 8 ‘Christmas Concerto’

Chapter 2:
From Praetorius to Weir
Michael Praetorius: Come, thou Redeemer of the earth
Richard Rodney Bennett: Out of your sleep
John Tavener: The Lamb
Judith Weir: Illuminare, Jerusalem

Chapter 3:
O Come All Ye Faithful
Anonymous, arr. Willcocks: O come all ye faithful

Chapter 4:
Works by Johann Sebastian Bach
Sinfonia from Cantata, BWV 42
Kyrie from Mass in G, BWV 236
'Herr, der du stark and mächtig bist' from Cantata, BWV 10
'Jesus bleibet meine Freude' from Cantata, BWV 147

Chapter 5:
George Frideric Handel: Concerto Grosso in F, Op. 6 No. 2

Chapter 6:
G.F. Handel: Messiah (excerpts)

Chapter 7:
Joy to the World and The First Noel
Lowell Mason, arr. Rutter: Joy to the World
Anonymous: The First Noel

This release gives listeners a chance to witness an iconic masterpiece of American dance. Alvin Ailey's Revalations has been described by The New york Times as "one of the great works of the human spirit." This stunning, soulful tour de foce draws on African-American spirituals, song-sermons, gospel songs and holy blues. The wide-ranging influences and irrepressible passion of Revalations are evident across the rest of this electrifying program, which features Wayne McGregor's sumptuous Chroma, set to a score by Joby Talbot with orchestrations of songs by The White Stripes, Ronald K. Brown's Grace, a powerful meeting of modern and West African dance with a soundtrack by Duke Ellington, Roy Davis and Fela Kuti and Robert Battle's humorous, high-flying Takadem.

Rob Mazurek & Chad Taylor have been the heart & soul of the Chicago Underground groups for over a decade. Bassist Jason Ajemian makes his CUT debut, bringing a wide range of musical influences to the table. 'The trio's music is never frenetic.

Francesco Cilea’s Adriana Lecouvreur was inspired by the real-life story of a celebrated actress at the Comédie-Française who was much admired by Voltaire. Hailed as a masterpiece, the opera was triumphantly staged in cities around the world after its premiere in 1902. The dramatically effective narrative is a passionate love triangle filled with intrigue and complicated plot twists set in the gallant 18th century. Its subtle ironies and gorgeous cantabile style of music provide a perfect vehicle for the star cast in this stunning production from the Teatro del Maggio Musicale Fiorentino.

REVIEWS:

The playing is admirably sensuous: Cilea knew his Wagner and Debussy, and Harding pointedly emphasizes the debts, while also giving us plenty of Italianate passion and lyricism.

-- Gramophone (DVD/Blu-ray of the Month, January 2023)

This Maggio Musicale production from Florence boasts a genuine star at its heart...María José Siri marks out her own territory, thanks to her lustrous voice and honestly theatrical characterization...The remaining star turn here is the conductor Daniel Harding in full-on verismo mode, notably sensitive to his singers’ needs, and inspiring the Maggio Musicale orchestra to project Cilea’s score with refined virtuosity.

-- Opera

Francesco Cilea’s Gloria, performed here in its 1932 revised edition, takes as its theme the ultimately tragic story of two lovers caught up in a conflict in 14th-century Siena. The libretto is based on Victorien Sardou's play La Haine (Hatred) and the opera features Cilea’s refined orchestral writing inspired by the Russian and French schools, with vocal lines that are varied and rewarding. Opera Today called this production ‘musically magical’, while Operawire.com extolled the inventive and convincing staging along with Francesco Cilluffo’s compelling musical direction.

Also available on Blu-ray

An insane passion for a mysterious woman who, in the opera, is never shown. Federico wants her desperately, dreams of her, suffers for her, and step by step his mind begins to waver. The people around him try in vain to prevent this love from becoming a damning obsession. A rare opera by the great Italian composer Francesco Cilea. Its famous aria “Il lamento di Federico” has always been a favorite with tenors of all times. This recording also features the aria for tenor, “Una mattina”, written by Cilea for the opera’s first version and then lost, here in world première recording. A co-production Teatro Pergolesi and Wexford Festival Opera.

Domenico Cimarosa was riding high on the triumphant success of Il matrimonio segreto when he embarked on the ‘commedia per musica’ Le astuzie femminili in 1794. The narrative for this opera revolves around the clever and resourceful Bellina, who devises a plan to avoid an unwanted marriage while gaining a large inheritance and marrying her love Filandro. Styled somewhere between Mozart and Rossini, Cimarosa’s witty and tender score includes deliciously comical moments such as Filandro’s outlandish Italian-German imitation of a Magyar officer. The spirited performance and lively pace of this opera buffa accounted for its acclaimed reception at the 2022 Reate Festival.

L’Italiana in Londra' was Domenico Cimarosa’s first international triumph, thrilling audiences all over Europe after its premiere in 1778. It later became eclipsed by the even bigger success of 'Il matrimonio segreto' however, and has become a rarity on stage today. Set in a London hotel, this cheerful ‘Intermezzo in musica’ has cleverly crafted arias, duets and ensembles that drive the plot along, the story being one of thwarted love, quarrels and misunderstandings. 'L’Italiana in Londra' has been summed up by director R.B. Schlather as ‘incredibly charming and sophisticated … demanding, dark, dirty and very funny … an impeccable rom-com.’

Prokofiev's great ballet features Margot Fonteyn, Michael Somes, Frederick Ashton, Kenneth MacMillian, Sadler's Wells Ballet (Royal Ballet). Choreography by Frederick Ashton. Conducted by Robert Irving from a TV Broadcast of April 29, 1957.

Also available on Blu-ray

All are equal before the work, before the mysteries of a score; this was Claudio Abbado’s heart-felt conviction. For him, the willingness to be open to one another and to the independent life of musical processes was the only prerequisite for making music. In the live performances documented here for the first time on DVD/Blu-ray, Abbado could be sure of the devotion of these world-class artists: the Lucerne Festival Orchestra, the sopranos Christine Schäfer and Juliane Banse, as well as the actor Bruno Ganz. They shared his credo of “listening togetherness” (Die ZEIT) that made possible those precious moments of musical truth toward which this great conductor strove throughout his life.

CLAUDIO ABBADO CONDUCTS MOZART AND BEETHOVEN

Wolfgang Amadeus Mozart:
Misera, dove son!, K. 369
Ah, lo previdi, K. 272
Vorrei spiegarvi, oh Dio, K. 418
Symphony No. 35 in D Major, K. 385, “Haffner”

Ludwig van Beethoven: Egmont, Op. 84

Christine Schäfer, soprano
Juliane Banse, soprano
Bruno Ganz, narrator

Lucerne Festival Orchestra
Claudio Abbado, conductor

Recorded live at the Concert Hall of KKL Luzern, 19–20 August 2011 (Mozart) and 8–10 August 2012 (Beethoven)

Picture format: 1080i Full-HD
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: Italian, German, English, Japanese, Korean
Running time: 89 mins
No. of DVDs: 1

Claudio Abbado-The Last Years features rarely released video recordings of the legendary conductor doing what he was known for in the final years of his life. This release has Abbado conducting the Lucerne Festival Orchestra and the Orchestra Mozart as they perform works from Mahler, Bruckner, Mozart, Beethoven, Brahms, Schubert, and Shoenberg. His last-ever video recording is included, where he performs Brahms' Tragic Overture, Schoenberg's "Song of the Wood Dove," and Beethoven's Eroica Symphony. These recordings were made in two beautiful halls- the Concert Hall of the KKL Luzern and the Haus fur Mozart, Salzburg. Among the numerous awards and honors Claudio Abbado received during his long career are the Evening Standard Opera Award for his Boris Godunov at Covent Garden; the Legion d'Honneur from the French Ministry of Culture; the Gran Croce, the highest honor of Italy, and the highest civilian honor of Germany, the Bundesverdienstkreuz (1992). In 1985 he was awarded the Gold Medal by the International Gustav Mahler Society, presented in recognition of his service to the music of Gustav Mahler. He is an honorary member of the Gesellschaft der Musikfreunde in Vienna and received honorary degrees from the universities of Cambridge, Aberdeen and Ferrara. In 1994 Claudio Abbado was awarded the International Ernst von Siemens Music Prize, Germany's most prestigious music award.

Five-time Oscar Winner Clint Eastwood is synonymous with excellence, subtlety and versatility. Yet with his piercing blue eyes, steel jaw, and calm, occasionally predatory demeanor, Eastwood is probably still most adored as cinema's quintessential tough guy. In these four acclaimed Westerns, Eastwood draws characters that are measured, dangerous, and inescapably entertaining.

In this story ballet, choreographer Edward Clug merges the distinct versions of Peer Gynt by Edward Grieg and Henrik Ibsen into a new ballet experience. "A brilliant narrator" (Kronenzeitung), Clug captures the fantastic adventures of the boastful peasant boy, who sets off to become emperor of the world, with the help of the bold stage and costume design by Marko Japelij and Leo Kula�. The results are "magical scenes, never seen like this in conventional ballets" (Kurier) with "an outstanding cast, down to the smallest roles" (Opernfreund). This performance was recorded live at the Wiener Staatsoper in December 2018.

Coal Miner's Daughter is the amazing true story based on the book Loretta Lynn wrote with George Veesey. It was the first country musician autobiography to hit the bestseller list and sold more than a million copies in six weeks. When bringing Loretta's story to the screen, director Michael Apted assembled an incredible cast: Sissy Spacek (who won an Oscar for her role), Tommy Lee Jones, Beverly D'Angelo and Levon Helm. What resulted is a remarkable tale of a rousing love affair and a woman's triumph in making her name in the world.