Krzysztof Penderecki is one of the world’s great contemporary composers and a Polish classical music icon. His 80th birthday in November 2013 occasioned an extraordinary gathering of the world's most significant musicians and his most important interpreters. Companions and long-time friends of the composer presented their homage to Penderecki with some of his most famous works being performed: Threnody to the Victims of Hiroshima, the Duo Concertante, the Concerto Grosso No. 1 and the unique Credo.
A. Scarlatti: Il Pastor Di Corinto / Tredicine, Putelli
Bongiovanni
DVD
$35.99Jan 01, 2009
ALESSANDRO SCARLATTI (1660 – 1725) Il Pastor di Corinto, Opera pastorale in tre atti (1701)
Bruna Tredicine, soprano; Anna Carbonera, soprano; Cristina Cappellini, soprano; Caterina Novak, mezzo; Carlo Putelli, tenor; Roberta De Nicola, soprano buffo; Massimo Di Stefano, bass buffo
Romabarocca Ensemble/Lorenzo Tozzi
Tito Schipa, Jr., stage director Adriana Ruvolo, costumes; Luigi Stefano Cannelli, design
Recorded: Auditorio di San Francesco a Bolsena, August 16 & 17, 2007 NTSC All Region; 16:9; 5.1; Approx. 140 mins. Subtitled in Italian, English
ABBA FOREVER: The Winner Takes It All is the multi-Gold Award-winning, definitive up-to-date telling of the ABBA story with all four members of the band in interviews and special sequences filmed with them, rare archive, and a feast of ABBA songs. It starts with their pre-Abba careers, then the inside story of how they conquered Eurovision (first in Swedish, then in English), and then how they've continued to conquer the world several times over. We see them in performance and even going into the sound studio to discover how the ABBA sound was created. We also explore Mamma Mia!, the stage hit, onstage and backstage. With Benny Andersson, Bjorn Ulvaeus, Agnetha Faltskog, Anni-Frid Lyngstad. Other guests include Bono (in interview and with U2 playing Dancing Queen onstage with Benny and Bjorn), Donny Osmond, Barbara Dickson, Neil Sedaka, ABBA music engineer and wizard Michael Tretow (in interview and at the mixing board!), producer Pete Waterman, broadcaster Paul Gambaccini and more. ABBA and the guests illuminate how the songs came about, how they evolved, and what makes them so incredibly good. Songs include: Mamma Mia! Dancing Queen Super Trouper Waterloo SOS Fernando Ring Ring Gimme Gimme Gimme (A Man After Midnight) Does Your Mother Know Knowing Me, Knowing You The Winner Takes It All Thank You For The Music The Day Before You Came I Know Him So Well (from 'Chess') Money Money Money
Abbado Conducts The Simon Bolivar Youth Orchestra Of Venezuela
Accentus Music
DVD
$31.99Nov 16, 2010
CLAUDIO ABBADO and the SIMÓN BOLÍVAR YOUTH ORCHESTRA OF VENEZUELA LUCERNE FESTIVAL AT EASTER 2010
Sergey Prokofiev: Scythian Suite, Op. 20
Alban Berg: Lulu-Suite
Wolfgang Amadeus Mozart: Die Zauberflöte, Act II: Ach! Ich fühl's, es ist verschwunden
Pyotr Il'yich Tchaikovsky: Symphony No. 6 in B minor, Op. 74, "Pathetique"
Anna Prohaska, soprano Simón Bolívar Youth Orchestra of Venezuela Claudio Abbado, conductor
Recorded live at the Concert Hall of the Culture and Convention Center, Lucerne, 18-19 March 2010.
Five years after first conducting the Simon Bolivar Youth Orchestra in their Venezuelan home, Claudio Abbado continues his commitment to this stunning ensemble in this first joint audiovisual concert recording. Prokofiev’s extrovert Scythian Suite is a gift for the boundless energy of these young players, while the intricacy and anguish of Berg’s Lulu-Suite are an Abbado speciality, with soprano Anna Prohaska, in her Lucerne Festival debut, singing the heroine’s dazzling statement of self-justification. The concert ends with an impassioned account of Tchaikovsky’s Pathetique, his final symphony, one of the most moving works in music history.
"Abbado ... draws everything from this orchestra - and everything this marvel requires is there." -- Frankfurter Allgemeine Zeitung
"...a sound that, even in the dazzling glare of the brass, kept its razor-sharp edge and precise outlines. And so left room for incredible colours to emerge..." -- Zentralschweiz am Sonntag
Picture format: NTSC 16:9 Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1 Region code: 0 (worldwide) Running time: 112 mins No. of DVDs: 1
The master of musical parody, Professor Peter Schickele, brings US a complete opera by P.D.Q. Bach, a man who has been called a "pimple on the face of music", "the worst musician ever to have trod organ pedals", and "the most dangerous musician since Nero".
Pianist Achucarro plays pure magic... Achucarro knows exactly what to do at all times. He simply brings to bear his wonderful sense of pace, his neatness and clarity, his strong grasp of structure and his intuitive choice of the precise dynamic. And the result is pure magic. (The Toronto Star). Born in Bilbao, Spain, Achucarro won a number of international prizes in Spain, France, Italy and Switzerland during his student days, but it was his victory in England at the Liverpool International Competition, and the rave reviews in the London papers after his debut with the London Symphony Orchestra at the Royal Festival Hall, that marked the beginning of his career. Since then, Achucarro has had an exceptional, uninterrupted international career that has earned him global recognition. The pieces Joaquin Achucarro has selected from the works of Brahms, Chopin, Liszt, Rachmaninoff, Scriabin and Grieg are musical pages that have accompanied him throughout his lengthy international career and that in recent years have gained particular traction within his ample repertoire, which ranges across every period and style. But the six composers share something else besides their romantic sensibility: each of them, from their particular standpoint, has explored the sonorous and expressive possibilities of the piano to their furthest reaches. The recital at the Guggenheim Museum Bilbao offers the unique occasion to hear six piano music composers in visual counterpoint to the creation of leading artists of the 20th century whose works are housed in the Bilbao museum. The DVD includes an extensive interview with Joaquin Achucarro where he plays and explains the background of the music pieces performed in the recital.
Sara Mingardo, Ruth Rosique and Atonio Abete lead the cast in this premiere recording of Handel's opera from Turin's Teatro Carignano in 2009. Davide Livermore, the director, makes this 2009 production both enjoyable and interesting to watch. It has been recorded in the newly restored and beautiful Teatro Carignano in Turin and features Sara Mingardo, Ruth Rosique and Atonio Abete in the leading roles. Based on the well-known mythological story narrated by Ovid in the Metamorphoses, this is a classical tale of jealousy and love. The giant Polyphemus tries to force his attention on the fair sea-nymph Galatea, who is in love with the shepherd Aci. When mad jealousy drives Polyphemus to kill his rival, Galatea asks her father Nereus to turn Aci’s blood into a river so that, flowing into the sea, he will join her forevermore. Directed by Davide Livermore, Matteo Ricchetti. Starring Ruth Rosique, Antonio Abete, Cristina Banchetti. Language: Italian Subtitles: English, Italian, German, French, Spanish
Deemed a "record to die for" by Stereophile magazine, this DVD-Audio/Video disc features blues tunes by Dorian Michael, joined by Albert Lee and Laurence Juber. This disc contains 66 minutes of SD Video including bonus video interviews and behind the scenes footage, as well as biographies, discography and an extensive photo gallery.
The premiere of Adolphe Adam's Giselle' in Paris on 28 June 1841 was an absolute triumph, and it has been considered a masterwork in the classical ballet performance canon ever since. The theme of 'Giselle,' impossible love, is relevant to all times and cultures. Giselle believes she has found her true love in Albrecht, but he is not the person she thought he was - in fact, he is engaged to someone else. Albrecht's love for Giselle has fatal consequences, but even in death Giselle is still capable of love and forgiveness. This Dutch National Ballet production by Rachel Beaujean and Ricardo Bustamante breathes new life into 'Giselle' while remaining true to the original, combining stunning sets and costumes with ethereal beauty.
Giselle remains one of the most popular Romantic ballets of all time. The story brings together an engaging mix of human passions, supernatural forces, and the transcendent power of self-sacrificing love. The production by Sir Peter Wright catches the atmosphere of this great Romantic ballet, especially in the perfection of its White Act, with ghostly maidens drifting through the forest in spectacular patterns -- one of the most famous of any scenes for the corps de ballet. Giselle dances with lightness and fragility, giving the impression of floating through the mist.
This is one of The Royal Ballet's most loved and admired productions, faithful to the spirit of the 1841 original yet always fresh at each revival. This performance features former Bolshoi star and now Royal Ballet principal Natalia Osipova in a breath-taking interpretation of the title role.
Adolphe Adam GISELLE
Giselle - Natalia Osipova Albrecht - Carlos Acosta Hilarion - Thomas Whitehead Wilfred - Johannes Stepanek Berthe - Deirdre Chapman The Duke of Courland - Christopher Saunders Bathilde - Christina Arestis Myrtha - Hikaru Kobayashi Moyna - Elizabeth Harrod Zulme - Akane Takada
Royal Opera House Orchestra Boris Gruzin, conductor
Marius Petipa, choreographer John Macfarlane, set and costume designer Jennifer Tipton, lighting designer
Recorded live at the Royal Opera House, January 2014
Bonus: - The Romance of Giselle - The Corps de ballet in Giselle - Cast Gallery
Picture format: NTSC 16:9 anamorphic Sound format: LPCM 2. 0 / DTS 5.1 Region code: 0 (worldwide) Subtitles (bonus): English Running time: 113 mins (ballet) + 10 mins (bonus) No. of DVDs: 1 (DVD 9)
Press Reviews "There has never been a choreographer that I can think of who could produce three such contrasting works, and you sit watching in wonderment at the fertile imaginings of his mind." (The Daily Telegraph )
"It's grisly, and yet horribly exciting in its momentum, as the men show off to each other like skateboarders, flinging themselves into barrel turns while knotting and unknotting their legs." (The Independent )
"As far as I am aware there are no other versions of Elite Syncopations or Concerto currently available on DVD and as mentioned these are significant works in the MacMillan canon so pretty much an obligatory purchase for admirers of his work. As a programme this strikes me as an excellent triple bill as diverse in its emotional range as it is accomplished in its technical excellence from every department." (Musicweb International )
The Bolshoi Ballet troupe in Yuri Grigorovich’s version of the romantic masterpiece 'Giselle', at last available in HD. First performed in 1841, 'Giselle' was an immediate hit. With music by Adolphe Adam and a libretto by The?ophile Gautier and Jules-Henri Vernoy de Saint-Georges, the ballet touches on the great romantic themes: local colour, a pastoral love affair doomed to end in tragedy, a plunge into fantasy and redemption through the power of love.
A bold reinvention of a 19th-century classic. Kader Belarbi's fresh scenario and choreography give this colourful yet ultimately tragic story renewed clarity and simplicity. David Coleman conducts a score based on Adolphe Adam's original work, but enhanced with music by composers from Massenet to Sibelius, as well as new compositions and orchestrations by Coleman himself. This is a version for the modern age....'simply magnificent: A miracle in two acts.' - Le Figaro.
With its narrative of buccaneering bravado, exotic opulence, romance and traitorous intrigue, Le Corsaire is one of the most impressive narrative ballets of the 19th century, and it remains one of Adolphe Adam’s best-known works. Director of the Wiener Staatsballett, Manuel Legris, has choreographed a new version that draws on the rich performance traditions of Russia and France, and carefully combines spirited action, Adam’s delightful music, choreography, scenery and costumes into an elegant and impressive production which brings to life the colourful events that surround the leading couple of Conrad and Médora.
Adolphe Adam’s Le Postillon de Lonjumeau was a great success at its premiere in 1836, and, along with the ballet Giselle, has remained one of the composer’s most popular works. Following the great French tradition, this opéra-comique has it all: 18th century Rococo Parisian glamour and a perilous love story involving the dashing and flirtatious Chapelou and his opposite, the powerful and clever Madeleine. This lavish and spectacular production from the Opéra Comique in Paris received widespread critical acclaim and also features costumes by the iconic French fashion designer Christian Lacroix.
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
If you see one opera this year, make it The Exterminating Angel, ran the headline in the New York Times after the US premiere of Thomas Ades' "stunningly inventive" opera based on Luis Bunuel's surreal and satirical 1962 film El angel exterminador. Like the British composer's score, Tom Cairns' production is both spectacular and surprising. "Ades keeps the listener on edge," wrote Opera magazine, "because one never knows where his dazzling palette of possibilities will take him next." Thomas Ades TITLE: Ades: The Exterminating Angel (MET)(DVD) Label: PRX/Warner Classics/Parlophone
Few of Gioachino Rossini's operas are less well known than Adina. This production by Rossini Opera Festival and Wexford Opera Festival revives a masterwork of glittering arias and rich orchestral textures. The oriental tale, where Adina is a slave in a Baghdad seraglio, is set by Rosetta Cucchi on a giant and colorful wedding cake. The vocal star Lisette Oropesa "gave a splendid rendition as Adina. Her voice was brilliant, shiny on top, warm and round in the middle." (Bachtrack) World Premiere Recording on DVD and Blu-ray
To celebrate the Verdi bicentennial, La Fura dels Baus opened the "Centanario Festival 2013" of the Arena di Verona with a new production of “Aida”. The most popular opera of Verona Festival, Aida is the only one performed every year, in front of 17,000 spectators. Using their experience in leading large-scale shows, La Fura dels Baus created an Aida for the XXIst century. The young, talented conductor Omer Meir Wellber led the Orchestra, Coro, Corpo di Ballo e Tecnici dell’Arena di Verona.
Acclaimed dancer-choreographer Akram Khan ‘speaks tremendously of tremendous things’ (Financial Times) and this new Giselle reimagines the classic narrative ballet for the 21st Century. Giselle had become a former garment factory migrant worker, Albrecht, a member of the wealthy factory-owning class. An abandoned ‘ghost factory’ haunted by the memory of female migrant workers, many of them victims of industrial accidents, replaces the traditional glade of Act II. There, Giselle’s desire to break the cycle of violence will lead her to reconciliation with Albrecht and his release from the retributive justice of the Wilis. “Giselle has been transformed for the ENB by Akram Khan into the ballet event of the year. Staggeringly beautiful and utterly devastating, it is an electrifying triumph which any dance or theatre fan must not miss.” (The Daily Express)
Francesco Piemontesi, a BBC Music Magazine award-winning pianist and lauded as a 'wonderful Mozartian', has an intense curiosity about his fellow artists - their pianos, the sonorities they cultivate, the secret elements that animate their playing, and what drives them. In this documentary by Jan Schmidt-Garre, filmed over one year, Piemontesi talks with some of the world's leading performers, including his mentor Alfred Brendel, Maria Joao Pires, Stephen Kovacevich and Antonio Pappano, in a series of revealing encounters that illuminate their individual approaches to the instrument, it's colour and form. The film is complemented by a bonus 60-minute recital by Yulianna Avdeeva, Zlata Chochieva and Francesco Piemontesi, played on Rachmaninoff's Steinway piano at Villa Senar, his home in Switzerland during the 1930s.
Franco Alfano’s opera Risurrezione draws its inspiration from Tolstoy’s novel Resurrection and was the work that ensured Alfano’s considerable success as a composer. The plot narrates the story of Katiusha and her tragic love for prince Dimitri who seduces and abandons her, condemning her to a life of sacrifice and desperation. Seen here in Fancesco Lanzillotta’s acclaimed Florence production, Risurrezione recalls Richard Strauss and Puccini – the drama evolving in an uninterrupted flow with moments of soaring lyricism alongside striking and evocative orchestration. The work gives voice to an idea that Alfano left in his memoirs: ‘Recoiling from catastrophes, I believed and still believe in the renovation, regeneration, and final purification of human passions from evil to goodness.’
When, in December 2008, six decades into his illustrious career, Alfred Brendel bade farewell to an emotional Viennese audience, it was not a “full stop”, as it may have appeared at that moment. Rather a “semicolon”. With more time on his hands, the celebrated pianist went on to focus on other activities – writing (essays on music, poetry), giving lectures, leading masterclasses. In January 2021, Brendel will celebrate his 90th birthday, possessing profound knowledge and experience, as well as a great zest for learning new things. And also a sense of humour, which he has often turned against himself. Precious few artists have influenced the perception and performance of music as much as Brendel has. He was the first to have recorded the complete Beethoven piano works, he succeeded in bringing Franz Schubert’s music back to the concert stage, among other achievements. Of late, Brendel has often visited Prague to give lectures and masterclasses at the Rudolfinum, highlights of which are captured on the present release. Beethoven, Mozart and Schubert are the figures he, as a pianist, treasures most. The autobiographical lecture My Musical Life provides the viewer with a glimpse of the universe full of paradox that gave rise to the legend called Brendel – unveiling the sources of his inspiration, education and artistry, that formed his vision of the world.
Recorded at Tokyo Bunkamura Orchard Hall, 15th June 1996. This 1996 Tokyo recital is a celebration of the distinguished Spanish tenor Alfredo Kraus's 40 year career. After warming his voice with two classical arias transcribed by Parisotti, Kraus launches into an anthology of music from the French, Spanish and Italian repertoires. The recital includes a duet from the first act of Lucia di Lammermoor and the famous aria "Pourquoi me réveiller?" from Massenet's Werther, an opera in which Kraus was considered an outstanding interpreter of the title role. Each and every piece is managed with extreme elegance, noble aplomb and ease, qualities that he attained through a formidable technique and a careful career pacing. At sixty nine Kraus sings without any apparent effort and with that aristocratic nonchalance that was one of the most charming aspects of his style. Language: Italian Language: Italian, German, English, French, Spanish. Edemiro Arnaltes (Piano) Emiko Suga (Soprano) Asier Polo (Cello) Alfredo Kraus (Tenor).
From a mysterious Cheshire Cat and a tap-dancing tea party, to frogs acting as footmen and unknown potions that turn you tiny, many treats and eccentricities await in this weird and wonderful world. You never know what you might find when you fall down the rabbit hole. Christopher Wheeldon's?Alice's Adventures in Wonderland?burst onto the stage in 2011 in an explosion of colour, stage magic and inventive, sophisticated choreography. Joby Talbot's score combines contemporary soundworlds with sweeping melodies that gesture to ballet scores of the 19th century. Bob Crowley's wildly imaginative, eye-popping designs draw on everything from puppetry to projections to make Wonderland wonderfully real. The result shows The Royal Ballet at it's best, bringing together world-class dance with enchanting family entertainment and ingenious music and design.
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