She Stoops to Conquer, Oliver Goldsmith's classic comedy of manners, tells the clever schemes and comic ruses that unfold one night at a country house. An ambitious step-mother, impassioned sweethearts, a pragmatic father and a pair of star-crossed suitors are sent spinning through a hilarious comedy of errors by one of the great characters of the stage, Tony Lumpkin. In it's day, this eighteenth century masterpiece was considered so "low" that it might never have reached the stage. When it was finally produced, it enjoyed immediate and lasting success, breaking the mold with it's satirical swipe at polite society. Goldsmith made comedy funnier and more natural than the "sentimental" stuff of his contemporaries - yet his characters burst with warmth as well as great wit. Max Stafford-Clark, director, sets the story of the ultimate dysfunctional family in the hinterland of Lichfield. His triumphant production played to great acclaim at the National Theater and on tour.

Featuring Anastasia Yatsenko, Andrei Merkuriev, Denis Savin, Morikhiro Iwata, Pavel Sorokin.

SHOSTAKOVICH: Hamlet, Op. 116

Jean-Christophe Maillot’s inspired adaptation of Shakespeare’s The Taming of the Shrew won 3 Masques d’Ors (best choreographic show, best male dancer (Petruchio) and best female dancer (Katherine) and has toured the world to great acclaim since it was created for the Bolshoi in 2013. Now Maillot’s own Monte Carlo Ballet bring this “funny, fast-witted version” (The Guardian) to the screen, with a fresh and witty re-interpretation of the combative relationship between Katherine and Petruchio as they fight to find true love. Set against an inspired selection of some of Shostakovich’s most memorable music, this is one the finest “Shakespeare ballets” and not to be missed. "The Taming of the Shrew conveys the idea that there’s someone for everyone, irrespective of who or what you are. Who can judge a relationship with an outside eye? Love works in mysterious ways, and it isn’t for us to question it." (Jean-Christophe Maillot).

Also available on Blu-ray

A remarkable concert, splendidly captured on DVD.

This concert, given in the splendid modern concert hall of the Culture and Congress Center, was recorded live at the 2011 Lucerne Festival. I’ve previously seen several DVDs of Claudio Abbado and the Lucerne Festival Orchestra and I can give this present DVD no higher praise than to say that the music making preserved here is of the same exalted standard that I’ve experienced from Abbado.
 
The programme is a little odd and the rather superficial note by Barbara Eckle is of little help beyond suggesting vaguely that Nelsons wished to contrast the extrovert pieces by Wagner and Strauss with the “sublimation of emotion” - whatever that may mean - in the Shostakovich. However, let’s not waste time trying to discern a shape behind the programming. The Wagner is done very well. It’s evident from his facial expressions that Nelsons delights in the Rienzi’s Prayer theme, which he takes pretty broadly - though the sumptuous, aristocratic playing of the Concertgebouw’s string choir justifies that indulgence. There’s not a lot one can do with the tub-thumping, Weber-esque allegro music except to play it for all it’s worth and Nelsons does just that. He leads a vivid, red-blooded account of the Dance of the Seven Veils, helped by some colourful and suitably seductive paying by the orchestra: the principal flute and oboe players offer particularly delightful contributions. Again, it’s evident that the conductor is relishing the music and the response of the Concertgebouw’s players.
 
Smiles are absent from Nelsons’ face at the start of the symphony, and rightly so; this is music with a very serious, indeed grim countenance. Right from the outset of the massive first movement - which plays for 25:35 in this performance - Nelsons exerts the control that is vital in this spare, intense music. The long, glacial opening paragraphs, dominated by the strings, are sustained with supreme concentration. Gradually Nelsons and his players ratchet up the tension as the music moves inexorably towards the first climax. This is a gripping account of the movement; one’s attention is held and never slips. When it arrives the towering main climax, underpinned by menacing drum rolls, is shattering, as the composer intended. The extended baleful cor anglais threnody that follows - superbly played here - maintains the tension even though the decibel count has reduced to minimal levels; that’s a remarkable achievement by Shostakovich. Eventually the movement peters out in exhaustion. 

The motor rhythms in the second movement are splendidly executed. This is blatant, strutting music, surely depicting sardonically a war machine. The bite and vigour of the Concertgebouw’s playing under Nelsons’ committed direction realises the composer’s intentions to perfection. The brutal menace of the third movement is conveyed no less successfully and the trumpet-led galop in the middle of the movement is expertly done. When the colossal climax arrives one has the sense that the runaway music has run at full tilt into a forbidding rock face and then the momentum drains away and we are left to contemplate the bleak, forbidding wastes of the impassive passacaglia that follows. This is a movement that requires utmost control of dynamics and total concentration on the part of the conductor and all the players. That’s exactly what happens here. The music is almost imperceptible at times, so hushed is the playing. In fact, both individually and collectively, the RCO is superb in the way the players sustain the soft dynamics. There’s some tremendously sensitive playing by the principal horn and by the clarinettists. The performance is quite breathtaking as Nelsons and his players summon up a vision of a wasteland comparable to the one that can be experienced in the last movement of Vaughan Williams’ Sixth Symphony.
 
The finale finds Shostakovich in enigmatic mode. Surely, the Soviet authorities were expecting their leading symphonist to come up with a symphony whose conclusion celebrated the heroic Soviet military and their repulse of the Nazi invasion. Instead what they got was the desolate passacaglia followed by a movement which, while ostensibly lighter in tone at times is still very far from a victory celebration. The music begins in what might seem a relaxed vein after the rigours of the fourth movement but peer beneath the surface veneer and there’s little genuine optimism. To make matters worse - for those seeking optimism - eventually Shostakovich arrives at an anguished and extended reprise of the grinding climax from the first movement. What, then, is the listener to make of the sardonic passage for bass clarinet and solo violin that follows immediately afterwards? Talk about “a riddle, wrapped in a mystery, inside an enigma”. It’s interesting to see the impish look on the face of Andris Nelsons as he launches into that bass clarinet/violin passage; I wonder what he makes of it? Whatever the meaning may or may not be, the passage is marvellously delivered by the two RCO players, which is entirely in keeping with the superb standard of solo playing on display throughout the whole performance. The symphony ends on a questioning, uncertain note and this strange, hushed music comes over most atmospherically here; thankfully the audience maintain their collective concentration and there’s a long silence after the music has died away before the well-merited ovation begins.
 
This is a gripping, magnetic account of one of Shostakovich’s finest symphonic utterances. From start to finish the RCO offers peerless playing that seems completely in tune with their conductor’s vision of the piece. As for Nelsons, this is another significant achievement in his recording career. Up to now I’ve only seen him conduct when sitting in the stalls - in other words, he’s had his back to me. Seeing him now from the front it’s fascinating to watch how he communicates with the orchestra through gestures and facial expressions. This concert offers further confirmation that Andris Nelsons is a major talent. The audiences in Birmingham should make the most of him for surely it will not be too long before one of the world’s leading orchestras snaps him up.
 
It only remains to say that the camera work is excellent, offering unobtrusive but very interesting and varied perspectives on the performers. The sound quality is very good and people who play DVDs through their hi-fi system will get even better results than I did, I’m sure. In short, the technical presentation is fully worthy of this remarkable concert.
 
-- John Quinn, MusicWeb International

A modern and visionary work, this ballet, set to music by Dmitri Shostakovich, was created in 1930. It's central theme was the highly moralized battle and triumph of the proletariat against the decadent bourgeoisie, set in europe during the roaring twenties. Surprisingly, the score by Shsotakovich raised political controversies, probably because it borrowed much to European dance forms and consequently, the ballet vanished from the theaters until 1982, when Yuri Grigorovich restaged it with sets by Sion Virsaladze and a completely new libretto mainly revolving around the love story between Rita, a cabaret dancer, and Boris, a young idealist. The conflict in teh original production was also recast as a clash between fishermen - the morally superior workers - and society's criminal elements. To bring back on stage The Golden Age in autumn 2016, a few months prior to Yuri Grigorovich's 90th birthday, was a highly symbolic choice for the Bolshoi Ballet: this work, teh last Grigorovich would ever choreograph for his company, hadn't been staged for almost 10 years. A rare and refined ballet, which ran the risk of falling into oblivion twice, is danced by the new generation of the Bolshoi Ballet, among which Nina Kaptsova et Mikhail Lobukhin.

An extravagant showcase of early sound cinema, this 1929 Warner Bros. Extravaganza brings together over 70 stars in a vaudeville-style revue packed with music, comedy, and spectacle. Hosted by Frank Fay, the film marks a turning point in Hollywood history-introducing audiences to the voices of silent-era legends while celebrating the novelty of the Talkies. Highlights include John Barrymore delivering a Shakespearean soliloquy as Richard III, Myrna Loy in two-strip Technicolor as an exotic dancer, French boxing champ Georges Carpentier singing and tapping through "If I Could Learn to Love," and Winnie Lightner's unforgettable rendition of "Singing in the Bathtub." Add appearances from Douglas Fairbanks Jr., Ben Turpin, and even Rin-Tin-Tin, and you have a vibrant time capsule that captures the excitement, excess, and experimental spirit of cinema's leap into sound.

This DVD celebrates the musical quest of one of the great symphonists of the 20th century as seen through his music, letters, and words of his wife Aino, who was with him for more than 64 years.

The world-famous choreographer and dancer uses the body - movement - as the principal vehicle for his ideas. The result is there in performances, intimate or otherwise in which the body is displayed to an audience.

Margot Fonteyn, Michael Somes, Frederick Ashton, Beryl Grey; Sadler's Wells Ballet (Royal Ballet). Choreography by Petipa. Music by Tchaikovsky. Conducted by Robert Irving from a TV Broadcast of December 14, 1955. Black & white.

Rudolph Nureyev and Veronica Tennant are the feature dancers with the National Ballet of Canada in Tchaikovsky's immortal ballet.

This DVD includes a documentary on the renown Smetana Quartet and also includes performance footage by the quartet of Smetana's String Quartet #1 in E Minor and Quartet #2 in D Minor, along with Dvorak's Sextet in a Major, Op. 48.

BEDRICH SMETANA: Gabriela Benackova; Peter Dvorsky; Richard Novak; Miroslav Kopp;Marie Vesela; Jindrich Jindrak; Marie Mrazova; Jaroslav Horacek;Jana Jonasova; Alfred Hampl; Prague National Theatre Ballet; Prague National theatre Opera Chorus; Czech Philharmonic/Zdenek Kosle BEDRICH SMETANA: the Bartered Bride, opera in 3 acts.NTSC All Region 4:3; Color; Dolby Digital 5.1; Subtitled in Czech, English, German, French; Approx 137 mins.

SO HERE WE ARE

Metier’s top line release for 2015 is this program which may be the first ‘music DVD’ devoted to contemporary percussion works. More than that, it has been produced with stunning graphics and visual enhancements as well as ‘straight’ video of the performances thanks to the work of top Danish movie director Christian Holten Bonke. The program includes the most iconic of modern percussion classics, ‘Psappha’ by Iannis Xenakis, together with his much more recent ‘Rebonds’. Works by Henze, Donatoni and Ferneyhough utilize wide ranges of tuned and unturned instruments, while the pieces by Jodlowski and Globokar use different materials altogether. Even for the non-percussion fan, the film is one to watch again and again. Mathias Reumert is one of Europe’s foremost percussionists, having been awarded the DanishMusic Critics’ Prize for 2015.

Performing tacks from her critically-acclaimed solo release, PLACE TO BE, the pianist-composer chronicles the almost mystical exchange between performer and audience on her new DVD, recorded live at the Blue Note in New York City. This DVD is 98-minutes in length and contains 23-minutes of bonus material, which documents Hiromis travels around the world and inspired some of the album, PLACE TO BE.

Also available on Blu-ray

SOLTI – Journey of a Lifetime Celebrating the 100th Anniversary of the birth of Sir Georg Solti A film by Georg Wübbolt

Featuring:
Valerie Solti
Valery Gergiev
Christoph von Dohnányi
Sir Peter Jonas
Clemens Hellsberg
Ewald Markl
and many more as interview partners as well as several musical excerpts conducted by Sir Georg Solti

Bonus:
Dmitry Shostakovich: Symphony No. 1 in F minor, Op. 10
Sergey Prokofiev: Symphony No. 1 in D major, Op. 25, “Classical”
Modest Mussorgsky: Khovanshchina: Prelude

Chicago Symphony Orchestra
Georg Solti, conductor

R E V I E W:

SOLTI: JOURNEY OF A LIFETIME • Georg Solti, cond; Chicago SO • C-MAJOR 711708 (DVD: 106: 00) A film by Georg Wübbolt

MUSSORGSKY Khovanshchina: Prelude. PROKOFIEV Symphony No. 1, “Classical.” SHOSTAKOVICH Symphony No. 1. Live: Chicago 1977

What is Georg Solti’s place in the pantheon of podium titans? He gained celebrity when he led the first complete recording of Wagner’s Ring to be issued. He created a comparable sensation when he took over the Chicago Symphony and led that orchestra in concerts and recordings that dazzled with their brilliance, virtuosity, and tonal splendor. In the 1970s Harold C. Schonberg, the influential chief music critic of the New York Times , pronounced Solti and Karajan the two most significant conductors of the age, characterizing Solti’s sonority as “molten gold,” in contrast to the “silvery” Karajan sound. As is usual, extravagant acclaim soon led detractors to weigh in, and Solti’s recordings began to be criticized as crude, unyielding, over-driven, excessively muscular, and lacking in nuance and refinement. Although he holds the record for the number of Grammy awards, his many recordings of standard symphonic repertoire rarely turn up today on lists of preferred versions, and he did not make BBC Music magazine ’s list of the 20 greatest conductors, as selected by a poll of 100 currently active conductors. (Nor, astonishingly, did Otto Klemperer or Bruno Walter.)

The centennial of Solti’s birth in 2012 saw the release on DVD of two documentaries about his life and career. The other one, which I have not seen, was reviewed by Lynn René Bayley in Fanfare 36:3. It is nearly three times as long as the one under review here and apparently more thorough and detailed, with a lengthier supplement of complete performances. The C Major release combines a 52-minute documentary with 54 minutes of performances by the Chicago Symphony. Filmmaker Georg Wübbolt was also responsible for a documentary on Carlos Kleiber that I reviewed in 35:1. As in that earlier effort, he follows the standard technique of interspersing commentary by those who knew the conductor, worked with him, or followed his career, with clips from rehearsals and performances. Solti himself is much more of a participant in the commentary than was Kleiber, who stopped giving interviews early in his career. Wübbolt also follows his earlier practice of shifting rapidly from one commentator to the next, which generates a fast-paced narrative but also leaves loose ends and unanswered questions. As in his earlier documentary, there are issues one would like to have discussed in greater detail. It is also sometimes hard to keep track of the identities of the commentators and their connection to Solti, since they are often not again identified when they reappear. They include Solti’s widow, Valerie, Christoph von Dohnányi, who served as his assistant in Frankfurt, Valery Gergiev, and the critic Norman Lebrecht, along with musicians and officials of the Chicago Symphony, the Vienna Philharmonic, the Frankfurt and Munich opera houses, the Bayreuth Festival, and others. Considering the importance of opera in Solti’s career, the absence of singers with whom he worked from the ranks of commentators is surprising and regrettable. The film is mostly in German, with English subtitles, although there is some narration and comment in English. Solti himself speaks in German.

The documentary provides a succinct overview of Solti’s career: his musical training in his native Budapest under Bartók, Ernö Dohnányi, and Leo Weiner; his 1937 visit to Salzburg, where he met Toscanini and was recruited to serve as a repetiteur; his second meeting with Toscanini in Lucerne in 1939, on the eve of World War II, which resulted in his being stranded in Switzerland for the duration of the conflict. In postwar Germany, he finally had the opportunity to begin a conducting career, since most German conductors were temporarily barred by the victorious Allies from performing. He first headed the Bavarian State Opera in Munich, where life for him was very difficult. The opera orchestra (“all Nazis” according to Solti) did not take kindly to being led by a young Hungarian Jew and showed it. In 1951 he moved to the somewhat friendlier territory of Frankfurt. His career took a giant step forward when producer John Culshaw selected him for the Ring project over more senior and established figures, perceiving him as someone who was more amenable to the demands of the recording studio and capable of achieving the results Culshaw envisioned for this ground-breaking effort. The Decca Ring is said to have led to Solti’s appointment to head London’s Royal Opera, although most of Ring operas had not yet been released when this selection took place. After his successful although controversial tenure at Covent Garden (1961-71), where he brought the company to “the highest international standards,” he had had enough of presiding over opera houses and wished to devote himself to symphony orchestras. As music director of the Chicago Symphony (1969-91), he perhaps reached the peak of his career, bringing the orchestra to a level of world-wide acclaim it had never before approached. Not so successful was his brief tenure with the Orchestre de Paris (1972-75), described in the film as “a terrible orchestra” where “no one goes…except for the money.” Curiously, the documentary does not mention his involvement with the London Philharmonic, which he led in the years 1979-83 and with which he recorded Elgar’s symphonies and several Mozart operas, among other works. When Karajan died in 1989 prior to the Salzburg Festival, Solti was urgently requested to take over the production of Verdi’s Un ballo in maschera, which he did with some reluctance. Up to then he had never been invited to conduct at Salzburg or at the Berlin Philharmonic. There was no love lost between the two conductors, but they did listen to each other’s recordings to find out how the other was approaching a work. In Solti’s final years, he renewed his ties with Munich in guest appearances with the Bavarian Radio Symphony and returned to his homeland to lead the recently founded Budapest Festival Orchestra in a recording of works by his three teachers.

When the commentators attempt to characterize Solti’s style as a conductor, words like energy, vitality, and fire crop up repeatedly and are underscored by images of his abrupt, even violent movements on the podium. These movements, according to one observer, provoked orchestras to play loudly, and he had difficulty getting them to play more softly. In addition to fire, according to Gergiev, he possessed “icy control.” Other commentators mention his perfectionism, focus on detail, and special concern for rhythm, which are reflected in his practice of singing, or rather chanting, a passage to demonstrate how it should go. The Vienna Philharmonic cellist Werner Resel emphasizes and, I think, exaggerates the role of recordings in establishing Solti’s reputation, arguing that Solti “didn’t make a career by conducting concerts and delighting audiences but by making records that turned out to be great.” This gentleman apparently missed the decades in which Solti was thrilling audiences with his Chicago Symphony concerts, in Europe as well as the U.S. Peter Schmidl, another VPO musician, makes the surprising and demonstrably false claim that “Solti’s great career as a conductor became possible only when Böhm had stopped conducting and Karajan had died…and when Bernstein was no longer around,” in other words, in the last seven years of Solti’s life. The same observer, however, expresses regret that Solti was not called earlier to Salzburg, where he could have achieved great results.

The concert performances included as a supplement are drawn from a 1977 telecast featuring Russian music. The Khovanshchina Prelude is performed in Rimsky-Korsakov’s smoothed-out and comparatively bland revision. In the Prokofiev “Classical” Symphony, Solti’s weighty approach and the massive sound of the Chicago Symphony are perhaps not the best fit for this light and frothy music, but the piece is brilliantly played and enjoyable to hear. The fast-paced, forceful, and once again brilliantly played Shostakovich is the most satisfying item on the program. As was his practice, Solti tends to set a tempo and stick to it, without much inflection for expressive purposes, and with the solid, steady rhythmic underpinning that was one of his hallmarks. Others may bring more mystery and sense of underlying menace to this work, but with Solti the menace is quite overt. The sound is free from distortion, brilliant in tutti, and wide in dynamic range, if a bit opaque and lacking in spaciousness.

Returning to the question I posed at the beginning of this review, I have no definitive answer. Solti’s Ring , which has just been reissued in an expensive, hefty “super deluxe” edition and is said to be by far the best-selling classical recording of all time, retains its status, as does his Mahler Eighth, although even they are not without their detractors, as witness Lynn René Bayley’s unfavorable comments in 36:3. Solti’s legacy as an opera conductor, in Wagner, Strauss, Verdi, and, somewhat surprisingly, Mozart, seems to me secure. Although he was never one of my favorite conductors, he was one who engaged my interest, and I have a good many of his recordings of Beethoven, Brahms, Bruckner, Mahler, and others on my overburdened shelves. I will retain these performances as having enduring value, even if they would not necessarily be among my first choices for the works in question. Solti remains a worthy contributor to the almost infinite variety of performance that enriches our experience of music. For those interested in his life and career, the Wübbolt documentary, despite the shortcomings noted, offers a concise overview with many insights.

FANFARE: Daniel Morrison

1977 Video Production

Picture format: NTSC 16:9 (documentary) / 4:3 (bonus)
Sound format: PCM Stereo
Region code: 0 (worldwide)
Languages: English, German
Subtitles: French, Spanish, Korean
Running time: 52 mins (documentary) + 55 mins (bonus)
No. of DVDs: 1 (DVD 9)

A film drama about a man who, by his death at 36, had composed some of the most perfect gems of English songwriting and elevated hedonism to an art form.

What does it feel like to devote your life to one thing? How does a man live who brings the most demanding opera literature to the stage through song? The answer: incredibly lightly. The film strolls, or rather, floats along with the North German heldentenor Klaus Florian Vogt through European opera houses. Tannhauser, Tristan, Siegfried-Richard Wagner's complex, feared heroic roles; he masters them, he lives with them without fear. Or does he? Gradually, the viewer becomes aware of how much detailed work goes into that lightness, and how many small pieces come together to form a grand puzzle. Intimate moments-for a singer, that means studying a role, it's the moment right before the performance, backstage, before he sings his Tristan on stage for the first time. The nakedness, the doubt, when the smallest mistake occurs. The second portrait of the tenor by Astrid Bscher-13 years after the film "Der Meistersinger"-is a cinematic observation of a humble star. "Only he who has never known fear can create something new, something of his own," was Richard Wagner's description of a true artist. Klaus Florian Vogt is one such man.

The Summer Night Concert of the Vienna Philharmonic is the world's biggest annual classical open-air concert that takes place in the magical setting of the Sch�nbrunn Palace Baroque park in Vienna. This year marks the first time that Maestro Tugan Sokhiev will conduct the Summer Night Concert. The vocal soloist is world-renowned tenor Piotr Beczala, who will perform three iconic arias from: Georges Bizet's Carmen, Giacomo Puccini's Turandot and Emmerich K�lm�n's Gr�fin Mariza. With this open-air concert in Sch�nbrunn, the Vienna Philharmonic wishes to provide all Viennese, as well as visitors to the city, with a special musical experience in the impressive setting of Sch�nbrunn Palace and it's beautiful baroque gardens, a UNESCO World Cultural Heritage Site. Since 2004 the Vienna Philharmonic has provided an outstanding experience for the audience. The focus of this year's program is on well-known melodies from opera and operetta that lead us on a musical journey through various European landscapes und milieus.

SONG TO REMEMBER

The legend is back with a dvd/cd, recorded in berlin on march 6 2025

SOUND OF 582 310

The legendary Muddy Waters, born in Rolling Fork, Mississippi, on April 4, 1915, appeared on an episode of Soundstage from the show's very first season as a syndicated show in 1974. Filmed in the studios of WTTW in Chicago, Muddy Waters was joined by Pinetop Perkins, Johnny Winter, Mike Bloomfield, Junior Wells, Dr. John, Koko Taylor, Willie Dixon, Nick Gravenites and Buddy Miles.

Vladimir Vasiliev, Ekaterina Maximova, Maris Liepa, Nina Timofeyeva perform in this live 1970 Bolshoi Theatre production of the Khachaturian ballet conducted by Algis Zhuraitis and choreographed by Yuri Grigorovich. B&W, mono.