BAVARIA

The Places
Bavaria, in south Germany, in earlier times ruled by an Elector, whose capital was Munich, is a region of the greatest variety. The places seen here start with the Bavarian Forest and its traditional craft of glass-blowing. Other scenes are of the great palace of the Thurn und Taxis Princes at Regensburg and the fine baroque monastery church of St George and St Martin at Weltenburg.

The Music
Music for the tour is by Telemann, a friend and contemporary of Johann Sebastian Bach, founder of the Leipzig Collegium Musicum later directed by Bach, godfather to Bach’s second son and for many years in charge of music in Hamburg, where he was later succeeded by his godson. The music here includes a Suite for recorder and strings, and two concertos from his Tafelmusik, one for three violins and the other for two horns.

Picture format: NTSC 4:3
Sound format: Dolby Digital 5.1/ DTS 5.1/PCM Stereo 2.0
Region code: 0 (worldwide)
Running time: 53 mins
No. of DVDs: 1

R E V I E W:

Bavaria, in south Germany, has a convoluted history. Conquered by the Romans, it was taken by Charlemagne and incorporated into his empire before becoming one of the great Duchies of the Holy Roman Empire. The Duchy joined the German Empire in 1871, whilst remaining a kingdom until 1918. It was an early base for Hitler and became a state of the Federal Republic of Germany in 1949.
 
Bavaria is renowned for the beauty of its rolling landscape and the charm of its villages, neither being the focus of this issue which starts with a visit to a glass factory in Frauenau. The sequence (CHs. 1-8), each with a one-line description in the booklet, is accompanied by extracts from Telemann’s recorder Suite in A minor played by Capella Istropolitana. The baroque music comes over as an ideal accompaniment to the glass-blowing and engraving skills on show which now benefit from modern technology but which date back nearly seven hundred years in this region. The technique of blowing molten glass takes power in the cheeks and lungs akin to a brass instrument; the beer belly is, however, not a pre-requisite.
 
The second visit (CHs.9-11) takes the viewer to Schloss Thurn and Taxis, Regensburg. This became the family home of the former postmaster to the Empress who established the first postal system in Europe and was given the old Abbey of St Emmerman as a reward. Views of the spectacular staircase and gentle ceiling décor are accompanied by more baroque music by Telemann. This takes the form of his Concerto for three violins, which, together with that for three violins is taken from his Tafelmusik.
 
The final visit is to the Abbey of St George and St. Martin, Weltenberg, near Kelheim. German and Celtic monks founded the Abbey in the seventh century. Its location, on a peninsula of the Danube, permits some views of the countryside as the building is approached along the river. It’s a dull day that does not do justice to the colours of the trees or surrounding countryside. The views of the façade are accompanied by Telemann’s Concerto for Two Horns whose haunting tone contrasts interestingly with both the simplicity of the exterior and the showy ornaments of the interior.
 
The playing time is somewhat shorter than the more usual hour. A little of the Bavarian countryside, in its usual summer sun would not have gone amiss. There is some repetition of photographs in the glass-blowing factory.
 
-- Robert J Farr, MusicWeb International

Also available on CD

Der Ring des Nibelungen (The Ring of the Nibelung) is one of the most remarkable achievements in all music, and Siegfried, the third in the cycle, contains some of the greatest moments in Wagner’s entire output. Wagner conceived Siegfried as a heroic ‘man of the future,’ and his fantastical tale is one in which the human dramas of treachery and violent struggles for power become magnified in a world of gods, dragons and magic. The previous opera in this cycle, Die Walkure, was acclaimed in The Guardian as “thrillingly vivid… easily maintains the high standard and promise of Das Rheingold.” (Naxos NBD0049).

OXFORD

The Places
Our tour takes us to Oxford, site of the oldest university in England, with scenes of the city and some of the colleges.

The Music
The music chosen to accompany our tour is by Joseph Haydn, whose Oxford Symphony was performed there to celebrate the award of a doctorate by the university. His Surprise Symphony was written for performance in London in 1791.

Picture format: NTSC 4:3
Sound format: PCM Stereo 2.0
Region code: 0 (worldwide)
Running time: 52 mins
No. of DVDs: 1

The All-Star Orchestra gives you a front row seat to the world's greatest music, performed by top players chosen from over 30 great American orchestras, and conducted by Gerard Schwarz. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with 19 cameras during a once-a-year 'summit' in New York's historic Grand Ballroom at Manhattan Center, the All-Star Orchestra celebrates the symphonic experience in the 21st century. Program #1 Music for the Theatre (Igor Stravinsky: Suite from the Firebird; Maurice Ravel: Daphnis and Chloe Suite No. 2; Bright Sheng: Prelude to Black Swan) the legendary impresario Serge Diaghilev of Les Ballet Russes commissioned from Stravinsky and Ravel some of the greatest music for the ballet. His influence stretched from St. Petersburg to Paris to the New York City Ballet founded by Diaghilev's collaborator Georges Balanchine. Former NYCB Composer in Residence Bright Sheng captures the beauty of the dance with his Prelude to Black Swan. Program #2 What Makes a Masterpiece? This program is an exploration of the creative process, tracing the genesis of Beethoven's iconic symphony, and the development of a new work by a modern master. Introductory features will demonstrate how short rhythmic and melodic motives evolve into vast symphonic organisms. Interviews include leading Beethoven scholars and the All-Star musicians.

The All-Star Orchestra gives you a front row seat to the world's greatest music, performed by top players chosen from over 30 great American orchestras. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with 19 cameras during a once-a-year 'summit' in New York's historic Grand Ballroom at Manhattan Center, the All-Star Orchestra celebrates the symphonic experience in the 21st century. Program #7 Music's Emotional Impact This program delves into Tchaikovsky's dramatic personal life, his brief marriage, and his intense correspondence with his patroness Nadezhda von Meck whom he never met, and to whom he dedicated his 4th Symphony. The dramatic brass fanfares that for Tchaikovsky symbolized Fate find a modern echo in David Stock's Blast! Program #8 Mahler: Love, Sorrow and Transcendence Mahler's turbulent passions are expressed through his music. His settings of poems by Friedrich Rueckert explore themes of love, nature, and otherworldliness. Mahler was haunted throughout his life by the premonition of his own death. The first movement of his 2nd Symphony, which Mahler called 'Totenfeier' ('Funerary Rites'), draws stark contrasts between the composer's premonition of doom, and his vision of life. Modern reflections on these themes can be found in 'Adieu' by Bernard Rands and 'Of Paradise and Light' by Augusta Read Thomas.

The Tuscan region stretches from the Apennines to the Tyrrhenian Sea and includes, among its nine provinces, Pisa, Siena and Lucca. The music chosen for this tour of Tuscany is largely Italian, ranging from the sixteenth-century Milanese lutenist Francesco Canova da Milano to the Venetian Vivaldi, the Genoese-born violinist Paganini and the opera composers Donizetti, Verdi, Catalani and Puccini. Place is also found for appropriate music by the Italian-trained Gluck and from Mozart’s Italian opera Don Giovanni.

The Opera Comique in Paris has a long tradition of giving stylish performances dating back to the 18th century. Five imaginative and critically acclaimed productions are featured in this collection of French operatic masterpieces. Bizet's 'Carmen', which received it's premiere at the Opera Comique in 1875, is performed on period instruments conducted by Sir John Eliot Gardiner. Ambroise Thomas's 'Hamlet' features the stellar French baritone Stephane Degout in the title role. Messager exemplifies the spirit of La Belle epoch in 'Fortunio'; Gounod fuses Romanticism with the supernatural in 'La Nonne sanglante'; and the outstanding French soprano Sabine Devieilhe takes the lead role in Delibes's tragic tale of passion and loyalty, 'Lakme' - one of the jewels of the Opera Comique.

This is an audio-only (i.e., with no video content) Blu-ray disc playable only on Blu-ray players.

Nebolsin is the real thing, a genuine virtuoso who can interpret Chopin with imagination and style.

Most long-time admirers of Chopin’s First Piano Concerto are well aware of Artur Rubinstein’s classic 1961 recording, available now on an RCA CD. Other eminently worthy recordings include Argerich, on both DG (1968) and EMI (1999), Ax, on Sony (using a period-instrument piano), and Perahia, also Sony.

Young Uzbek-born, Spain-based pianist Eldar Nebolsin enters the ring. On no count is he ever less than thoroughly compelling in the concerto, from his dramatic and stormy entrance in the first movement to the brilliant but always tasteful virtuosity of his finale. His articulation is clear without sounding brittle, his phrasing elegant and warm, and his technique all-encompassing. Notice how deftly he captures Chopin’s lyrical side in the way he imparts delicate mystery to the first movement’s main theme or how he floats the main theme to the ensuing Romanza in lovely singing tones. In Nebolsin’s hands inner voices often emerge to impart greater impetus to the music: try the coda to his first movement where the left-hand figures - often buried in other performances - convey a sense of agitation and drive as the music hurtles nervously toward the ending. And if he doesn’t quite match the effervescence of Rubinstein’s finale coda, he comes very close.

In the end, Nebolsin makes the decision between him and the others a tough one. However, what tilts the scales in favor of Naxos is the clear and powerful sound and the incisive conducting of Antoni Wit, a conductor who, in an oxymoronic irony, is famous for being unknown. His extraordinary talents were overlooked for years, as critic after critic lobbied in the wilderness on his behalf. Now, owing to their persistence and Wit’s numerous acclaimed recordings on Naxos, he has earned much justly deserved recognition. Wit makes the most of Chopin’s generally bland scoring, often giving it weight and muscle, or pointing up inner detail, or simply letting the music sing where appropriate.

In the accompanying works, Nebolsin is just as compelling: the Fantasia on Polish Airs sounds fresh and vital despite its somewhat less inspired music. Krakowiak comes across with brilliant colors and chipper moods, Nebolsin’s fingers seeming to negotiate the thorniest passages with utter ease. Again, the sound is vivid. The Warsaw Philharmonic play with spirit and accuracy in all works. Notes by Keith Anderson are informative, as usual.

I must point out, as is noted in the heading, that this Blu-ray disc is an audio-only, high-definition production. Also, there is a blurb on the album cover stating that this is the, “First recording to use the new Polish National Chopin Edition.” However, I noticed nothing different in the scores from other performances, and whatever differences there might be are probably negligible. On the whole, this is a splendid release and augurs well for a second DVD from these same forces shortly, presenting the Second Concerto and other Chopin works. In sum, Nebolsin is the real thing, a genuine virtuoso who can interpret Chopin with imagination and style.

-- Robert Cummings, MusicWeb International

Sound format: PCM Stereo / DTS-HD Master Audio 5.1

The second and final release in this series of Rossini's complete overtures. Works include L'Italiana in Algeri, La Cenerentola, among others. The Prague Sinfonia Orchestra is led by conductor Christian Benda.

Burkhard Fritz, Laurent Naouri, Brindley Sherratt, Mikhail Petrenko, Maija Kovalevska, Philippp Stoezl, and Kate Aldrich star in this Vienna State Opera/Vienna Philharmonic production of the Berlioz opera conducted by Valery Gergiev.

Goethe' Faust is one of the highest peaks of German Romantic poetry, and fascinated composers across Europe: Berlioz, Liszt and Gounod were just some of the many entranced by it's visionary power.

This is an audio-only (i.e., with no video content) Blu-ray disc playable only on Blu-ray players.

Also available on standard CD

George Gershwin fired up the New York music scene with his mélange of alluring tunes and refinement of the jazz vibe. His Strike up the Band Overture opened a flashy broadway hit and, inspired by a train ride, the composer heard his masterpiece Rhapsody in Blue as a “musical kaleidoscope of America”. Promenade was reconstructed from a 1937 film score, and Catfish Row was Gershwin’s concert suite from the opera Porgy and Bess. Acclaimed as a “bold, gutsy performance with plenty of pizzazz” and with “impressive brilliance and depth”, JoAnn Falletta’s previous Gershwin volume can be found on 8.559705 or Blu-ray NBD0025.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Weber was at the forefront of the rise of German Romantic opera and sought to dethrone Rossini from his position as the leading operatic composer in Europe. In his breakthrough and most popular opera Der Freischütz (‘The Marksman’) composed in 1821, he succeeded in his aim of establishing a truly German form. Turning to the folklore and folk songs of his native land he took a story of a marksman who makes a pact with the Devil, vesting it with powerful intensity – not least in the famous Wolf’s Glen scene – and an astonishing control of orchestral color and atmosphere.

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REVIEW:

Goodness, but Der Freischütz is a problematic opera for today! You can’t ignore it because it’s instrumental in the development of German musical Romanticism; several scholars would even call it its progenitor. Schumann, Mendelssohn, Wagner and Strauss would have been unthinkable without it, and even Beethoven, who was no friend of Weber’s, was impressed. However, it poses an all but insoluble problem in staging it for modern audiences. Its setting is so grounded in the Romantic German Forest that any attempts to remove it from there or to update its setting invariably fall flat or seem reductive (or simply indulgent). However, staging it in its original setting risks seeming like a parody of blood-and-soil National Socialism. This dilemma means that, more often than not, it’s one of those works where you’re far better to retreat into the pictures of your own mind’s eye, and happily we have lots of good CD recordings to help us do that, most notably those from Keilberth, Kleiber, Harnoncourt and Davis.

This 2017 La Scala production is a game-changer, however, and it does the best job I’ve yet seen of putting the opera on stage in a way that is neither daft nor wilfully obstructive. Matthias Hartmann goes for a mixture of the specific and the abstract. There are plenty of trees to put us in the forest, but well-placed strips of lighting suggest the church, the hut and the mountainscape behind. The costumes are a quirky mix of national dresses – ranging from Scotland to the Balkans – but, more importantly, Hartmann also gets into the work’s dark psychological possibilities, wondering whether Max’s obsession with the magic bullets is a mirror for his wider insecurities. He doesn’t shun the supernatural, however: various devils appear to direct Kaspar’s actions, and occasionally we see demonic creatures that might have been lifted out of a painting by Hieronymus Bosch. Importantly, this eclecticism works. It poses many questions and gives every facet of the opera its due without getting trapped in any of them, and that alone makes this the opera’s most successful outing on film to date.

The musical performances are excellent too. Who would have thought that the La Scala orchestra would be so good at this cornerstone of the German repertoire? Their playing of the overture is one of the best you’ll hear, with dark, suggestive strings at the opening, a heart-stopping quartet of horns, and a crackling sense of drama in the main Allegro. Myung-Whun Chung is a natural with the whole score, too, shaping the unfolding drama with an unfailingly right sense of where it is going and how it is going to get there.

The singers are top-notch. Julia Kleiter is radiant, luxuriously beautiful in her two big arias without a hint of simpering, and Eva Liebau’s Ännchen is a delightfully light-hearted contrast. Both are fully comfortable in the tessitura and are a joy to listen to as well as to watch. Michael König has a tiny touch of abrasion in his Heldentenor voice, but I could forgive him for his heroic tone, and Stephen Milling does a wonderful deus ex machina as the Hermit. Best of all, though, is Günther Groissböck, whose Kaspar sets the stage alight, almost literally so in the Wolf’s Glen scene. He’s a powerhouse to watch, and he uses his big bass voice with agility and athleticism to bring the part to life.

I approached this with a good degree of scepticism, but I found it completely compelling and was totally won over. To my great surprise, it solves the problems of staging Der Freischütz for our time. With its compelling production and its brilliant musicianship, it is now a clear first choice for Der Freischütz on film, and it’s by some margin the best opera film I’ve seen in 2019 so far.

– MusicWeb International (Simon Thompson)

When lockdown was imposed in 2020 many artists began streaming performances from their own homes. In response, pianist Francesco Piemontesi and director Jan Schmidt-Garre launched a concert series to showcase artists living in Berlin, given in the renowned Schinkel Pavillon with an expert technical team assembled at short notice. Fourteen concerts were held, without audiences, under the name Home Music Berlin featuring some of the world’s leading instrumentalists and singers. In addition, a documentary film captured rehearsals and private backstage scenes. This collection of performances is a testament to the resilience and solidarity of these artists during the pandemic.

BOLCOM: Songs of Innocence and of Experience

MOZART: Le nozze di Figaro, K. 492 (Highlights)

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 tour starts in Northern Italy, in Ravenna, once the capital of the Roman Emperor Honorius, who moved there from Milan with his court in C.E. 402. The place is famous for it's mosaics. The tour also takes US to Faenza, famous for it's majolica ware, known as faience, and to the great Basilica of San Marco in Venice and it's Carnival. The music for this tour of Italy is by Mozart and includes his two Flute Concertos, written for a patron during a visit to Mannheim in 1777-78.

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Jean-Baptiste Lully’s Atys, a tragédie en musique, became known as the ‘king’s opera’ due to Louis XIV’s fondness for it. The work stands as a testament to the Sun King’s courtly refinement, as well as his moves to make France the center of European artistic culture. The opera’s themes of romantic dilemmas and ultimate tragedy, set amidst the poetic atmosphere of Ovid’s classical mythology, create the perfect vehicle for a narrative filled with dramatic intensity combined with a myriad of moving and expressive arias and duets. William Christie conducts this acclaimed production – hailed by The New York Times as being ‘as satisfying it is bold’.

REVIEW:

The role of Atys is physically as well as vocally taxing, but is here superbly realised by the German tenor, Bernard Richter, while the French soprano, Emmanuelle De Negri, is an excellent Sangaride, with the creamy voice of the mezzo, Stephanie D’Oustrac, as Cybele completing the love triangle. The cast list is large, and with the Compagnie Fetes Galantes providing the dancers, the stage is at times totally filled. The reviews at the time of filimg (2011) were suitably euphoric regarding the casting, and equally of the presence of the period instrument orchestra, Les Arts Florrissants, with the idiomatic conducting of William Christie. The filming itself is immaculate in its ideal mix of full stage and close-up images, while the sound quality is gorgeous.

– David's Review Corner (David Denton)

Also available on Blu-ray

Charles Gounod was enchanted by the young Provençal-born Frédéric Mistral’s epic love poem Mirèio, and enlisted the distinguished Michel Carré to fashion a libretto. Against the grain of prevailing operatic practice in the 1860s, and its promotion of glamour and spectacle, Gounod relished instead the lives of modest country people and their idyllic world. He utilizes folk dances and a shepherd’s lament to chart the story of his tragic heroine whose desire to marry her true love ends in her death. ‘Everything feels true to the opera’s pastoral spirit’ wrote Gramophone about this production, which marked the opera’s first appearance at the Paris Opera.

REVIEW:

Vocally, and visually, the cast is outstanding, the Albanian, soprano, Inva Mula, ravishing vocally and beautiful of countenance, while the American tenor, Charles Castronova, as Vincent and quite young at the time of filming, has a nice ringing tone to the top of his voice. As the respective fathers, who cause so much grief, we have Nicolas Cavailier and Alain Vernhes acting-out their respective roles to perfection. The chorus are excellent, with conductor, Mark Minkowski, obtaining a fulsome orchestral partnership in an ideally painted accompaniment, the whole video—both in sound and visually—is excellent, and one of the best I have seen.

– David's Review Corner (David Denton)

CHRISTMAS IN AUSTRIA

The Places
The tour starts in Steyr, in Upper Austria, bringing scenes associated with Christmas there, in Salzburg, the Salzkammergut and finally Switzerland.

The Music
The music chosen for this tour is principally taken from baroque concertos evoking Christmas.
Picture format: NTSC 4:3
Sound format: PCM Stereo 2.0
Region code: 0 (worldwide)
Running time: 57 mins
No. of DVDs: 1

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Charles Gounod was enchanted by the young Provençal-born Frédéric Mistral’s epic love poem Mirèio, and enlisted the distinguished Michel Carré to fashion a libretto. Against the grain of prevailing operatic practice in the 1860s, and its promotion of glamour and spectacle, Gounod relished instead the lives of modest country people and their idyllic world. He utilizes folk dances and a shepherd’s lament to chart the story of his tragic heroine whose desire to marry her true love ends in her death. ‘Everything feels true to the opera’s pastoral spirit’ wrote Gramophone about this production, which marked the opera’s first appearance at the Paris Opera.

VENICE

The Places
A city built on an archipelago of 117 islets, Venice is remarkable in many ways. Unsullied by modern traffic, its buildings retain much of their historic character and something of the magic of the place is reflected in our tour which starts and ends with the lagoon, after visiting the islands of Burano, Murano, Torcello and San Michele.
The Music
Violinist, priest and most prolific composer, Antonio Vivaldi was born in Venice in 1678 and spent most of his life there, associated for much of the time with the Ospedale della Pietà, a charitable institution for girls, with a strong musical tradition. The music for the tour is taken from his collection of twelve concertos, L’Estro Armonico (Harmonic Inspiration), published in Amsterdam in 1711.

Picture format: NTSC 4:3
Sound format: PCM Stereo / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Running time: 57 mins
No. of DVDs: 1 (DVD 9)

R E V I E W:
Of all the tourist traps I have managed to visit, from China’s Great Wall to Paris via Granada, Rome, Florence and many other venues, Venice is the one that really blew me away. As one of the great Italian city-states of the medieval period it could be said to vie with Florence as a major centre of art and culture in the Renaissance with affluent families supporting the arts as well as wars. Now capital of the Veneto region, it is located at the very head of the Adriatic 4 km from the mainland of Italy to which it is joined by a causeway. It comprises more than one hundred small islands traversed by canals, there is no road traffic. Between the city and the Adriatic are the lagoons, expanses of water sheltered from the open sea by sandbanks and by the longer island of the Lido, the beach resort of the city. The lagoons are divided into Laguna Viva and Laguna Morta, alive and dead, the latter only underwater during spring high tides.
 
In the Venice lagoons are found several of the major islands included in this musical journey. The start is in the city itself with views of the Grand Canal at dusk and then seen as a boat looks back at the mighty Campanile of St. Marks. On the island of San Michele is the earliest Renaissance church of Venice, dating from the 15th century. This is the cemetery island where the city buried their dead. For some time demand has exceeded supply of space, and bones are removed. Despite this, elegant marble and colourful floral tributes abound with the sight of snow on the ground to remind the viewer that it is cold around here in winter (CH.1). The booklet reminds us that among the more permanent of the graves are those of the great Russian impresario Sergei Diaghilev, the composer Igor Stravinsky and the American poet Ezra Pound.
 
The music throughout this journey is taken from Vivaldi’s set of twelve concertos known as L'Estro Armonico, first published in 1711. Himself a violinist of ability, his music receives due string sonority and grace of phrasing by the instrumentalists of Capella Istropolitana under Josef Kopelman. There are serious attempts to match changes of tempi in the various movements to change of venue.
 
After the cemetery island the journey continues to the still canal waters of Torcello and the Cathedral Santa Maria Assunta (CH.2). Its elegant interior houses a timeless mosaic of Madonna and Child and also an extensive Last Judgement, both from the late twelfth century but having received restoration. The early twelfth century Church of Santa Fosca is only interesting as regards its octagonal shape
 
The island of Burano (CH.4), the home of the composer Galuppi, has a certain timelessness too, with its visually dated shops, colourful fishing boats and lace-making. However it is the visit to the glass-making factory on Murano, for which the island is famous, that will draw the eye and the stirrings of covetousness (CH.5). To see the production of such things of beauty and intricacy is a delight; to be able to afford to buy one, or even a few of them to adorn one's home would be pleasant indeed.
 
The journey concludes (CH.6) with a return to Venice itself, past the Arsenal (built 1104) and a brief view of the Academia Bridge and the backwater canals and warehouses. Venice is now a city of industry as well as Grand Palaces such as that of Francesco Da Mosta whose series of programmes for the BBC is now available on DVD (BBCDVD2145). The programmes may lack music, but make up for it in informed narrative and superb photography. The latter is normally a strength of this series but, made in winter as indicated by the snow scenes and leafless trees, a little too much depends on the atmosphere of half-light and that of the lagoon directional buoys.
 
-- Robert J Farr, MusicWeb International

A 2020 Grammy nominee for best opera recording!

Also available on Blu-ray

Based on Oscar Wilde’s story The Birthday of the Infanta, Zemlinsky’s single-act opera Der Zwerg is the tragic tale of a dwarf who is presented at court, falls in love with the beautiful Donna Clara, but is ultimately forced to see himself as others see him and to die of a broken heart. Preceded by Schoenberg’s Accompaniment to a Cinematographic Scene, Op. 34 (1930), Zemlinsky’s Romantic score is full of psychological intrigue. Is Der Zwerg a critique of society’s superficiality? Is it the composer’s self-portrait in his doomed affair with Alma Schindler? Director Tobias Kratzer’s stunning, transparent production creates a space in which each character is thrown into sharp relief in this ‘fine, noble and melancholy work’. (Bachtrack.com)

The All-Star Orchestra gives you a front row seat to the world’s greatest music, performed by top players chosen from over 30 great American orchestras, and conducted by Gerard Schwarz. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with multiple cameras in and around the orchestra, the All-Star Orchestra celebrates the symphonic experience in the 21st century. The first work on this release is Edward Elgar’s Enigma Variations. The score is dedicated to “my friends pictured within,” and each Variation represents a real person. As he was finishing the work, Elgar wrote: “The enigma I will not explain- it’s ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture.” A musical mystery of great beauty and endless fascination. The next piece is Benjamin Britten’s Young Person’s Guide to the Orchestra. The perennial family favorite showcases- one by one- all the instruments of the orchestra. Next is Alan Hovhaness’ Symphony No. 2, opus 132 “Mysterious Mountain.” The composer wrote: “Mountains are symbols, like pyramids, of man’s attempt to know God. Mountains are symbolic meeting places between the mundane and spiritual world.” Finally is Eugene Goossens’ Jubilee Variations. This is a world premiere video recording of this unpublished 1944 work created by Eugene Goossens with contributions from ten composer friends, including Aaron Copland, Howard Hanson, William Schumann, and more.