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Richard Wagner
DIE FLIEGENDE HOLLANDER
(Blu-ray Disc Version)

Dalland – Robert Lloyd
Senta – Catherine Naglestad
Erik – Marco Jentzsch
Mary – Marina Prudenskaja
Der Steuermann Dalands – Oliver Ringelhahn
Der Hollander – Juha Uusitalo

Netherlands Opera Chorus
Netherlands Philharmonic Orchestra
Harmut Haenchen, conductor
Martin Kušej, stage director

Recorded live at the De Nederlandse Opera, February 2010.
Bonus:
- Cast gallery
- Insights and interviews

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish, Dutch
Running time: 166 mins
No. of Discs: 1 (Blu-ray)

Also available on Blu-ray

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

Alain Vernhes, Martial Defontaine, and Francois Le Roux star in this Netherlands Opera production of the Prokofiev opera conducted by Stephane Deneve.

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Championing love and personal heroism in the face of ecclesiastical oppression and political chicanery, Wagner's third opera explores characteristic themes with terrific energy which culminates in the eponymous Roman tribune's famous prayer to the gods of his fatherland, followed by a riot which prefigures the young composer's own abortive career as a firebrand and revolutionary. Within the timeless and elegant minimalism of Jorge Lavelli's production, Torsten Kerl brings ringing authority to the title role, supported by the experienced Wagnerian Pinchas Steinberg.

Richard Wagner
RIENZI

Rienzi – Torsten Kerl
Irene – Marika Schönberg
Adriano – Daniela Sindram
Colonna – Richard Wiegold
Orsini – Stefan Heidemann
Cardinal Orvieto – Robert Bork
Baroncelli – Marc Heller
Cecco del Vecchio – Leonardo Neiva
Peace Messenger – Jennifer O’Loughlin

Toulouse Capitol Chorus
Accademia d’Arti e Mestieri dello Spettacolo Teatro alla Scala Chorus
Toulouse Capitol National Orchestra
Pinchas Steinberg, conductor

Jorge Lavelli, stage director

Recorded live at Théâtre du Capitole, Toulouse, October 2012

Bonus:
- Cast Gallery
- Thoughts on Rienzi

Picture format: NTSC 16:9
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Japanese, Korean
Running time: 231 mins
No. of DVDs: 1


FULL REVIEW
Rienzi was Wagner’s first success, debuting in Dresden in 1842. That premiere evening lasted for six hours, complete with ballet. It was very much in the French Grand Opera mold but with the occasional vocal line redolent of Italian opera (Wagner was conducting Norma while he composed Rienzi). Indeed, years later Hans von Bülow referred to it as “Meyerbeer’s best opera”, doubly ironic since Meyerbeer had been instrumental in getting Rienzi produced, and later Wagner opted to despise him.

The epic work centers around the life of a Roman populist figure, Cola di Rienzi (1313-1354), the “people” vs the nobles, and the conflict between the Colonna and Orsini families. Rienzi, named Tribune, manages to empower the people; the nobles rebel and he, with the backing of the Church, wrests control from the nobles, one of whom, Adriano Colonna, had previously rescued Rienzi’s sister, Irene. Adriano warns Rienzi of a plot by the nobles to assassinate him, and when the plot is foiled Rienzi convinces the people to spare the would-be assassins. Another uprising is attempted and with Rienzi fighting alongside the people, the leaders of the Orsini and Colonna clan are killed. The loss of life in general, however, has angered the people, and they, the church, and the nobles—including Adriano—all turn on Rienzi. The opera ends as the nobles set fire to the Capitol with Rienzi, Irene, and Adriano inside.

An aside or two: Hitler saw a production of Rienzi in Linz in 1905; he later claimed that it was the story of the populist eponymous hero that motivated him to think about a career in politics rather than continue with his painting. In addition, he kept the score in his bunker and it is said to have perished with him. Performance scores since then have relied on copies. A BBC Northern Symphony Orchestra performance (on Ponto CDs) from 1976 conducted by Edward Downes lasts for four hours and 40 minutes. In 1983, conductor Wolfgang Sawallisch edited that edition down to (a workable) three and a half hours (available on Orfeo CDs); in the edition under consideration here, recorded in October, 2012 at Toulouse’s Theatre du Capitole, running time is about 40 minutes shorter than the Sawallisch. I own both: the Downes takes patience—it is weighed down by endless marches, choruses, preludes, and postludes—and the Sawallisch, in a fine edition, is spoiled by casting a tenor in the role of Adriano, a trouser part in Wagner’s score.

Frankly, if heretically, I find this current edition, led by Pinchas Steinberg, enough music, enough Rienzi. The wonderfully energetic finale to the second act, with wacky coloratura in the upper female voices, has been shorn of a repeat, but that’s the only passage I miss. Steinberg’s leadership is faultless, with forward propulsion (helped by the cuts) that actually turns the opera into real drama. He also gets superb playing from The Orchestra National du Capitole and glorious choral work from both the Capitole and La Scala singers. The former makes its superb impression during the wonderful overture with its right-on brass calls, silky string playing, and plangent winds. And the two choruses, with plenty to do, prove themselves able to sing at all dynamic levels and with fine attention to the text.

The vocal star of the show is, quite rightly, tenor Torsten Kerl, who is making somewhat of a specialty of this crazily demanding part. (He appears in the Arthaus DVD from the Deutsche Oper as well.) Kerl is tireless, and while his tone can be a bit leathery, it is mostly appealing and he’s an intelligent artist. He emphasizes the leader-as-man-of-the-people side of Rienzi, which is what Wagner (at the time a left-wing, quasi-revolutionary) intended, rather than the power-corrupts side, which is filled with 20-20 hindsight in the Deutsche Oper production that makes clear the Rienzi/Hitler connection. Kerl’s last-act Prayer is as effective as his outbursts; the voice has no audible problems.

Soprano Marika Schönberg sings Irene’s music with great feeling but occasionally flies wildly sharp, particularly noticeable in the trio in the fourth act; elsewhere her shrill top irritates, but her sincerity and involvement never falter. Mezzo Daniela Sindram’s Adriano is delivered with power and thrust, the tone true. A tall woman, her height adds to the character’s stature; he is brave, loving, and resolute (and the vocal range is formidable). Richard Wiegold and Stefan Heidemann as Colonna and Orsini sing with power and expressiveness, and Robert Bork, as Cardinal Orvieto, is a proper bully. The others, with not much to do, are all first class.

The production is odd and fiercely stylized. Beginning with films of civil unrest, demonstrations, police actions, and the fall of the Berlin Wall, it then moves to a timeless, non-specific region, but probably the late 19th century. All of the characters are in near-Kabuki whiteface. Riccardo Sanchez Cuerda’s minimalist (to say the least) sets consist of metal walls, faintly rusty and full of rivets; they cause the in-fighting to be almost suffocating. A gigantic wooden cross, a rolling platform, and candles spruce up the scene. You can barely tell the Plebes from the Patricians—probably the point—and the choruses representing them all act as one—mob thinking, mob rule.

There’s very little color. The men are invariably in dark coats and they wear hats; splashes of red decorate the clergy and Rienzi (who enters on a white horse as he ascends to power—a scene that oddly has little effect other than to show off a white horse); Irene wears a red gown. The women at times are shawled and veiled in white/off white shrouds; a scene with them in red is effective. All of the costumes (by Francesco Zito) are handsome. Jorge Lavelli directs, but not with much purpose: the soloists are left pretty much on their own with their music to create character, and the chorus moves in unison. The burning of the Capitol is impressive.

What to do? The Arthaus/Berlin version is superior vocally only in the role of Irene; it is ugly to look at (the cast wears grotesque masks), and as mentioned above, its directorial stance is to equate Rienzi with [place name of hideous dictator here], which is invalid within the framework of the character, who is noble and genuinely wishes to unite rather than destroy. There are those who will not approve of a Rienzi that has almost two hours of music removed, but this does not feel like a “highlights from Rienzi” project. It gives a good sense of what Wagner was doing at 26—and is even more remarkable when you realize the giant step he took with the opera that followed, Der fliegende Höllander.

-- Robert Levine, ClassicsToday.com

Directed by Hans Hulscher. Starring Heinz Kruse, Jeannine Altmeyer, Henk Smit.

Featuring Sting and his wife Trudi Styler, Twin Spirits is a unique and intimate, live theatrical performance by a chamber ensemble of actors, singers and musicians, portraying the deep and ultimately tragic love between the composer Robert Schumann and his pianist wife Clara. Conceived and directed by John Caird, Twin Spirits was first performed in June 2005 at the Royal Opera House, Covent Garden, London and has since been experienced by audiences of all ages and interests, leaving them deeply touched and inspired.

The complete BBC recording of the service attended by H.M the Queen, H.R.H the Duke of Edinburgh, the Royal Family, the family of H.R.H. The Duchess of Cornwall, and 800 guests.

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From The Royal Ballet’s classical origins in the works of Petipa, to the home-grown choreographers who put British Ballet on the world stage, this mixed programme highlights the versatility of the Company. Petipa’s Raymonda Act III is Russian classical ballet summarized in one act, full of sparkle and precise technique, while Ashton’s Enigma Variations is quintessentially British in every way – from its score by Elgar and period designs by Julia Trevelyan Oman, to Ashton’s signature style, the essence of British ballet. Concerto, MacMillan’s fusion of classical technique with a contemporary mind, completes a programme that shows the breadth of the Company’s heritage. “The Royal Ballet is at the top of its game in a new triple bill of MacMillan, Ashton, and a pinch of Petipa…” (The Guardian) “O’Sullivan dances with a sunbeam brightness and zest to match her tangerine-colored costume… The ‘Nimrod’ variation is a memorable evocation of mature friendship; catching at the shifting currents of conversation and companionship with a finespun physicality… Princely Vadim Muntagirov follows suit with pantherine leaps and there’s strong support from the soloists and fluffy-hatted corps.”

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Also available on standard DVD

Andrei Serban’s spectacular and thrilling 1984 production of Puccini’s final and grandest opera has long been a classic at the Royal Opera House. First filmed for BBC TV in the 80s, this new recording – of its 15th revival – is in stunning HD and makes this famous production available for the first time on DVD and Bluray. The release will rightfully take its place alongside the outstanding Royal Opera Puccini DVDs of La bohème, Tosca (on EMI) and Il Trittico. American Lise Lindstrom is one of the very few contemporary Turandots who can genuinely sing this “killer” role, and is supported by a touching Liù from Japanese soprano Eri Nakamura and an unashamedly Italianite Calaf from Marco Berti. The young Hungarian conductor Henrik Nánási directs the large orchestra and all-important chorus. Recorded live at the Royal Opera House, September 2013. Giacomo Puccini
TURANDOT
(Blu-ray Disc Version)

Turandot – Lise Lindstrom
Calaf – Marco Berti
Liu – Eri Nakamura
Ping – Dionysios Sourbis
Pong – Doug Jones
Pang – David Butt Philip
Altoum – Alasdair Elliott
Timur – Raymond Aceto

Royal Opera House Chorus
Royal Opera House Orchestra
Henrik Nánási, conductor

Andrei Serban, stage director

Recorded live at the Royal Opera House, September 2013

Bonus:
- Turandot – an introduction
- Behind the Masks
- Cast gallery

Picture format: 1080i High Definition
Sound format: LPCM Stereo 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Korean
Running time: 125 mins
No. of Discs: 1 (Blu-ray)

Directed by Tiziano Mancini. Starring Alex Esposito, Dmitry Korchak, Riccardo Zanellato.

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Giacomo Puccini
LA FANCIULLA DEL WEST

Minnie – Eva-Maria Westbroek
Jack Rance – Lucio Gallo
Dick Johnson – Zoran Todorovich
Nick – Roman Sadnik
Ashby – Diogenes Randes
Sonora – Stephen Gadd
Billy Jackrabbit – Tijl Faveyts
Wowkle – Ellen Rabiner
Jake Wallace – André Morsch
José Castro – Roger Smeets

Netherlands Opera Chorus
Netherlands Philharmonic Orchestra
Carlo Rizzi, conductor

Nikolaus Lehnhoff, stage director

Recorded live at The Amsterdam Music Theater, November and December 2009.

Bonus:
- Cast gallery
- Documentary on Eva-Maria Westbroek

Picture format: 1080i High Definition
Sound format: LPCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Spanish, Italian, Dutch
Running time: 160 mins
No. of Discs: 1

Wolfgang Amadeus Mozart
COSÌ FAN TUTTE

Ferrando - Topi Lehtipuu
Guglielmo - Luca Pisaroni
Don Alfonso - Nicolas Rivenq
Fiordiligi - Miah Persson
Dorabella - Anke Vondung
Despina - Ainhoa Garmendia

The Glyndebourne Chorus
Orchestra of the Age of Enlightenment
Iván Fischer, Conductor

Nicholas Hytner, Stage Director

Recorded live at the Glyndebourne Festival Opera in June and July 2006

Bonus Material:
- Insights - with Ivan Fischer, Nicholas Hytner and members of the cast
- Illustrated Synopsis and Cast Gallery

Picture format: 1080i High Definition, 16:9
Sound format: 2.0 and 5.0 True HD
Region code: 0 (All Regions)
Menu Language: English
Subtitles: English, French, German, Spanish, Italian
Running time: 210 minutes
No. of Discs: 1 (BD50)

Verdi based La traviata on Alexandre Dumas fils's novel and play La Dame aux camélias, inspired by the life and death of the real Parisian courtesan Marie Duplessis. One of the most popular of all operas, the 2018/2019 season featured 151 productions of La traviata performed worldwide. Verdi's sublime score contains some of his most inspired arias and duets. Ermonela Jaho stars as Violetta, opposite Charles Castronovo as Alfredo, with Plácido Domingo as his unyielding father in Richard Eyre’s classic production, featuring stunning naturalistic designs by Bob Crowley. This production is recorded in High Definition and true Surround Sound.

With his crown under threat from enemies both foreign and domestic, Henry IV prepares for war. Having deposed the previous king, he is only too aware how tenuous his position is, and the price to be paid if he falters. As his father prepares to defend his crown, Prince Hal is languishing in the taverns and brothels of London, reveling in the company of his friend, the notorious Sir John Falstaff. With the onset of the war, Hal and Falstaff are thrust into the brutal reality of the battlefield, where Hal must confront his responsibilities to family and throne.

British Prima Ballerina Darcey Bussell spent two decades at the top of the ballet world, becoming one of ballet’s most famous faces. + In Darcey’s Ballerina Heroines, the changing role of the ballerina through time is explored. + We encounter the challenges that Darcey’s predecessors experienced; discover the women who broke the rules, and learn what it takes to be one of the greats. + A Ballerina’s Life shifts focus to Bussell herself. + Accompanying clips detail some of her greatest performances as she talks about life at the top and reflects on her career from its earliest days.