Experience a staple of the Oxford calendar in this set of works inspired by the May Morning tradition, with music spanning from the traditional to contemporary. Starting with The College Clock welcoming in the sunrise, this special recording displays The Magdalen College Choir in radiant form, shining in the glorious acoustics of the Church of St. John the Evangelist, Oxford. The Choir of Magdalen College, Oxford was founded in 1480 with provision made in the statutes for 16 singing boys, eight Academical Clerks and four chaplains. Magdalen College was then one of the oldest and largest choral foundations in late-medieval England, and this historic legacy has been preserved and maintained over five centuries. The Choir, which now enjoys an international reputation as one of the finest ensembles in the UK, exists primarily to sing the daily church services in Magdalen College Chapel.

Opera was in its infancy when Monteverdi wrote L’Orfeo, only six years after the first example of a drama set wholly to music had been performed in Florence. He brought to the work a revolutionary synthesis of text, staging and musical architectural that virtually defined the future of opera.

John Eliot Gardiner first conducted L’Orfeo at the Proms in London in 1967. For decades he has been at the forefront of Monteverdi performance and scholarship and in 2017, the 450th anniversary of Monteverdi’s birth, and the 50th anniversary of his own first performance of the opera, he undertook the crowning achievement of his association with the composer, an odyssey to perform all three surviving full-length operas. This performance of L’Orfeo was given at the historic Teatro La Fenice in Venice – which has seen triumphant premieres of works by Rossini, Donizetti, Verdi and many others – in a critically acclaimed semi-staged production.

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

Also available on standard DVD

Giuseppe Verdi
LA TRAVIATA
(Blu-ray Disc Version)
Violetta – Renée Fleming
Alfredo Germont – Joseph Calleja
Giorgio Germont – Thomas Hampson
Baron Douphol – Eddie Wade
Doctor Grenvil – Richard Wiegold

Royal Opera House Chorus and Orchestra
Antonio Pappano, conductor
Richard Eyre, stage director

Recorded live at the Royal Opera House, Covent Garden, London, June and July 2009.

Bonus:
- Cast gallery
- Antonio Pappano interviews Renée Fleming

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, Italian
Running time: 135 mins
No. of Discs: 1 (Blu-ray)

R E V I E W:



VERDI La Traviata • Antonio Pappano, cond; Renée Fleming ( Violetta ); Joseph Calleja ( Alfredo ); Thomas Hampson ( Germont ); Royal Op House Ch & O • OPUS ARTE OA 1040 D (DVD); OA BD7076 D (Blu-ray: 154:00) Live: Covent Garden 6/27 & 30/2009


Back in Fanfare 34:1 I reviewed the recent DVD of La traviata with Angela Gheorghiu, Ramón Vargas, Roberto Frontali, and Lorin Maazel at La Scala. To summarize that briefly, my verdict was: excellent staging, superlative Gheorghiu, good Vargas and Maazel, hapless Frontali and comprimario singers. I also provided an extensive overview of other versions of the opera on DVD; all are flawed, but the best alternatives are the 1968 film version on VAI with Anna Moffo, Franco Bonisolli, Gino Bechi, and Giuseppe Patané; a 1972 Tokyo staging starring Renata Scotto, José Carreras, Sesto Bruscantini, and Nino Verchi, also on VAI; and the 2006 Los Angeles Opera production on Decca with Renée Fleming, Rolando Villazón, Renato Bruson, and James Conlon. Opus Arte now brings us a new version with Renée Fleming, and while it too is not without its flaws, it joins the aforementioned entries in the top rank of La traviata performances on video.


At the risk of seeming like a gaggle of geese nibbling this DVD to death, I will state up front that this version of the opera is carried by a few great strengths over multiple secondary weaknesses. The strengths are easy to state: All the principal roles are securely sung, a top-notch conductor is on the podium, and the staging is sensible. In particular, Joseph Calleja is one of the greatest Alfredos ever to record the role. While not ideally handsome and dashing in physical appearance, he has the ringing tenor voice, secure technique, heartbreaking plangency of timbre, and interpretive imagination for the ideal Alfredo. Every time he opens his mouth, you simply don’t want him to close it again. He is also an effective actor whose facial expressions, postures, and gestures harmonize with his singing.


After Calleja, however, the “yes, but” element of this review enters in for everyone and everything else, beginning with the Violetta of Renée Fleming. Doubtless she is a very good Violetta, and superior to many rivals, but I do not think she is a truly great one. Compared to her Los Angeles performance from three years earlier, her interpretation is considerably deeper but her vocal technique (particularly in “Sempre libera”) is more labored and the sound less creamy. Thankfully, she does far less of the distracting grimacing and bizarre grinning than before, though sometimes it still intrudes (someone needs to tell her to rehearse in front of a mirror). However, my greater concern is that her acting is too calculated and external to the character rather than indwelling it; she expends too much energy portraying, rather than being, Violetta. The gestures and movements all seem too self-conscious; instead of just picking up a champagne bottle, or flitting a handkerchief, or sitting down in a chair, one can almost see her thinking, “Now I’m supposed to pick up the champagne bottle,” “Now I should flit my handkerchief,” “Now I should sit down in this chair.” Again, I would prefer to emphasize the real improvement in her characterization in just three years, but this dimension is present and it does matter.


Next there is the Germont of Thomas Hampson. The good news is that he is in steady and secure voice here—not always the case recently—which is more than can be said for much of his painfully superannuated competition. The less than ideal news is that, in order to keep the voice steady, he constantly forces it so that every syllable is pushed out at a forte with a hard, unyielding tone that limits him to a single mode of expression, one of preemptive sternness. His acting and facial gestures are similarly limited and wooden; when Violetta pleads for his fatherly embrace he remains stock-still and ignores her, and displays equal unconcern for his son at “Di Provenza il mar.” In an unintentionally comic sartorial aspect, the light green piping on his brown suit unavoidably conjures up a chocolate sundae with mint drizzle icing, while his stiff posture and lumbering gait in an over-padded full-length fur coat keep bringing to mind actor Fred Gwynne (aka Herman Munster). Again, I don’t want these smaller details to override the fact that Hampson’s Germont trumps that of many lesser singers, but again they are present and do matter.


The rest can be summarized more briefly. One always expects fine Verdi conducting when Antonio Pappano is in the pit, and so it proves here; but this time he seems a bit too deferential to his singers and the performance lacks the extra frisson found in his very best interpretations, and I actually find myself preferring Maazel overall despite his occasional eccentricities. The comprimario singers are uniformly excellent to a rare degree—every one of them could easily be singing a principal role in a major opera instead—and the deft stage direction makes their momentary interactions contribute far more to the cogency of the plot that I have ever experienced before. The recorded sound and film quality are quite good, with the quality of the Blu-ray disc only marginally superior to that of the regular DVD; the camerawork is sensible if not exceptional; the costumes are of the period and (Hampson’s suit and coat excepted) attractive and elegant; the ballet sequence at Flora’s party is nicely staged.


My one other major reservation concerns the production’s sets, which are quite pedestrian. Act I is set in a round room with brown wood paneling and a single large window with blinds in the back, with a small round settee and semicircular padded backless benches around it—no banquet table, chandelier, or anything else to indicate either elegance or the intended significance of Violetta in the round. While not the awful Willy Decker sofa and clock, it’s a major disappointment. The villa interior for act II, scene 1 is painted a drab eggshell blue and has no furniture other than a long work table and a few chairs. Several paintings—whether waiting to be hung or sold is not clear—are stacked on the floor to one side, and several little squares painted with stripes—color swatches, perhaps?—rest in a row on the wall molding halfway off the floor. It’s not very attractive, and simply leaves one baffled regarding the desired effect. By contrast, Flora’s party in act II scene 2 is appropriately elegant, marred only by garish red stage lighting, a huge modern dome light fixture hanging from the ceiling like an oversized cafeteria heat lamp hovering over sandwiches. Act III has an appropriately simple setting of a bare room outfitted with a bed, a dresser, and a couple of chairs, but again is marred by two enormous windows with blinds, against which inexplicably tall shadows (up to 30 feet) of carnival revelers are cast after Violetta finishes “Addio del passato.” Compared to the high-class La Scala staging for Gheorghiu, this is an impoverished country cousin.


So, once again, we still await the ideal La traviata . In the best of all possible worlds, I would be able to take the La Scala production, replace its wretched comprimario singers with their Covent Garden counterparts, swap out Vargas for Calleja, and replace Frontali with almost any other baritone from another DVD. (Leonard Warren, where are you when we need you?) Barring such a pleasing impossibility, however, this production is as good as any other and better than most, and is recommended accordingly.


FANFARE: James A. Altena

Maestro Cav. Enrico Cecchetti (1850–1928) devised his method of training based on sound theoretical and anatomical principles. The Cecchetti Method hinges on a programme set over six days of the week, highlighting the rigorous demands and versatility required to be a professional dancer. Precision and speed of footwork, development of terre-à-terre and batterie technique are key aspects of this virtuoso training method. The Enrico Cecchetti Diploma is the culmination of the study of the Cecchetti Method. It is designed for professional dancers and there is no equivalent in any other system of training. The Diploma has never before been filmed in its entirety as a heritage, educational project. In this film, the dancers are instructed via discussion on background and various versions of the exercises and perform all the studies which today make up the Diploma syllabus.

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

Also available on standard DVD

Pyotr Il'yich Tchaikovsky
NUTCRACKER
(Blu-ray Disc Version)

Uncle Drosselmeyer – Damian Smith
Clara – Elizabeth Powell
The Nutcracker Prince – Davit Karapetyan
King of the Mice – David Arce
Queen of Snow – Yuan-yuan Tan
King of Snow – Pierre-François Vilanoba
Sugar Plum Fairy – Vanessa Zahorian

San Francisco Ballet
San Francisco Ballet Orchestra
Martin West, conductor

Helgi Tomasson, choreographer

Recorded live at the War Memorial Opera House, San Francisco, California, on 19 and 20 December 2007.

Bonus:
- Illustrated synopsis and cast gallery
- Interviews with Helgi Tomasson, Michael Yeargan and Martin Pakledinaz
- Documentary: 1915 World's Fair

Picture format: 1080i High Definition
Sound format: 2.0 and 5.0 PCM
Region code: 0 (all regions)
Menu languages: English
Subtitles (extras only): German, French, Spanish, Italian
Running time: 133 mins
No. of Discs: 1 (BD 50)

R E V I E W:



TCHAIKOVSKY Nutcracker & • Martin West, cond; Damian Smith ( Drosselmeyer ); Elizabeth Powell ( Clara ); Davit Karapetyan ( Nutcracker ); David Arce ( Mouse King ); Yuan Yuan Tan ( Snow Queen ); Pierre-François Vilanoba ( Snow King ); Vanessa Zahorian ( Sugar Plum Fairy ); Maria Kochetkova ( Grand pas de deux ); San Francisco Ballet O • BBC/OPUS ARTE BD7044D (Blu-ray: 132: 00) Live: San Francisco 12/19–20/2007


& Illustrated synopsis, cast gallery, artist interviews, documentary on 1915 World’s Fair


David L. Kirk gave the DVD release of this production a thorough review in Fanfare 32:5, rightly declaring this to be “a first-class production with brilliant dancing, imaginative special effects, colorful costumes, and attractive scenery,” and numbering it among his three preferred video Nutcrackers . I second that notion.


In order for the San Francisco Ballet to take possession of this ubiquitous classic, choreographer Helgi Tomasson and his superb design team moved the action to San Francisco in 1915, the year the city hosted the World’s Fair. What this means in practical terms is that the women’s costumes in the first act are much slimmer and more dance-worthy than when the ballet is set in its original, earlier period, and that the action in the second act takes place in what seems to be a fairy-infested World’s Fair exhibition hall. As fine as the dancing is (from soloists and corps alike), it’s really the costumes of Martin Pakledinaz (including a Ballets Russes touch in the act II getups) and the scenic design of Michael Yeargan that make this production so vivid.


Now, it must be said that Tomasson’s choreography doesn’t entail much deep psychology (aside from establishing some motifs that really pull the developments in act I together). There’s nothing at all sinister about Drosselmeyer, who here is just an odd toymaker who likes to entertain kids with magic tricks (and serves as Clara’s chaperone through act II). There are no psychosexual shenanigans involving Clara and the Nutcracker, and despite the 1915 setting, the battle with the mice follows the conventions of 18th-century warfare, with nary a sniff of the trench or mustard gas.


Conductor Martin West’s work with the company orchestra is good, although the conducting and playing tend to lose focus in low-key numbers like the Arabian Dance. The best musical contribution to a video Nutcracker I know is Charles Mackerras’s account for the Pacific Northwest Ballet production, with its pointed rhythms and intense yearning. You can obtain the audio alone from Telarc.


The extra features here are truly interesting, not just filler. The audio is PCM only (choice of two or five channels), and the 16:9 picture is derived from a film transfer of multicamera video. There are a couple of sloppy little video edits that probably occurred when the show was being rushed onto PBS a couple of years ago, and should have been corrected before the home-video release, but they’ll slip by most viewers.


This endearing production deserves to be a basic Nutcracker for every household.


FANFARE: James Reel

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).

The Royal Shakespeare Company transports you to Shakespeare's Rome with a thrilling collection of four of the playwright's most gripping plays: Julius Caesar, Antony and Cleopatra, Titus Andronicus and Coriolanus. Filmed live in Stratford-upon-Avon and played out on an epic shared stage, this extraordinary collection exposes the decadence, politics, power play and corruption of Ancient Rome, charting the decline of an empire from birth to eventual implosion. CORIOLANUS Shakespeare's war play, a tragedy based on the life of legendary Roman leader Caius Marcius Coriolanus. JULIUS CAESAR Shakespeare's epic political tragedy, where the race to claim the empire spirals out of control. ANTONY & CLEOPATRA Shakespeare's tragedy of love and duty. TITUS ANDRONICUS Shakespeare's bloodiest play takes place in a world of chaos and disorder.

Also available on Blu-ray

Royal Opera productions present three of Giacomo Puccini’s greatest operas. John Copley’s iconic La bohème brings the Paris of the 1830s to life in vivid detail; Jonathan Kent’s atmospheric and naturalistic Tosca evokes the turbulence of Rome in 1800; and Andrei Serban’s visually stunning Turandot is a glorious tribute to Puccini’s last and grandest creation. Featuring a host of international opera stars, this collection is brimming with the drama and sumptuous music that have made Puccini one of the world’s most popular opera composers. Filmed in High Definition and recorded in true Surround Sound. ‘‘Lise Lindstrom is pretty much the ideal Ice Princess.’’ (BBC Music Magazine - Turandot) ‘‘Andris Nelsons conducts a well-paced performance.’’ (Gramophone - La bohème)

PUCCINI
(3-DVD Box Set)
LA BOHÈME

Rodolfo - Teodor Ilincai
Mimì - Hibla Gerzmava
Marcello - Gabriele Viviani
Musetta - Inna Dukach
Colline - Kostas Smoriginas
Schaunard - Jacques Imbrailo
Benoît - Jeremy White
Alcindoro - Donald Maxwell

Royal Opera House Chorus and Orchestra
(chorus master: Renato Balsadonna)
Andris Nelsons, conductor

John Copley, stage director

TOSCA

Floria Tosca - Angela Gheorghiu
Mario Cavaradossi - Jonas Kaufmann
Baron Scarpia - Bryn Terfel
Cesare Angelotti - Lukas Jakobski
Sacristan - Jeremy White
Spoletta - Hubert Francis
Sciarrone - Zhengzhong Zhou
Shepherd Boy - William Payne
Gaoler - John Morrissey

Royal Opera House Chorus and Orchestra
(chorus master: Renato Balsadonna)
Antonio Pappano, conductor
Jonathan Kent, stage director

TURANDOT

Princess Turandot - Lise Lindstrom
The Unknown Prince / Calaf - Marco Berti
Liù - Eri Nakamura
Timur - Raymond Aceto
Ping - Dionysios Sourbis
Pang - David Butt Philip
Pong - Doug Jones
Emperor Altoum - Alasdair Elliott
Mandarin - Michel de Souza

Royal Opera House Chorus and Orchestra
(chorus master: Renato Balsadonna)
Henrik Nánási, conductor

Andrei Serban, stage director

Recorded live at the Royal Opera House, December 2009 (La Bohème), 2013 (Tosca) and September 2013 (Turandot)

Bonus:
- Interviews with John Copley and Andris Nelsons (La Bohème)
- Cast gallery (La Bohème and Turandot)
- Introductions presented by Antonio Pappano (Tosca and Turandot)
- Documentary: Behind the Masks (Turandot)

Picture format: NTSC 16:9 anamorphic
Sound format: LCPM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian (La Bohème) / + Japanese (Tosca) / + Korean (Turandot)
Running time: 6 hrs 6 mins (opera) + 20 mins (bonus)
No. of DVDs: 3 (DVD 9)

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

Opera & Ballet: The Blu-ray Experience includes opera and ballet highlights from the Opus Arte catalogue, and gives everyone the opportunity to experience the stunning quality of High Definition picture and sound, at an extremely competitive price.

Including world-class artists such as Bryn Terfel, Cecilia Bartoli, Anne Sofie von Otter, Jose Cura, Simon Keenlyside and Agnes Letestu, this 50-minute introduction to the world of Blu-ray is a must-have purchase this autumn.

Blu-ray offers an outstanding audio and visual experience, with up to six times the resolution of standard definition DVD, and up to 7.1 channels of High Definition surround sound.

Repertoire:

Verdi - Il trovatore: Gypsy chorus (Royal Opera House)
Tchaikovsky - Swan Lake: Entrance of Swans (Act 2) (Paris Opera Ballet)
Mozart - The Magic Flute: Aria - Queen of the Night (Act 2) (Royal Opera House)
Puccini - La Bohème: Che gelida manina! (Your tiny hand is frozen!) (Teatro Real)
Bizet - Carmen: Habanera (Glyndebourne)
Mendelssohn - A Midsummer Night's Dream: Divertissement (Act 2) (Pacific Northwest Ballet)
Puccini - Gianni Schicchi: O mio babbino caro (Glyndebourne)
Strauss - Die Fledermaus: Tritsch-Tratsch-Polka (Glyndebourne)
Rameau - Zoroastre: Entr'acte: Ouverture / À mes tristes regards (Act 2 / Scene I) (Drottningholm Theatre)
Rossini - La Cenerentola: Signora Altezza (Act 1) (Glyndebourne)
Bellini - Norma: Casta Diva (De Nederlandse Opera)
Balanchine - Jewels: Emeralds – Final (Paris Opera Ballet)
Cecilia & Bryn at Glyndebourne
Mozart - Die Zauberflöte: ‘Pa-pa-pa-pa’ (duet) (Glyndebourne)

Region code: 0 (all regions)
Picture: 1080i
Sound: PCM Stereo / PCM Surround / DTS-HD Master Audio Surround / Dolby True HD Surround

Also available on Blu-ray

MOZART OPERAS
(5-DVD Box set)

LE NOZZE DI FIGARO

Figaro - Erwin Schrott
Susanna - Miah Persson
Count Almaviva - Gerald Finley
Countess Almaviva - Dorothea Röschmann
Marcellina - Graciela Araya
Barbarina - Ana James
Cherubino - Rinat Shaham

Royal Opera Chorus
Royal Opera House Orchestra
Antonio Pappano, conductor

David McVicar, stage director

Recorded live at the Royal Opera House, Covent Garden, London, 10, 13 and 17 February 2006

Bonus:
- The Magic of Mozart: Interviews with Antonio Pappano, David McVicar and principal cast
- Cast gallery and illustrated synopsis

DON GIOVANNI

Don Giovanni - Simon Keenlyside
Leporello - Kyle Ketelsen
Commendatore - Eric Halfvarson
Donna Anna - Marina Poplavskaya
Donna Elvira - Joyce DiDonato
Don Ottavio - Ramón Vargas
Zerlina - Miah Persson
Masetto - Robert Gleadow

Royal Opera House Chorus and Orchestra
Charles Mackerras, conductor
Francesca Zambello, stage director

Recorded live at the Royal Opera House, Covent Garden, London, on 8 and 12 September 2008

Bonus:
- Illustrated synopsis and cast gallery
- Into the Royal Opera House
- Backstage Tour

DIE ZAUBERFLÖTE

Tamino - Will Hartmann
Pamina - Dorothea Röschmann
Queenof the Night - Diana Damrau
Sarastro - Franz-Josef Selig
Papageno - Simon Keenlyside
Papagena - Ailish Tynan
Monostatos - Adrian Thompson

Royal Opera Chorus
Orchestra of the Royal Opera House
Colin Davis, conductor

David McVicar, stage director
John F. Macfarlane, set designer
Paule Constable, lighting designer
Leah Hausman, choreographer

Recorded live at the Royal Opera House, Covent Garden, London, 27 January 2003

Bonus:
- BBC feature looks behind the scenes at this production
- Conductor Sir Colin Davis talks about Die Zauberflöte
- Illustrated synopsis of the operas

---

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, Spanish (all), French, German, Italian (Figaro, Don Giovanni)
Running time: 9 hrs 49 mins
No. of DVDs: 5

David McVicar’s classic production embraces both the seriousness and comedy of Mozart’s work. The audience is transported to a fantastical world of dancing animals, flying machines and dazzlingly starry skies. The setting provides a wonderful backdrop for Mozart’s kaleidoscopic score, from the Queen of the Night’s coloratura fireworks to Tamino and Pamina’s lyrical love duets and Papageno’s hearty, folksong-like arias. Prince Tamino promises the Queen of the Night that he will rescue her daughter Pamina from the enchanter Sarastro. He begins his quest, accompanied by the bird-catcher Papageno – but all is not as it seems…

Shakespeare's comedy of magic and love's delusions are set to the music of Felix Mendelssohn is guaranteed to please every audience in the fantastic DVD.

The tale of a quick witted fox and her escape from confinement for a life in the forest that is by turns joyful and violent, The Cunning Little Vixen is an unsentimental parable of death and rebirth that lives through the instinctive and immediate world of nature, animal and human, which Janacek loved so much. Melly Stil's production for Glyndebourne find the "delicate balance between whimsy and mysticism" (Daily Telegraph) at the heart of the opera, which Vladimir Jurowski conducts "with lustrous style: you can hear the birds in the score, feel the sunshine and thrill to the starlit night sky in the final scene." (Opera Today)

Melly Still, stage director

Recorded live at Glyndebourne Festival Opera, June 2012

Bonus:
- Creating Janácek’s The Cunning Little Vixen

• Picture format: NTSC 16:9
• Sound format: LPCM 2.0 / DTS 5.1
• Region code: 0 (worldwide)
• Subtitles: English, French, German, Dutch, Japanese, Korean
• Running time: 119 mins
• No. of DVDs: 1
  

REVIEW:

The leading roles in this performance are sung by Lucy Crowe as the vixen (whose name is Sharp Ears), Sergei Leiferkus as the forester who tries to domesticate her, and Emma Bell as the fox that Sharp Ears meets after escaping back to her forest, marries (at a ceremony conducted by a grasshopper), and bears more children than she can count (only eight of which we see on stage). It is also important to observe that costume designer Dinah Collin chose to capture animals by a combination of suggestion and connotation. Both vixen and fox are identified primarily by their tails (which is also how we in the audience learn of Sharp Ears’ ultimate fate); but the rest of the costume tends to portray them as Gypsies, which is to say characters not quite at home in their own land.

The instrumental side of the score is provided by the London Philharmonic Orchestra (LPO) conducted by Vladimir Jurowski, Music Director at Glyndebourne and Principal Conductor of the LPO. He conducts with a keen sense of how Janáček tends to direct the flow of his music through the modulation of energy levels. While Jurowski is Russian, he also seems to have informed himself of the extent to which Janáček evokes Czech folk idioms, allowing the score to establish its unique position between symphonic music and indigenous source material.

Most importantly, however, this is an opera that takes a fairy-tale-like narrative and serves it up as a visual and auditory feast; and this Glyndebourne production delivers exquisitely on both visual and auditory levels.

-- SF Examiner

Also available on Blu-ray

This new release is an in-depth portrait of dance superstar Natalia Osipova directed by BAFTA winning filmmaker Gerry Fox. Force of Nature Natalia follows a season in the life dance superstar Natalia Osipova. With unique access to Natalia's personal archive, we follow her preparations for a fifth season as a principal of the Royal Ballet as she continues to champion contemporary dance with some of the world’s greatest choreographers. We watch the rehearsal process of new ballet Mother by Arthur Pita, a new commission with Sidi Larbi Cherkaoui, and the Royal Ballet's legendary production of La Bayadere directed by Natalia Makarova. Natalia opens up about her life and history, her childhood in Russia, her time with American Ballet Theatre and her journey to the Opera House. It is an unparalleled opportunity to get up close and personal with the leading ballerina of our generation and understand why critics and audiences all over the world call her a force of nature of the dance world.

Described as ‘a joyous romp’ (Opera News), Donizetti’s dramma giocoso shows us what can go wrong when the egos of the actors get in the way of putting on a good show. From the prima donna and the sub-par lead tenor, to the seconda donna’s boisterous mother (played by a bass singer) and all the characters in between, everyone is playing the diva whilst the director pulls his hair out in frustration, and questions of who will fund the production are raised... Le convenienze ed inconvenienze teatrali (‘The Conventions and Inconveniences of the Stage’) – a joyful play on words in itself – more commonly known as Viva la mamma! is a two-act farce that shines an exaggerated spotlight on the behind-the-scenes working of a theatre and the rehearsal process with hilarious results. Laurent Pelly directs this masterpiece of comic timing and satire, marking the continuation of his celebrated relationship with Opéra de Lyon.