The Teatro La Fenice opened in 1792 and is one of the most renowned and most beautiful theaters in the world. First performed in 2004, the New Year's Concert at Venice's Teatro La Fenice celebrates it's 20th anniversary in 2024 with an extravagant program. Conducted by Maestro Fabio Luisi, this prestigious event features an exquisite blend of symphonic works and operatic masterpieces, including arias from operas such as Tosca, La traviata, Madama Butterfly, and Turandot. Accompanied by beautiful ballet interludes and a lively tribute to the 70th anniversary of Italian television, soprano Eleonora Buratto and tenor Fabio Sartori shine on stage and ring in the New Year with a burst of joyous brilliance.

The "Eleven Choral Preludes for Organ" op. 122 were completed by Johannes Brahms between May and June 1896. It was not until later, in 1902, that op. 122 was published posthumously. At the same time, Brahms' op. 122 did not escape the attention of the Italian composer and pianist Ferruccio Busoni, who decided to transcribe six of the eleven choral preludes for piano. Over the course of his life, he transcribed numerous works by various composers for piano, including those by Bach that were intended for organ, harpsichord or violin. It is little known that Max Reger, in addition to his importance as a composer, was also one of the most important arrangers of the works of great colleagues. He arranged works by almost all the great masters, from Mozart to Richard Strauss. Reger always admired the compact form and the almost ascetic compositional discipline of Johannes Brahms. His admiration for the great North German is confirmed by the elaborate transcriptions of the "Five Slow Movements" from his four symphonies. Reger does not write them in a typically pianistic style, but rather he summarizes the entire melodic and harmonic richness in a kind of symphonic script. These transcriptions are the work of a brilliant musical mind who was able to grasp the music as a whole and, based on a complete understanding of the compositions, to present them in a new guise. The arrangements are extremely demanding for the pianist. It is not only a matter of master- ing the sometimes considerable and often far-reaching mass of notes, but also of allowing the themes woven into them to emerge, as is the case in the orchestra through the characteristics of the individual instruments. Brahms' well-known preference for the so-called "conflict rhythms" makes the task even more difficult. The rarities, so rich and demanding in sound and structure, are appearing on recording for the first time and should inspire many friends of the works of these two composers to take a closer look at them.

Christian Euler, together with his piano partner Paul Rivinius, present two Brahmsian masterpieces which foreshadow the fin de siecle and contrast these with Schumann's "Marchenbilder", whose fairytale-like character is reflected in the music's imaginative narrative gesture, transporting the listener into an enchanting world full of magic, poetry and longing.

Witold Rowicki, one of Poland’s most important conductors of the 20th century and leading figure of his generation, is internationally known especially for the complete recording of Dvorák’s symphonies with the London Symphony Orchestra as well as for his impulsive Tchaikovsky performances. In his native country he was admired as the conductor to whom Witold Lutoslawski dedicated his brilliant Concerto for orchestra and who strongly promoted the music of his compatriots. The Tchaikovsky studio recordings presented here were made in 1962 (Fifth Symphony) and 1969 (Sixth Symphony) with the Südwestfunk Symphony Orchestra and in 1979 (Nutcracker Suite) with the Stuttgart Radio Symphony Orchestra. Rowicki had many other appearances with German orchestras, each of them enthusiastically greeted by the press and the public.

REVIEW:

Witold Rowicki was surely Poland’s ‘number one’ conductor in the second half of the 20th century, a fascinating musician not to be underrated, who always had plenty to tell us about whatever repertoire he tackled.

What a pity that Rowicki didn’t tackle the Nutcracker Suite in the studio. Well, happily SWR has come up with an all-Tchaikovsky double-pack featuring that very suite (with the Stuttgart Radio Symphony Orchestra, 1979) in addition to Symphonies Nos. 5 and 6, both with the SWR Symphony Orchestra.

The suite’s highlights are surely the incisive, super-swift Overture and a ‘Waltz of the Flowers’ that is elegant, unhurried and precise. Both the suite and the Pathétique are offered in reasonably good stereo sound, the symphony volatile in the extreme, the initial statement of the first movement’s secondary theme free and rhapsodic, the Allegro molto vivace third movement broadening near the close before speeding up again, the finale charged with emotion.

The Fifth (1962) is heavier, the transition to the second idea very emphatic, the Andante cantabile slow movement deeply elegiac, with raging full-orchestral interjections. The finale is broader than is generally the fashion nowadays but is none of the worse for that, its peroration speeding excitedly. A fascinating set that should prove stimulating for all fans of charismatic conducting and will hopefully prompt further Rowicki releases and reissues. There must surely be plenty of broadcast recordings hidden away in various radio archives.

-- Gramophone

In June 2015, the Berliner Philharmoniker elected Kirill Petrenko as chief conductor, and he took up office in 2019. Our exclusive vinyl edition presents key recordings of this phase of anticipation and new beginnings. Performances of works by Beethoven, Tchaikovsky, Franz Schmidt, and Rudi Stephan reveal not only the first important programme directions, but also the exciting, intensive music-making in this partnership.

A “musical snapshot of the early collaboration between the Berliner Philharmoniker and myself, and at the same time the initial spark of our association”, as Kirill Petrenko describes the edition in the foreword. Three repertoire strands are outlined here: first, there is the music of Russia, which Kirill Petrenko grew up with, and is represented here by Tchaikovsky’s Symphonies No. 5 and 6. These are performances in which not only the passion and power of these works unfold fully, but also their details and fine nuances. Another of Kirill Petrenko’s interests is that of unjustly forgotten composers. As examples of this, the edition presents two composers on the cusp between late-Romanticism and Modernism: Rudi Stephan and Franz Schmidt. The latter’s Fourth Symphony is presented here: music full of sonority and pain and at the same time a favourite of Kirill Petrenko.

And then – as a further cornerstone of the partnership – there is German-Austrian Classicism and Romanticism. The importance of this repertoire to Kirill Petrenko is demonstrated by the prominent place Ludwig van Beethoven occupied in his concerts to open the 2018/19 and 2019/20 seasons, when the Seventh and Ninth Symphonies respectively were programmed. Both performances are also documented here. Now, for the first time, these special recordings appear in a high-quality vinyl edition limited to 1,500 copies on 6 LP with a 56-page clothbound accompanying book and the option of hi-res download.

Schubert called Winterreise a cycle of "truly terrible songs," not only for it's immersive and dark subject matter but also for the compositional process itself. It is the Mount Everest of Song cycles, a form that Schubert himself perfected. Written on poems by Wilhelm Muller (1794-1827), the songs describe a timeless tale of heartbreak: boy meets girl, girl rejects boy, boy is overcome by existential feelings and sets out on a solitary winter's journey that may result in his demise. But Schubert's genius would not allow him to be content with vapid superficialities: when Schubert set these poems to music, he was confronting his own probable fate, one of agonizing pain and isolation. An unforgettable journey through one of the most powerful musical depictions of desolation Winterreise was originally composed for the tenor voice, but it has been frequently transposed to accommodate the whole gamut of vocal tessituras. Danish bass-baritone and musical scholar Jakob Bloch Jespersen has mastered a range of repertoire from Schutz to Schierbecks and well into the 21st century. His burnished resonance and restrained sensitivity well serve this existential Schubertiade. His partner, fortepianist Sharon Prushansky brings her expertise in music of the Classical and early Romantic eras, utilizing the full panoply of pianistic Affekt available to her on Robert Brown's 2015 instrument after an original by Jakob Bertsche (ca. 1810-1815). Particularly noteworthy to this instrument are it's six pedals, which serve the purpose of changing the quality and colour of the sound, including the infamous "bassoon stop!" A third, silent partner also contributes to this extraordinary production: the haunting, sepia-toned landscapes by the great Danish photographer, Tove Kurtzweil. Together, Jakob Bloch Jespersen and Sharon Prushansky take you on an unforgettable journey through one of the most powerful musical depictions of desolation this side of Mahler!

There is hardly a better way to approach Ludwig van Beethoven than through his piano concertos. Beethoven’s own instrument was the piano, and in his improvisations – which made him the darling of the Viennese salons – he merged virtuosity and unbridled expression. The piano concertos give a clear idea of these performances. At the same time, they are prime examples of Beethoven’s ability to create large orchestral works with seemingly endless arcs of tension. One of the most revered artists of our time, Mitsuko Uchida is known as a peerless interpreter of the works of Mozart, Schubert, R. Schumann and Beethoven, as well for being a devotee of the piano music of Alban Berg, Arnold Schoenberg, Anton Webern, and György Kurtág.

They are among the most striking recordings of classical music ever made: the radio recordings with the Berliner Philharmoniker and Wilhelm Furtwängler, made between 1939 and 1945. Made at the height of the collaboration between orchestra and conductor, Furtwängler’s artistic personality is conveyed here as vividly as nowhere else. You can experience performances whose immediate expressive intensity arises from the moment of performance – and in which not least the existential experience of the Second World War reverberates. In a limited vinyl box with 8 LPs, Berliner Philharmoniker Recordings is now releasing a selection of all the surviving radio recordings that have already appeared on the CD/SACD Wilhelm Furtwängler: The Radio Recordings 1939-1945. With the enclosed code you can also download all the recordings of this edition in studio quality. When he was elected chief conductor of the Berliner Philharmoniker in 1922, Wilhelm Furtwängler impressed the musicians with his unique charisma. It was based on an intriguing interpretative principle: his baton technique avoided very precise gestures and deliberately relied on the blurring of tonal contours. For the remastering of the radio recordings, the best available material was used, in particular original tapes that were taken to the Soviet Union after the end of the war and only returned to Germany in the early 1990s. The recordings were carefully restored before vinyl mastering, digitally scanned using state-of-the-art technology and remastered in 24-bit resolution.

Music is NOT that which sounds. Music is WHY that which sounds, sounds like it sounds - WHEN it sounds. The above quote by legendary Finnish conductor and larger-than-life composer Leif Segerstam neatly and - in typical Segerstam fashion - cryptically summarizes his philosophy on music, as wells as his unique approach to why music matters. It was felt by and intrigued anyone who was lucky enough to work with him, and it fuelled every aspect of his work in Aarhus, first as principal guest conductor (2018-21) and later honorary conductor (2021-22) for the Aarhus Symphony Orchestra. It is also evident in the recordings you have before you, the last ones made before his passing in October 2024. "This man has more music in his little finger than many conductors have in their whole body" is a popular quote by one of the orchestra's musicians, and it aptly describes the feelings of electricity and passion that ran through rehearsals with Leif. There is no doubt that music was everything - and in everything - of Segerstam's life.

The Schuppanzigh Quartet is one of the successful ensembles that has engaged with historical performance practice internationally for years. The power derived from the musical writings of past eras gives the ensemble a distinctive and distinctive sound language. The successful blend of newly discovered works and the masterful interpretation of Viennese classics and early Romantics are part of the ensemble's fundamental focus.

The premiere of Adolphe Adam's 'Giselle' in Paris on 28 June 1841 was an absolute triumph, and it has been considered a masterwork in the classical ballet performance canon ever since. The theme of 'Giselle,' impossible love, is relevant to all times and cultures. Giselle believes she has found her true love in Albrecht, but he is not the person she thought he was - in fact, he is engaged to someone else. Albrecht's love for Giselle has fatal consequences, but even in death Giselle is still capable of love and forgiveness. This Dutch National Ballet production by Rachel Beaujean and Ricardo Bustamante breathes new life into 'Giselle' while remaining true to the original, combining stunning sets and costumes with ethereal beauty.

Robert Alexander Schumann (June 8, 1810, Zwickau - July 29, 1856, Bonn) was one of the most significant composers of the 19th century and a pioneering music critic. His works represent some of the purest expressions of Romanticism in music. The son of a bookseller, Schumann was deeply influenced in his youth by German Romantic literature, particularly the writings of Jean Paul and E.T.A. Hoffmann.

This powerful live recording from the Philharmonie Luxembourg brings together the choir of the renowned Gaechinger Cantorey and the Luxembourg Philharmonic under the musical direction of Hans-Christoph Rademann for an emotionally charged interpretation of Johannes Brahms' Ein deutsches Requiem. Featuring acclaimed soloists Katharina Konradi (soprano) and Konstantin Krimmel (baritone), this performance offers a deeply human and musically refined experience of one of the most important choral works of the 19th century. Unlike the traditional Latin Requiem, Brahms' German Requiem focuses not on the dead but on the living - on comfort, compassion, and hope. Drawing on texts from the Lutheran Bible, Brahms crafts a spiritual and emotional journey that speaks directly to the human condition, transcending religious boundaries and remaining timeless in it's message. Rademann, a master of choral conducting, shapes the work with clarity, warmth, and expressive nuance. Under his direction, the Gaechinger Cantorey delivers a performance marked by rich tone, articulate phrasing, and emotional intensity. The Luxembourg Philharmonic adds glowing orchestral color and transparency, perfectly complementing the vocal forces. The synergy between choir, orchestra, conductor, and soloists is palpable throughout, offering a fresh yet profoundly respectful interpretation of this beloved masterpiece.

This is recording of Ballades and Scherzos by Fryderyk Chopin. Performed and recorded by outstanding Czech pianist Martin Kasik in Dvorak Hall, Rudolfinum Prague, Czech Republic.

The final volume of this groundbreaking Thomas Jensen series encapsulates the series as a whole. New remasterings of rare studio recordings from the 1940s complement first-ever releases for live broadcasts from the 1950s and 60s. The repertoire demonstrates Jensen's excellence as a sympathetic concerto partner; an insightful interpreter of Sibelius; and a devoted advocate for the composers of his native Denmark

Few of Gioachino Rossini's operas are less well known than Adina. This production by Rossini Opera Festival and Wexford Opera Festival revives a masterwork of glittering arias and rich orchestral textures. The oriental tale, where Adina is a slave in a Baghdad seraglio, is set by Rosetta Cucchi on a giant and colorful wedding cake. The vocal star Lisette Oropesa "gave a splendid rendition as Adina. Her voice was brilliant, shiny on top, warm and round in the middle." (Bachtrack) World Premiere Recording on DVD and Blu-ray

Thomas Jensen is hardly known as a Wagnerian, and yet this complete First Act of Die Walkure - with an all-star Danish cast - is paced and shaped with a keen ear for drama. CD2 continues to expand the Jensen discography with works by two composers intimately associated with Wagner, his father-in-law Liszt and his Belgian disciple Franck. The concert overture Piazza del Popolo is a forgotten showpiece which the Danish composer Walther Schroder drew from his score to a silent movie directed by A.W. Sandberg. All the previous volumes are available and in stock.

Few of Gioachino Rossini's operas are less well known than Adina. This production by Rossini Opera Festival and Wexford Opera Festival revives a masterwork of glittering arias and rich orchestral textures. The oriental tale, where Adina is a slave in a Baghdad seraglio, is set by Rosetta Cucchi on a giant and colorful wedding cake. The vocal star Lisette Oropesa "gave a splendid rendition as Adina. Her voice was brilliant, shiny on top, warm and round in the middle." (Bachtrack) World Premiere Recording on DVD and Blu-ray

Introducing the latest recording with Luisa Imorde and the Bremer Philharmoniker, featuring two great romantic Piano Concertos from Clara Schumann and Carl Maria von Weber. Following the success of her previous albums dedicated to Beethoven/Wölfl, Bach/Kapustin, and Couperin/Messiaen, the pianist now presents her latest recording that explores the romantic repertoire with orchestra. This album features two Piano Concertos that beautifully capture the essence of the romantic era, complemented by solo piano pieces by Robert and Clara Schumann and C.M. von Weber. Weber's departure from the classical to the romantic era and Schumann's legacy as a female composer bear witness to the mastery of both in Luisa Imorde's outstanding interpretation.

ArcoDiva presents this new unique album of Dvořák's unreleased pieces. Despite the fact that at the moment there are many recordings of piano works by Antonín Dvořák, for whatever reason some compositions have never been included on these releases. We are now gladly presenting you those pieces for the first time on a publicly released album. All of the compositions are played by Tomáš Víšek.

Víšek is one of the most significant Czech pianists of his generation. Born in 1957, he studied at the Prague Conservatory (prof. V. Kameníková, Z. Kožina) and the Prague Academy of Arts (AMU) – first under prof. J. Páleníček and then under prof. Z. Jílek with whom he continued post-graduate studies in 1990–1993. In 2017, he obtained the Ph.D. title at the Pedagogical Faculty of the Charles University in Prague (his dissertation was titled “Attraction and Problems of the Antonín Dvořák ́s Piano Works”).

In 2024, near Wagner's former Zurich residence, where much of the "Ring des Nibelungen" was composed, Opernhaus Zurich staged it's first complete Ring cycle in more than 20 years, performed under the musical direction of Gianandrea Noseda. "In a way, the 'Ring' returned to it's origins," said Andreas Homoki, stage director of Wagner's grandiose myth, which depicts the rise and fall of an entire world, delving into themes of love, fate, courage, and betrayal. At it's core, the "Ring des Nibelungen" is also a family drama about Wotan, the father of the gods, and his struggle to keep and break treaties, about freedom, it's presence and absence, and his desperate attempts to halt the very downfall he set in motion. Homoki's production brings the gods, humans, and mythical beings strikingly close, making their relationships and motivations vivid and compelling through meticulous character portrayal. The same outstanding cast performs across all four operas, heightening the dramaturgic intensity: Tomasz Konieczny as Wotan, Camilla Nylund as Brunnhilde, Christopher Purves as Alberich, Wolfgang Ablinger-Sperrhacke as Mime, and Klaus Florian Vogt as Siegfried, who also gave his acclaimed role debut in Homoki's Zurich productions. Recorded live at Opernhaus Zurich May 2024

Music is a river fed by many streams. Try as one might to capture it and attach tidy labels - classical in this bottle, jazz in that, minimalism in the other - the river flows on, enriched by each tributary as it goes.

Insomnia is a persistent or recurrent sleeplessness. When we sleep fitfully or lie awake night after night, we conjure up all manner of images, fantasies and feelings, which in the hours of darkness or twilight mostly seem confused, larger than life and very existential. That is how it is with our choice of Lieder. The pieces examine the great feelings and issues like love, death, hate, yearning, under the magnifying glass of nocturnal sensitivity. Worlds arise in which one no longer knows what is true and what is not. And that is what is special about our Insomnia: everything is possible, and everything is to be found in the ears and the eyes of the listener.

This debut album presents a vivid reinterpretation of Ravel's Miroirs, illuminating the work's resonances within the wider piano repertoire by placing it in conversation with lesser-known miniatures from around the world. From luminous and atmospheric bell textures to incisive dance rhythms, we are guided through a narrative exploring the themes of nature, spirituality, memory, and self-discovery. A compelling artistic statement from a distinctive new voice in classical piano.

Un ballo in maschera is a poignant love story between two complex, mature characters torn between their desires, loyalties and the inevitable consequences of their choices. In this production, stage director Vincent Boussart delves deeply into the theme of masks, revealing a rich interplay of drama and comedy, human duplicity, lies and truth. "The two male protagonists, Piotr Beczala as Riccardo and Carlos Alvarez as Renato, were the outstanding performances for the evening." (Bachtrack) "A deeply moving play of masquerade and humanity" (El Pais)

At the heart of this album from the Gould Piano Trio is Schubert's Piano Trio in E-flat major, D. 929, a late masterpiece of emotional depth and formal ingenuity. Heard here in it's complete version, the finale restores the haunting B minor passage, it's circling piano figures echoing Der Leiermann, while the Andante's cello theme weaves through the work like a recurring memory. Alongside it is the youthful Piano Trio in B-flat major, D. 28 - fresh, lyrical, and full of promise, whilst Schubert Dances - a charming new suite of waltzes, Landler and Deutscher arranged for piano trio by Brian Newbould, completes the programme and showcases Schubert's lighter side. Together, these works chart a compelling path from teenage inspiration to late-style mastery.

The premiere of Adolphe Adam's Giselle' in Paris on 28 June 1841 was an absolute triumph, and it has been considered a masterwork in the classical ballet performance canon ever since. The theme of 'Giselle,' impossible love, is relevant to all times and cultures. Giselle believes she has found her true love in Albrecht, but he is not the person she thought he was - in fact, he is engaged to someone else. Albrecht's love for Giselle has fatal consequences, but even in death Giselle is still capable of love and forgiveness. This Dutch National Ballet production by Rachel Beaujean and Ricardo Bustamante breathes new life into 'Giselle' while remaining true to the original, combining stunning sets and costumes with ethereal beauty.

Anton Bruckner Symphony No. 9 D minor, WAB 109 Bamberger Symphoniker Herbert Blomstedt There is often an occasion for great concerts, but there are rarely several good reasons for a concert recording of an outstanding musical event. 2024 marked the 200th anniversary of the birth of the Austrian composer Anton Bruckner. For the Swedish conductor Herbert Blomstedt, Bruckner is a genius and the greatest symphonist since Beethoven. No composer is more closely associated with Herbert Blomstedt than Anton Bruckner. And no conductor has dealt with Anton Bruckner more intensively than Herbert Blomstedt. Probably the world's longest-serving conductor, with an eventful career spanning seven decades, Herbert Blomstedt celebrated his 97th birthday on July 11, 2024. Closely associated with him for years: the Bamberg Symphony, which he has conducted in almost 200 concerts in Germany and over 20 concerts abroad. In honor of Anton Bruckner and Herbert Blomstedt, the Bamberg Symphony planned a special gift to their honorary conductor. On July 11, 2024, the day of his 97th birthday, Blomstedt conducted Bruckner's 9th Symphony in the Basilica of St. Florian, a place to which Anton Bruckner held close ties throughout his life. The great symphonist began his musical career as a Florian choirboy and later continued there as organist of St. Florian. Anton Bruckner was repeatedly drawn back to the abbey, where he found his final resting place under the organ. Recorded live at the Basilica of St. Florian Monastery Contains two bonus films: A birthday serenade for Herbert Blomstedt's 97th birthday Herbert Blomstedt on Anton Bruckner

Un ballo in maschera is a poignant love story between two complex, mature characters torn between their desires, loyalties and the inevitable consequences of their choices. In this production, stage director Vincent Boussart delves deeply into the theme of masks, revealing a rich interplay of drama and comedy, human duplicity, lies and truth. "The two male protagonists, Piotr Beczala as Riccardo and Carlos Alvarez as Renato, were the outstanding performances for the evening." (Bachtrack) "A deeply moving play of masquerade and humanity" (El Pais)