Wagner’s Siegfried is the third opera in the cycle that makes up Der Ring des Nibelungen. It premiered during the first complete performance of the cycle in August 1876 at the Bayreuth Festspielhaus. Rene Kollo performs in one of his greatest recorded performances in the title role of Siegfried. German conductor Marek Janowski is a brilliant interpreter of Wagner, having conducted the first digitally recorded Ring cycle between 1980 and 1983.

Essentially, in the incredible ease and naturalness of his pianism, in the unassuming simplicity and absorption of the man, Backhaus was much the same artist and personality then. And he was far from unknown. Even before he won the Rubinstein Prize in 1905, Backhaus was internationally celebrated as a prodigious virtuoso. Backhaus never failed to win a succès d'estime among professional musicians. They always knew his qualities, always marveled at his instrumental perfection, his titanic mastery that scorned every complexity, his unsurpassed freedom and endurance. There was never a time when Backhaus could not toss off any or all of the Chopin études or the Brahms-Paganini variations with an imperturbable calm, an implacable security that left one open-mouthed. Not everyone, for only the pianists really knew what was happening before their eyes and ears, knew how to measure such achievement. There they all sat, in breathless astonishment and envy and despair. Backhaus was a shy, unaffected, recessive personality whose sensational capacities were so unsensationally projected that lay audiences remained totally unconscious of his fabulous accomplishments. (Gerhard Melchert)

Classical Music

From Mozart to Leoncavallo: three hours of opera's greatest hits in rhythmically buoyant, highly enjoyable East-German recordings. Taped between 1959 (Wagner's Der fliegende Holl�nder) and 1993 (Die Fledermaus), a collection of overtures gets this operatic compilation off to a (literally) flying start. Suitner in particular directs deliciously sprung performances of Humperdinck (Hansel und Gretel), Smetana (The Bartered Bride) and Supp� (Dichter und Bauer / Poet and Peasant and Leichte Kavallerie / Light Cavalry). The Austro-Germanic angle of the first half of the release is widened on the second half by a selection of opera choruses that represents some of the most powerful moments of 19th-century Italian opera. There is the triumphant hymn in praise of Egypt from the second act of Aida as well as the sublime song of pride and defiance, 'Va pensiero', that crowns Nabucco and became before long the unofficial anthem of the Risorgimento and the struggle for Italian unification. Verismo choruses are here too, taken from that evergreen pairing of Pagliacci and Cavelleria rusticana. Favourite German operatic choruses include the Chorus of Guests in Wagner's Tannh�user as well as the hymn of the priests in Mozart's Die Zauberfl�te. Suitner directs all these: a compilation album made in Berlin in 1978. He also exercises a subtle guiding hand over the Staatskapelle Dresden for a compilation of tenor/baritone opera duets recorded in 1972 with the two foremost East-German male singers of their generation, Peter Schreier and Theo Adam. 'Expectably' commented Fanfare, 'the results are echt Deutsch' - even if the repertoire itself again covers Smetana, Gounod and Verdi as well as Mozart and Lortzing, with all the numbers sung in German and 'performed with zest'.

Herbert Blomstedt's Beethoven cycle with the Staatskapelle Dresden is one of the great ones, as much for the magnificent playing of this finest of all German orchestras as for Blomstedt's effortlessly musical interpretations. The only possible weak link here might be the first movement of the Fifth, which lacks the sheer intensity that, say, Carlos Kleiber brings to it. On the other hand, Blomstedt's more emotionally balanced conception is so well realized that I'm inclined to give him credit for bringing off an unconventional interpretation, particularly as the remainder of the symphony lacks for nothing in excitement or sheer power.

Highlights of this cycle are many: a grand and glorious Eroica, a lithe and lyrical Second and Fourth, a pellucid Sixth with luminous wind playing, an exciting Ninth sporting fantastically buoyant strings in the Scherzo and a marvelously well sung finale, and a transcendentally great performance of the Seventh, with rip-roaring horns and perfect pacing throughout. The recordings, made in Dresden's Lucaskirche in the late 1970s and early '80s, put a silvery sheen around the players (winds especially) and strike an excellent balance between clarity and warmth. At the Brilliant Classics price, you can't afford not to own this set. [6/23/2002]
--David Hurwitz, ClassicsToday.com
reviewing this set previously released as Brilliant 99927

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Beethoven's nine symphonies -- composed between 1800 and 1824 -- are true cornerstones of the classical canon. Marking an irrefutable turning point in the history of music, they transformed audiences' expectations of the symphony and influenced the genre's future development through their experimental, dramatic and expressive weight. Conductors have long been drawn to the profundity of these works: a complete cycle of Beethoven symphonies is viewed as one of the ultimate challenges in the repertoire, and the performances in this set are undoubtedly among the greatest to have been recorded, illuminating the skill of the Staatskapelle Dresden and Herbert Blomstedt, one of the most distinguished conductors of the 20th and 21st centuries.

The symphonies trace Beethoven's development as a composer, from the earlier works that document his emergence from the Viennese tradition, through to his experimental and critically divisive late style. Particularly famed for its landmark status in the history of music is the 'Eroica' Symphony (No.3), notable for its innovative approach to sonata form and embodiment of Beethoven's 'heroic' style. Also included are the legendary Symphony No.5, known for its distinctive opening motif and rigorous large-scale structure, the dramatic 'Pastoral' Symphony, and the sophisticated Seventh Symphony. The collection is, of course, concluded by the monumental Symphony No.9 -- known as the 'Choral' Symphony because of its ground-breaking, transcendent finale, sung here by the Dresden State Opera Chorus and a group of acclaimed soloists.

Over 30 years after their initial release, these recordings have remained one of the ultimate Beethoven symphony cycles, a testament to the quality of the performances and Blomstedt's interpretations. Brought together in a set of excellent value, this 5-disc collection is a must-have addition to the libraries of classical music fans, old and new.

Other information:
- Recordings made in Lucaskirche, Dresden, 1975--1980

Classical Music

Classical Music

Throughout his entire life, Bruckner longed to return to the tranquility of the hilly woodland idyll that was his home in Upper Austria. That impression is perhaps most clearly expressed in his “Romantic” Symphony with its horn calls and the Landler-like dance tunes (in the clarinet) which recalled dance melodies of his childhood. Bruckner explained personally that this was the inspiration for the music for the “meal during the lunch break of the hunt”- and the chirruping of a bird “Zi-zi-bee” all of which combines to make the work a sensitive declaration of love for his childhood in that rural landscape near his birthplace of Ansfelden and the nearby Augustinian monastery of St. Florian. Founded by Prince Elector Moritz von Sachsen in 1548, the Staatskapelle Dresden is one of the oldest orchestras in the world and steeped in tradition. Over its long history many distinguished conductors and internationally celebrated instrumentalists have left their mark on this one time court orchestra. Previous directors include Heinrich Schutz, Johann Adolf Hasse, Carl Maria von Weber, and Richard Wagner, who called the ensemble his “miraculous harp.” Principal conductor since the 2012/2013 season has been Christian Thielemann.

In my experience nothing beats this remarkable Haitink account.

On those very special occasions the excellence of the music and the quality of the playing and live atmosphere can combine to produce something quite special. So it is with this Profil disc.
 
Every year on 13 February a memorial concert is given in the German city of Dresden to commemorate the anniversary of the terrible World War Two allied air raid carried out in 1945. The night bombing left large tracts of the city in ruins and thousands of people dead. Traditionally a requiem mass has been given at the memorial concert. However, in 1995 to mark the 50th anniversary of the Dresden devastation Mahler’s Resurrection was presented. Performed at the Dresden Semperoper this massive score was considered to have the appropriate character to complement the solemn occasion. At these Dresden anniversary concerts it has been the tradition for the audience not to applaud before or after the performance. Instead the audience stand in quiet remembrance before leaving the hall. Incidentally, Haitink also performed the same Mahler score at Rotterdam in 1990 to mark the 50th anniversary of the destruction of the Dutch city by German bombers.
 
The opening movement originated as a symphonic poem entitled Totenfeier (Funeral Rites). It was composed in 1888. Between 1888 and 1894 Mahler laboured hard on his five movement symphony undertaking revisions in 1905. At the time Mahler was still carving out a name for himself as a conductor so work on the score was confined to his spare time, mainly during his summer holidays. Owing to the progressive nature of the writing, its unconventional design, the extended length and the massive forces Mahler must have hardly dared to imagine that he would ever hear it performed during his lifetime.
 
The first performance was given at Berlin in 1895 with the composer conducting the Berlin Philharmonic Orchestra. In this score Mahler attempts to explore the existence of humanity in its entirety using sung text in the final two movements. In the fourth movement the text is from the collection of German folk poetry known as Des Knaben Wunderhorn (Youth’s Magic Horn), The fifth movement uses text from Friedrich Gottlieb Klopstock’s ode Die Auferstehung (The Resurrection). Then Mahler uses his own words beginning with O glaube, mein Herz (O believe, my heart). It was the composer’s friend Oskar Fried who first recorded the symphony in 1924 with the Berlin State Opera. The complete version of the Resurrection was introduced in Dresden in 1901 by conductor Ernst von Schuch, general music director of the Staatskapelle Dresden. Maestro Haitink’s stunning live account which was broadcast on the radio has so much going for it. The persuasive Haitink fashions the architecture and space of Mahler’s vast symphony splendidly, avoiding any sense of affectation. This reading feels completely spontaneous. Born in Amsterdam, maestro Haitink brought with him to Dresden a pair of renowned Dutch singers, Margiono and van Nes.
 
Right from the opening Allegro maestoso the weight, bite and sheer power of the Dresden orchestra is striking. There’s impressive pacing throughout with beautiful playing especially in the more lyrical passages. Although all sections impress I found the stunning playing of the brass and woodwind highly dedicated and perfectly in unison. The exquisitely scored second movement Andante moderato with its gentle Ländler feels so light, poised and elegant. It feels like a mid-nineteenth century dance hall in Vienna. As the music briskly develops in weight the sound produced is remarkable especially from the golden-hued Dresden strings. Towards the conclusion of the movement the swirling strings can make the listener dizzy. When attending a concert I love to watch as well as hear the section with guitar-like strumming by the violins and violas, and the delightful pizzicato from the cellos. Sounding like gunshots the timpani strokes announce the opening of the third movement Scherzo. The writing draws on the captivating melody from Des Antonius von Padua Fischpredigt ( St. Anthony’s Sermon to the Fishes). I love the way that Haitink underlines the acerbic sarcasm. In the section reminiscent of a klezmer band the schmoozing clarinet solo has the patina of Jewish folk music. The angry brass outburst is especially striking as is the potency of the pent-up energy released in Mahler’s agonised thrust. This puts a brisk halt to the bucolic frolicking.
 
Urlicht (Primeval Light) from one of Mahler’s own Wunderhorn songs is the title of the fourth movement. A real highlight is the entrance of Jard van Nes, rich and mellowed toned, commencing with the words O Röschen Rot! ( O red rose!). It’s a yearning declaration for respite from world weariness. I believed every word, such was her expressive power and clear diction. Van Nes also has an attractive timbre and supple projection. Following on closely is the rather brief and spiritually affecting chorale. This is intoned splendidly on the brass with woodwind playing of an elevated quality. The final movement Im Tempo des Scherzos, opening with Mahler’s terrible scream of anguish, is given such tremendous weight it feels terrifying before it decays into mere dust. In the ‘wilderness’ section the off-stage brass make a sure impression with the Dies irae chorale followed by blazing brass. The great drum-rolls at 10:06-10:24 are striking and shook me right down to my boots. A distinct martial quality to the brass fanfares is interrupted only by tetchy woodwind and angry percussion. Off-stage brass lingers in a lament interspersed with a flurry of birdsong on flute and piccolo. At 20:39 the Dresden chorus enter with the words Aufersteh’n, ja aufersteh’n wirst du ( Rise again, yes rise again you will). It feels mellow and tender and makes a spellbinding impact. The text O glaube, mein Herz ( O believe, my heart) is sung at 27:28 to magical effect by Charlotte Margiono with her secure technique and appealing tone. Both Margiono and van Nes combine with the heavenly Dresden chorus for the words O Schmerz! Du Alldurchdringer! ( O suffering! All pervading or O all-piercing pain!). With singing of such quality from the impeccably matched soloists and chorus one might be excused for thinking they - and we - had been transported to paradise. The final section begins with the familiar Viennese string sound that soon develops in sheer weight. The massed forces, including organ and percussion battery, combine in a thunderous climax; the most remarkable that I have heard on disc.
 
Recorded live in 1995 for radio broadcast at the Dresden Semperoper the engineers have produced a warm sound that is clear and well balanced. Although a live recording I struggled to hear any significant audience noise and as I explained earlier there is no applause after the conclusion of the score. I found the substantial Profil booklet notes exemplary being especially highly detailed.
 
At this poignant 50th anniversary concert the magnificent playing was outstanding right from the high strings playing the softest pianissimo to climaxes of sonically massive proportions.
 
I have numerous recommended versions of the Resurrection but nothing beats this remarkable Haitink account.
 
-- Michael Cookson, MusicWeb International

On 22nd September 2018 the Staatskapelle Dresden celebrated its 470th jubilee. The orchestra was directed by Bernard Haitink from 2002 to 2004. (Haitink turns 90 in 2019.) Principal Conductor since the 2012/13 season has been Christian Thielemann. Founded by Prince Elector Moritz von Sachsen in 1548, it is one of the oldest orchestras in the world and steeped in tradition. Over its long history, many distinguished conductors and internationally celebrated instrumentalists have left their mark on this one-time court orchestra. Previous directors include Heinrich Schütz, Johann Adolf Hasse, Carl Maria von Weber and Richard Wagner, who called the ensemble his “miraculous harp”. The list of prominent conductors of the last 100 years includes Ernst von Schuch, Fritz Reiner, Fritz Busch, Karl Böhm, Joseph Keilberth, Rudolf Kempe, Otmar Suitner, Kurt Sanderling, Herbert Blomstedt and Giuseppe Sinopoli.

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REVIEW:

Haitink has previously recorded all of the music on these six discs, but these new releases are still welcome. The Bruckner Eighth and Mahler Resurrection are particularly fine. The Bruckner is mighty indeed, Haitink’s finest available recording of the work. Throughout the engineers have captured a full, rich, well-balanced sound.

– ClassicalCDReview.com

Sir Colin Davis leads the Staatskapelle Dresden in recordings from the 1988-2003 featuring music of Berlioz, Sibelius, Mendelssohn, and more.

The first complete recordings of the original versions of the Symphonies Nos. 4 and 5 by Anton Bruckner.

The way Richard Strauss spoke of his “beloved Dresdeners” rang of Bavarian humor blended with a subtle touch of mischievous irony and, first and foremost, a good dose of respect and appreciation. Home to the Königliche musikalische Kapelle (“Royal Musical Ensemble”) and the Court Opera, Dresden soon became a center of Strauss’s music; many of his works were given their premiere there. Ernst von Schuch, Strauss’s “most loyal conductor of choice”, was a key figure: at the symphony concerts given by the Kapelle, the Dresden General Music Director soon acquainted audiences with all of Strauss’s tone poems, from Till Eulenspiegels lustige Streiche through Also sprach Zarathustra to Sinfonia domestica. Strauss enthused that, years later, it was “the brilliant Schuch’s untiring magic wand” that eventually opened the series of “exemplary premieres” of his operas in Dresden. Works including Salome, Elektra and Der Rosenkavalier made Strauss the leading musical dramatist of his time. He had no fewer than nine operas premiered in Dresden, his “Eldorado for premieres”, and dedicated the Alpine Symphony to the Dresden Kapelle as a token of his gratitude. The present release is the 44th volume in the Staatskapelle Dresden’s exploration of Strauss’s work, and includes, most notably, his Konzert fur Horn und Orchester op. 11.

Classical Music

Peter Damm, who is one of the 20th century’s leading horn players, has built up an impressive discography in the course of the last three decades. These naturally focus upon his instrument: the horn. The present Edition brings together many of his recordings for the Eterna label. It illustrates the history of horn music through a large and varied repertoire such as is only rarely to be encountered. From chamber music to the great horn concertos, from the music of the 17th century to twentieth-century works, the spectrum is immense. Peter Damm was born in Meiningen (Thuringia) in 1937. After learning the horn at the College of Music in Weimar he began his artistic career in 1957 as solo hornist with the Gera municipal orchestra. In 1959, Damm was appointed solo horn with the Gewandhaus Orchestra in Leipzig, which at that time was making numerous Gramophone recordings. Damm’s first solo recording was in 1961 with the Gewandhaus horn quartet, playing Robert Schumann’s Konzertstück op. 86 for four horns under the baton of Franz Konwitschny; he first appeared on a chamber-music recording in 1964. In 1969 Damm was appointed solo hornist with the Staatskapelle Dresden. His cantabile style of playing placed Damm firmly in the Dresden tradition and became the hallmark of the Dresden wind section for almost forty years. During those years in Dresden Peter Damm was involved in more than 100 studio recordings with the Sächsische Staatskapelle. Famous international conductors such as Herbert von Karajan, Herbert Blomstedt, Bernard Haitink and Giuseppe Sinopoli were fascinated by Damm’s horn playing at first hearing. Peter Damm would always champion new music and the rediscovery of forgotten works from all eras in his work as a soloist on record releases. This applied in particular to the works of the Dresden court composers. Peter Damm celebrates his 80th Birthday on July 27th, 2017.

After the “flood of the century” the Semperoper resumed limited activities towards the end of 2002. Light was appearing on the horizon, life was going on! The first events took place at the beginning of December, with symphony concerts in which the Staatskapelle performed Anton Bruckner's Eighth Symphony conducted by Bernard Haitink. Expectant audiences were again able to assemble in the opera. The concert of December 3 was broadcast live by MDR; the single recording made of that broadcast forms the basis of this CD.

The focus of this impressive release is not only the stunning performance by the Staatskapelle Dresden, but the audiophile-quality sound engineering: “Real live recording – without a safety net, so to speak, without sound engineers in dark horn-rimmed glasses and white coats – belongs to the days of direct cutting to cylinder in the early days of sound recording up to the introduction of magnetic tape after World War II. From that moment on, editing and manipulation became the order of the day – indeed, it is clearly audible on many LPs and may often cause some amusement ... In the short period during which the Direct-to-Disc process was in use, in the 1970s, the aim was to transfer purist recordings to LP without tape noise – mainly in the area of jazz – and this produced some recordings that are hailed even today as ground-breaking and legendary. Made using just one single microphone, these Electrola shellac recordings remain, after a process of careful and time-consuming restoration, a benchmark to this day when it comes to motivation, joy of musicmaking and a determination to give the best performance possible on the part of the musicians, the orchestra, the conductor and the sound engineers. This is perceptible on nearly all the tracks on this album. And the conductor Karl Böhm was surely seldom in such good spirits, so carefree – brisk in his tempi – and yet simultaneously so sensitive in imparting subtle messages. All in the hope that the crackling needle will leave some of the sound for the restoration process ...“ (Sound engineer Holger Siedler)

It was a debut that will long be remembered. It was in October 2006 that Yannick Nezet-Seguin first conducted the Dresden Staatskapelle, which with its invitations to younger conductors in particular was increasingly emerging “as a talent scout for the next generation of baton-wielders” (German daily Die Welt). The 31-year-old newcoming, whose very name was a tonguetwister for most, had hitherto attracted the most attention in his native Canada; since 2000 he had been directing the Orchestre Metropolitain, little brother of the Orchestre Symphonique in his birthplace of Montreal. After debuts with orchestras in Toulouse, Goteborg and Birmingham, he was now in the Semperoper, standing for the first time in his life before one of Europe’s long-established, tradition-steeped orchestras. Nezet-Seguin was no disappointment. In fact, he was just the opposite. Straight away at rehearsals, it was obvious that this young man knew exactly what he wanted in works by Britten, Ravel and Shostakovich; in concerts, he was in full command of musicians and audience alike with his energetic and precise conducting manner, his sens of sound and rhythmic structures. Word soon got around that news of “the Great Canadian Conductor for whom this country’s classical music buffs have been waiting” (Toronto Star) was more than a mere marketing device. And people believed him when he admitted that conducting had been “like a vocation” for him ever since he was ten years old. “Today I have the feeling that I am living the dream I had as a little boy,” he confessed.

The works on this release were performed in the Dresden Staatskapelle’s second symphony concert of the 2002/2003 season on September 29 and 30 and October 2, 2002. It was Bernard Haitink’s first subscription concert as Principal Conductor of the orchestra, after he had spontaneously declared his willingness to take over this position and support the Staatskapelle in the difficult situation that had arisen following the sudden death of Giuseppe Sinopoli the previous year. It still seems a stroke of luck for Dresden, and in particular for its orchestra, that it could find a personality of such international standing who had a deep understanding both of the Staatskapelle’s great tradition and of its special character and thus was uniquely qualified to maintain and enhance its high artistic level, its individual sound and its worldwide reputation. Orchestra and conductor had known each other since 1989 from recordings and concerts at home and abroad. This then was the beginning of a sustained, if all too short, period of continuous work togheter, which wonderfully met the highest expectations “at home” and on tour in Europe and the Far East.

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

Also available on standard DVD

The Austrian piano virtuoso Rudolf Buchbinder, a known expert of Mozart plays and conducts three of Mozart’s most beloved piano concertos together with the Staatskapelle Dresden, where he was the first pianist to hold the title of “Capell-Virtous”. In advance to an extensive tour to Germany, Europe and Asia the concert was recorded in Dresden in an unique setting, being the first ultra-high definition recording of this work: especially for this purpose a stage was set up right inside the Gläserne Manufaktur, a luxury car manufacturer in the heart of the city of Dresden.

No. of Discs: 1
Run time: 93 minutes
Disc Format: BD 50
Picture: 16:9, HD
Audio: PCM Stereo, PCM 5.1
Region Code: 0 (worldwide)

Also available on Blu-ray

Beethoven's Missa Solemnis was performed on 13 and 14 February, 2010 at the traditional memorial concert to commemorate the bombardement of Dresden during the last weeks of World War II. Under Christian Thielemann, the Staatskapelle Dresden proved itself exeptionally qualified to master this work´s magnificent challenges. Thielemann “conjured up the gigantic cosmos of the Missa with such lightness and grace that its mystery seemed to reveal itself”, wrote the Frankfurter Allgemeine Zeitung. No less remarkable was the fabulously homogeneous solo quartet formed of El?na Garan?a, Krassimira Stoyanova Michael Schade, Franz-Josef Selig.

Subtitles: German, English, French, Spanish, Japanese
Booklet: English, German, French
No. of Discs: 1
Run time: 90 minutes
Disc Format: DVD 9
Picture: NTSC, 16:9
Audio: PCM Stereo, PCM 5.1
Region Code: 0 (worldwide)

Also available on Blu-ray

The city of Dresden and the Staatskapelle Dresden have a special relation to Richard Strauss. Many of his compositions had their world premiere in Dresden and the composer dedicated his Alpine Symphony to its orchestra. The program on this DVD, led by Christian Thielemann, includes Strauss’s aforementioned Alpine Symphony as well as his Four Last Songs and Wolfgang Rihm’s Ernster Gesang, sung by soprano Anja Harteros, as well as the German premiere of the last completed Strauss song "Mallows" in an orchestral version, arranged specifically for Dresden by Mr. Rihm.

Star conductor Christian Thielemann and the Staatskapelle Dresden present a brand new recording of all four symphonies of Robert Schumann, who lived in Dresden from 1844 to 1850 and wrote his second symphony there. His symphonies are considered masterpieces amongst German romantic symphonic works. This cycle, which was recorded live at the Suntory Hall in Tokyo, receiving great critical acclaim, is a new milestone in Schumann interpretation. "The Staatskapelle's sumptuous playing is hard to fault..." (The Guardian) A bonus on this release is "Discovering Schumann," which features Christian Thielemann talking about Schumann�s Symphonies and his interpretations.

Also available on Blu-ray

Christian Thielemann and the Staatskapelle Dresden turn to the symphonic work of Johannes Brahms.

Bonus features include: an extensive 52 minute interview with Christian Thielemann on Brahms’ Symphonies and provides and in-depth look into his interpretation of Brahms.

Recorded live from the Semperoper Dresden (Nos. 2 and 4) and the NHK Hall, Tokyo (Nos. 1 and 3)

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.0 / DTS 5.1 Surround
Region code: 0 (worldwide)
Language (bonus): German
Subtitles (bonus): English, Korean, Japanese
Running time: 208 mins (symphonies) + 52 mins (bonus)
No. of DVDs: 3

It is surely proof of great dedication that an American-born Swedish conductor would, in the mid-1970s, go behind the Iron Curtain in order to take up a post as principal conductor of an orchestra. Both the conductor and orchestra have fond memories of Herbert Blomstedt's Dresden years, from 1975 to 1985. The recordings of all of Beethoven's symphonies conducted by Blomstedt are proof of an intensive and artistically outstanding collaboration.

Recording information: Konzertmitschnitt des Rundfunks der DDR, Sender Dresden; Kulturpalast Dresden (03/15/1974).

When Thielemann became principal conductor of the Dresden Staatskapelle in 2012, he surprised many people for giving special attention to forgotten works from the periods of upheaval before and after WWI—works closely connected to Dresden, some having premiered with the Staatsakpelle and its predecessor, the Hofkapelle. This 2-CD set presents three of those rare works.

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

Also available on standard DVD

Under the musical direction of their chief conductor designate, Christian Thielemann, the Staatskapelle Dresden performed this special concert to celebrate Franz Liszt and his bicentenary. At its home, the prestigious Semperoper in Dresden, the orchestra presented a Faust-themed concert with two works by Wagner and Liszt inspired by Goethe’s drama. “Fired up by inspiration, the Dresden musicians and their leader offer a superb demonstration of their ability, their precision and their feeling for colour and temperament … A top orchestra and a top conductor have found each other” (Die Welt).

THIELEMANN CONDUCTS FAUST

Richard Wagner: A Faust Overture

Franz Liszt: A Faust Symphony, S108/R425
Endrik Wottrich, tenor
Dresden State Opera Chorus
Dresden Staatskapelle
Christian Thielemann, conductor

Recorded live from the Semperoper Dresden, 2011.

Picture format: 1080p High Definition
Sound format: PCM Stereo / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Korean, Chinese, Japanese
Running time: 90 mins
No. of Discs: 1 (BD 25)

In July of 1960 Dmitri Shostakovich composed his famous String Quartet No. 8 in C minor, Op. 110 in the small spa resort of Gohrisch in ''Saxon Switzerland'' national park. The quartet is the only work Shostakovich composed outside the Soviet Union. To commemorate the visit by Shostakovich, in 2010, exactly 50 years later, the International Shostakovich Festival in Gohrisch was established. Since then, the festival has attracted concert-goers from around the world to the spa resort near the Elbe River. The Sachsische Staatskapelle Dresden played an important role in initiating the festival and performs in Gohrisch with well-known concert artists - and in the first year of the festival already received high praise from the Frankfurter Allgemeine Zeitung: ''At an authentic setting and with the support of enthusiastic music lovers, unique festival programming was created with a balance of works that would normally be expected at established festivals such as in Salzburg or Bayreuth: a judicious and deftly concentrated concept performed by renowned artists, and refined by the charm and spirit of the location.''

Born in Niederpoyritz near Dresden in 1910, Rudolf Kempe was trained as a pianist and oboist at the orchestral school of the Sächsische Staatskapelle in Dresden between 1924 and 1928. After posts as an orchestra musician in Dortmund and Leipzig he made his debut as a conductor in Leipzig in 1935. After further conducting posts in Chemnitz and Weimar he was brought to Dresden in 1949 by Joseph Keilberth and made General Music Director of the Dresden Opera and Staatskapelle the following year. Semper’s famous opera house lay in ruins, like the whole of the city centre, whereas the evacuated Staatskapelle had survived the war and the post-war years largely intact. Kempe later recalled: “For my career, those were the happiest years of my life – the last glimpse of ‘Paradise’: with opera, concerts and chamber music all year round in the same place.” Eterna producer Dieter-Gerhardt Worm considers Rudolf Kempe to be one of the most significant conductors of the twentieth century and regards the recordings he made with the Dresden Staatskapelle as ideal: “There have surely been very few conductors who have fathomed the nature of the Staatskapelle so deeply and so widely exploited this orchestra’s potential as Rudolf Kempe. In the studio, he was a highly effective ‘worker’. Kempe was the only conductor I have known who did not explain to the musicians what he wanted of the orchestra but simply showed them.” Rudolf Kempe’s early death prevented the implementation of numerous planned projects with the Staatskapelle. When the present recording of Stravinsky’s Firebird ballet suite and Britten’s Sinfonia da Requiem was made in January 1976 none of the participants had an inkling that it would be Kempe’s last.