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TANNHAUSER
WARNER CLASSICS May 2016
CD
$21.99

Tannhauser
Walhall Eternity Series Jan 2007
CD
$13.99

WAGNER, R.: Tristan und Isolde / Tannhauser / Die Walküre (F
IDIS Jul 1999
CD
$32.99

Richard Wagner: Tannhauser

Andromeda

$21.99 Jan 28, 2014

WAGNER Tannhäuser • Joseph Keilberth, cond; Ramón Vinay ( Tannhäuser ); Gré Brouwenstijn ( Elisabeth ); Herta Wilfert ( Venus ); Dietrich Fischer-Dieskau ( Wolfram von Eschenbach ); Josef Greindl ( Landgraf Hermann ); Volker Horn ( Shepherd ); Josef Traxel ( Walther von der Vogelweide ); Gerhard Stolze ( Heinrich der Schreiber ); Toni Blankenheim ( Biterolf ); Theo Adam ( Reinmar von Zweter ); Bayreuth Festival O & Ch • ANDROMEDA 5162, mono (3 CDs: 183:10) Live: Bayreuth 7/22/1954

I’d really like to know why so many Wagner lovers have a bee in their bonnet over Josef Keilberth. So often in others’ reviews I read that he was routine, dull, unimaginative, etc., etc., yet I’ve always liked his conducting. Even as far back as my earliest years in college, when I was absorbing the Wagner canon from old LP recordings in the library ( Lohengrin with Steber and Windgassen, Fliegende Holländer with Varnay and Uhde, etc.), I always found Keilberth’s conducting well-paced, beautifully phrased and articulated as well as urgent in dramatic scope, and so I find it here. Even as early as the Overture (the Paris version, so it connects to the Venusberg music), Keilberth sounds as if he’s on a mission, and that mission is to make Tannhäuser’s story as thrilling as is humanly possible.

The problem with this release is the sound quality of the orchestra. I don’t know whether this recording stems from an in-house tape or a broadcast, but whichever it is the orchestral sound is harsh. The strings grate, the brasses spit, and the timpani sound like someone hitting a garbage can with mallets. And yet, this is an improvement over the one previous issue I’ve heard on Melodram, which was actually worse than this: The sound was both grating and muddy. At least Andromeda was able to clarify the sound and remove most of the surface noise, and happily the poor sound only affects the loud orchestral passages (like the Overture and the beginning of act II), not the singing. It should be noted that the cover of this release claims all-new 24-bit remastering, although like so many off-brand reissues of classic broadcasts, it has no libretto.

The only somewhat weak link in the cast is Wilfert as Venus. She is just OK. Her voice is not tonally pretty or very expressive except that she yells a good deal, and as I’ve said many times, yelling is not an interpretation. She also has a weak low range, which makes her descents in the scale disappointing. (Yet later on in the scene, the voice becomes less tense and she actually sings the written trills, something many Venuses ignore.) Vinay takes a while to warm up, sounding clumsy in Tannhäuser’s more elegant lines and lacking ease in singing the turns (mordents) in “Dir töne Lob.” Yes, he was an outstanding actor, both visually (which of course we can’t see here) and vocally, and that helps in many scenes of the opera, but I’d have liked a bit more suavity in the opening scene.

Once we leave the Venusberg, however, things brighten up considerably. A quick look at the cast list explains why. We have not only seasoned veterans Greindl and Traxel as Hermann and Walther and the still-young but already-legendary Fischer-Dieskau as Wolfram, but also several singers who would, within a decade, become important artists in their own right, namely Theo Adam, Toni Blankenheim, and Gerhard Stolze. As an extra bonus we get the great Gré Brouwenstijn who, along with Cristina Deutekom, was God’s gift to the soprano world from the Netherlands during the 20th century, as Elisabeth. (I should also mention that boy soprano Horn as the Shepherd is exceptionally good.) In addition, the microphone placement, which makes the orchestra sound so harsh, seems to be perfect for the voices, which all sound right and natural. As the opera progresses, Vinay’s voice brightens and loosens up a little, which is all to the good. (While listening, I kept trying to figure out whose voice he reminded me of; the closest I could come was Bernd Weikl if Weikl sang tenor.)

In act II, the vocal acting reaches new heights. Seldom have I heard Elisabeth sung with such nuance and attention to detail as she is here by Brouwenstijn; listen to the way she paints the words in “Was war es dann,” for instance, and as opposed to Vinay, her vocal elegance in singing the mordents is flawless. Griendl, who could at times sing with a loose vibrato and unfocused tone (as in his studio recordings of Tristan und Isolde and Die Zauberflöte ), is in excellent voice, particularly in the low range, and his singing in “Gar viel und schön ward hier” is both powerful and well-nuanced. I found it ironic that “Blick’ ich umher,” which is supposed to be sung somewhat clumsily by Wolfram (the reason he loses the song contest to Tannhäuser), is so elegantly and beautifully vocalized by Fischer-Dieskau that it almost sounds as if he were giving a Lieder recital. Yet, all in all, the drama builds during this act more suspensefully than I’ve heard it in any other performance of the opera. It’s absolutely hair-raising.

Happily, the Prelude to act III is recorded much better than most of the other orchestral music, possibly because it is mostly played softly. The Pilgrims’ Chorus, taken by Keilberth at a quicker than normal tempo, may sound a tad glib to seasoned Wagnerians yet it still manages to sound fervent, and Brouwenstijn’s ensuing aria (“Allmächt’ge Jungfrau”) is sung with rapturous feeling. Needless to say, “O du mein holder Abendstern” is sung beautifully, but what’s interesting to me about young Fischer-Dieskau is that it was his low range that was better than later on (a situation that made his mid-1970s recording of Die Meistersinger so disappointing). Vinay’s voice, ironically, sounds even deeper than Wolfram’s (later on in his career, he returned to singing baritone and then even sang bass!), but he is locked into the character here, so his “Rome narrative” is movingly and dramatically sung with full attention to words, and his death scene is indescribably moving.

The bottom line, then, is that if you really love Tannhäuser you need to own this performance. Because of the sound quality and lack of a libretto it’s not a first choice—that plum goes to the Dernesch-Kollo-Braun-Solti stereo set on Decca—but all things being equal, the singers are recorded so well that if you simply ignore the harshness of the purely orchestral passages (particularly the loud ones), you’re in for an extraordinary treat. This was a Wieland Wagner production, and somehow or other he and Keilberth got the whole cast to perform at white heat.

FANFARE: Lynn René Bayley

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Richard Wagner: Tannhauser
Andromeda Jan 2014
CD
$21.99

Sale

WAGNER, R.: Tannhauser [Opera] (1957)
IDIS Mar 2007
CD
~~$48.99~~ $24.48

Wagner: Tannhauser / Pape, Seiffert, Prudenskaya, Barenboim, Staatskapelle Berlin

BelAir Classiques

DVD

$31.99 Jan 29, 2016

Also available on Blu-ray

A brand new production of ‘Tannhäuser’ from the Staatsoper Berlin, conducted by Daniel Barenboim, staged and choreographed by Sasha Waltz, who has brought to the stage this Romantic Wagner opera with a star cast of some of today's best Wagnerian singers: Peter Seiffert in the title role, Réne Pape as Landgraf and Peter Mattei as Wolfram, Ann Petersen sings Elisabeth and Marina Prudenskaya is Venus.

HD recording: Staatsoper im Schiller Theater, Berlin – 04/2014
DVD Running time: 192 min.
Booklet: French / English / German, Subtitles: French / English / German
16/9, NTSC, Audio: Dolby Digital 2.0, Dolby Digital 5.1

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Wagner: Tannhauser / Pape, Seiffert, Prudenskaya, Barenboim, Staatskapelle Berlin
BelAir Classiques Jan 2016
DVD
$31.99

Wagner: Tannhauser / Sawallisch, Windgassen, Fischer-dieskau, Bumbry

MYTO Historical

$13.99 Feb 10, 2015

This is not to be confused with the (rightly) famous Philips recording with almost the same cast from a year later, also from Bayreuth. I find this performance somewhat more compelling–it has an energy that the ’62 does not: rarely have I heard the choral moments sound so passionate, whether in outrage or prayer, and I’ve always thought that this opera, more than any other of Wagner’s, needs all the energy it can get. In addition, Grace Bumbry, in her Bayreuth debut (at the moment when the color barrier was lifted) is even better here, singing with a wild security and insinuation that ravishes the ear and, yes, Tannhäuser’s soul. She’s an intensely interesting Venus, sneaky, believable, and somewhat terrifying.

Wolfgang Windgassen is a bit better as well after a really bad off-key start; the voice seems darker than the following year. And his Rome Narrative is riveting, pathetic, and a true tour de force–and he has plenty of voice left, even so late in the evening. His operatic voyage from entranced to rueful to loving to crazed and then to more crazed is shatteringly portrayed.

Victoria de los Angeles preceded Anja Silja as Elisabeth, and she is in her full glory here. Nobody sounds like de los Angeles; arguments were made at one time that her Carmen sounded as if she had just come from a convent–but could that be any more perfect for Elisabeth? Her tonal purity is ideal for “Dich teure Halle” and the last-act prayer, and she lacks only the last smidge of desperation and grandeur for her supplications near the end of Act 2. But what a sound–so gentle and loving, so unadulterated! The other cast difference is the inclusion of Dietrich Fischer-Dieskau as Wolfram. Again, can anyone sing or feel this music better? The empathy, the dignity, the gorgeous tone are all unique.

Josef Greindl, who seems to have sung every performance of everything throughout the 1960s, is a gruff Landgraf who nonetheless is fair and loving. And popping up from ensembles and offering the occasional solo is Gerhard Stolze, singing with an instantly recognizable timbre as Walther, and happily sounding nothing like either Mime or Herod. The rest are superb. Wolfgang Sawallich’s contribution needs no vote from me; this is his opera, brilliantly formed. The hybrid edition used may trouble some listeners: It’s essentially the 1845 Dresden, but with the 1861 Venusberg music. It doesn’t bother me a bit. The sound, by the way, is excellent mono.

My first choice for this opera remains Solti’s for Helga Dernesch’s Elisabeth and Christa Ludwig’s Venus, as well as René Kollo’s youthful Tannhäuser, not to mention the recording itself and Solti’s passion. But this one, at half the price, is very tempting.

-- Robert Levine, ClassicsToday.com

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Wagner: Tannhauser / Sawallisch, Windgassen, Fischer-dieskau, Bumbry
MYTO Historical Feb 2015
CD
$13.99

Act III

Ars Produktion

$19.99 Apr 17, 2026

Less is more: true to this motto, nine orchestra musicians who were friends founded the Ensemble Minui in 2016. Active in renowned orchestras such as the Carinthian Symphony Orchestra, the Slovenian National Opera, and the Vienna State Opera, they devote themselves here to exquisite minimalism with elegance and sophistication. Homogeneous and balanced, the five string players and four wind players offer previously unheard, sonically differentiated perspectives on large-scale operas such as Wagner's Die Walküre, Puccini's Manon Lescaut, and Strauss's Die Frau ohne Schatten.

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Act III
Ars Produktion Apr 2026
CD
$19.99

Mix & Match

Wagner: Tannhauser / Barenboim, Pape, Seiffert, Mattei, Prudenskaya [Blu-ray]

BelAir Classiques

Blu-Ray

$36.99 Jan 29, 2016

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

Also available on standard DVD

A brand new production of ‘Tannhäuser’ from the Staatsoper Berlin, conducted by Daniel Barenboim, staged and choreographed by Sasha Waltz, who has brought to the stage this Romantic Wagner opera with a star cast of some of today's best Wagnerian singers: Peter Seiffert in the title role, Réne Pape as Landgraf and Peter Mattei as Wolfram, Ann Petersen sings Elisabeth and Marina Prudenskaya is Venus.

HD recording: Staatsoper im Schiller Theater, Berlin – 04/2014
BLURAY Running time: 192 min.
Booklet: French / English / German, Subtitles: French / English / German
16/9, Full HD, Audio:PCM 2.0, DTS HD Master Audio

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Wagner: Tannhauser / Barenboim, Pape, Seiffert, Mattei, Prudenskaya [Blu-ray]
BelAir Classiques Jan 2016
Blu-Ray
$36.99

Wagner: Tannhauser / Youn, Kerl, , Eiche, Kober, Bayreuth Festival [blu-ray]

Opus Arte

Blu-Ray

$52.99 Jul 31, 2015

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

Also available on standard DVD

Richard Wagner’s Tannhauser, a tale of the struggle between spiritual and profane love, and of redemption through love, is given a radical visual update in Sebastian Baumgarten’s controversial Bayreuth production. • Joep van Lieshout’s giant installation ‘The Technocrat’ dominates the stage, its industrial interior suggesting that Tannhäuser is in fact one big experiment. • Torsten Kerl interprets the title role, with Camilla Nylund in the role of Elisabeth. • ‘‘Camilla Nylund’s Elisabeth and Kwangchul Youn’s Landgraf deservedly received the most applause at the curtain calls.’’ (Bachtrack)

Richard Wagner
TANNHÄUSER

Hermann / Landgrave of Thuringia - Kwangchul Youn
Tannhäuser - Torsten Kerl
Wolfram von Eschenbach - Markus Eiche
Walther von der Vogelweide - Lothar Odinius
Biterolf - Thomas Jesatko
Heinrich der Schreiber - Stefan Heibach
Reinmar von Zweter - Rainer Zaun
Elisabeth / The Landgrave’s niece - Camilla Nylund
Venus - Michelle Breedt
A Young Shepherd - Katja Stuber

Bayreuth Festival Chorus and Orchestra
(chorus master: Eberhard Friedrich)
Axel Kober, conductor

Sebastian Baumgarten, stage director
Joep van Lieshout, set designer
Nina von Mechow, costume designer
Franck Evin, lighting designer

Recorded live at the Bayreuth Festival, July 2014

Bonus:
- Interviews with Sebastian Baumgarten, Axel Kober, Eberhard Friedrich, Torsten Kerl and Camilla Nylund
- Short films
- Cast gallery

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS-HD Master Audio 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Korean
Running time: 252 mins (opera) + 30 mins (bonus)
No. of Discs: 2 (BD 50)

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Wagner: Tannhauser / Youn, Kerl, , Eiche, Kober, Bayreuth Festival [blu-ray]
Opus Arte Jul 2015
Blu-Ray
$52.99

Wagner: Tannhauser / Seiffert, Eiche, Vas, Weigle, Gran Teatre Del Liceu

C Major Entertainment

Blu-Ray

$45.99 Mar 27, 2012

Tannhäuser
Richard Wagner
Gran Teatre del Liceu 2008

Director: Sebastian Weigle
Orchestra: Simfonica del Gran Teatre del Liceu
Tannhäuser: Peter Seiffert
Elizabeth: Petra Maria Schnitzer
Wolfram: Markus Eiche
Venus: Béatrice Uria-Monzon
Hermann: Günther Groissböck
Walther : Vicente Ombuena
Biterolf: Lauri Vasar
Heinrich: FranciscoVas
Reinmar: Johann Tilli

Aspect Ratio: 16:9, 1080i
Format: PCM Stereo, DTS HD 5.1
Running time: 201 mins
No. of Discs: 1

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Wagner: Tannhauser / Seiffert, Eiche, Vas, Weigle, Gran Teatre Del Liceu
C Major Entertainment Mar 2012
Blu-Ray
$45.99

Wagner: Tannhauser / Kober, Bayreuth Festival Orchestra and Chorus

Opus Arte

$34.99 Jul 27, 2018

This live recording of Richard Wagner’s Tannhauser was made at the 2014 Bayreuth Festival. “Kober’s conducting… is outstanding and the chorus are superb… The color that Nylund is able to apply… pays dividends with Elisabeth… Keri achieves a good balance between the more lyrical side of his character and the Romantic heldentenor… Musically it’s a glorious affair… that finds the true delicacy and poignancy within what is surely the most Romantic of Wagner’s works on the misunderstood suffering, exiled artist.” (OperaJournal) “Camilla Nylund’s Elisabeth and Kwangchul Youn’s Landgraf deservedly received the most applause at the curtain calls.” (Bachtrack) “Especially in the Singer’s Contest in the second act the performers act with heart and soul. Baumgarten developed a truly animated stage direction.” (Opernnetz)

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Wagner: Tannhauser / Kober, Bayreuth Festival Orchestra and Chorus
Opus Arte Jul 2018
CD
$34.99

TANNHAUSER-OUVERTURE

MDG

SACD

$24.99 Mar 11, 2022

From the cosmopolitan dandy to the ascetic clergyman: Hardly any other artist underwent such a profound transformation as Franz Liszt. In his "Consolations" one seems to be able to listen to this evolution: Disappointed love and pious wishes, abysmal grief and redeeming hope are all present in this cycle, which pianist Julia Hermanski presents in an exciting debut for MDG. The fact that Liszt was not only a keyboard lion, but also and above all an extremely sensitive poet: anyone who did not yet know this should not miss this opportunity to discover this album! Like Liszt himself, Julia Hermanski is also at ease with chamber music. This is especially helpful for the more intimate pieces in this collection: Schubert's "Ständchen", which Liszt arranged several times, demands the most sensitive sound sensation in order not to violate the delicate simplicity of Schubert's original; and the recitative and romance "O du, mein holder Abendstern" after Wagner's "Tannhäuser" also rely more on sensitive nuances than on extroverted piano acrobatics. In the "Tannhäuser" overture, things sometimes get down to business - virtuoso opera paraphrases from his own hand were part of Liszt's permanent concert repertoire. He was well aware of their pianistic challenges: "I believe that few players will be able to master their technical difficulties" he wrote to his publisher. Julia Hermanski likes to take the risk. Liszt was also great at inventing his own stories, such as the Ballad in B minor, which retells the ancient legend of Hero and Leander. The story of the two royal children, separated by the deep waters of the Hellespont, is dramatically condensed until the tragic finale - a roaring feast of sound for Julia Hermanski, who is able to elicit grandiose sound effects from the Steinway concert grand "Manfred Bürki" from 1901.

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TANNHAUSER-OUVERTURE
MDG Mar 2022
SACD
$24.99

Wagner: Tannhäuser, WWV 70
Walhall Eternity Series Jan 2005
CD
$13.99

Bruckner: Mass No. 3, WAB 28

Tudor

SACD

$21.99 May 27, 2014

•Bruckner's last mass is a masterpiece. Rooted in the traditional Austrian mass, it also contains symphonic elements found only in Beethoven's Missa solemnis, although Mahler can be seen on the horizon. Premiered in Vienna in 1872 to immense acclaim, the work is now performed both in the liturgy and in concert, a permanent part of the repertoire. In contrast to the monumental symphonies, here we encounter a very special soundscape, reaching from soft ethereal sounds to jubilant surges

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Bruckner: Mass No. 3, WAB 28
Tudor May 2014
SACD
$21.99

CLAVIER UBUNG TEIL III

MDG

SACD

$49.99 May 31, 2019

Johann Sebastian Bach's organ artistry made a powerful impression in St. Catherine's Church when he applied for the coveted organist's post at the Principal Church of St. James in Hamburg in 1720. Since Bach, unlike his rival, was unwilling to contribute the immense sum of four thousand marks as his "dowry," he did not prevail but instead found a new job in Leipzig a few years later. In Leipzig he initially discharged other duties before he again came forward as an instrumental composer with a dazzling cycle of organ chorales in 1739. Andreas Fischer has freshly recorded this "Third Part of the Clavierübung" on his very own St. Catherine's organ - certainly in a rendering that would have brought joy to Bach, who could "not praise enough" this instrument "outstanding in every respect."

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CLAVIER UBUNG TEIL III
MDG May 2019
SACD
$49.99

Ziehrer, C.M.: 3 Wunsche (Die) [Operetta]
CPO Jul 2009
CD
$36.99

Schumann: Davidsbundler Tanze; Drei Romanzen

Aulos

$20.99 Jan 10, 2025

Three classics from Grimm's fairy tales musically retold by Berlin composer Mark Scheibe. Narrator Meike Droste and the recorder players of the Boreas Quartet Bremen bring the fairy tale characters to life in vivid language and new verses. The ensemble's entire range of instruments is used: from the tirilating sopranino to the donkey-like contrabass recorder.

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Schumann: Davidsbundler Tanze; Drei Romanzen
Aulos Jan 2025
CD
$20.99

Wagner: Die Meistersinger Von Nürnberg Acts 2 & 3 / Rother
Music and Arts Programs of America Oct 2000
CD
$18.99

Die schone Mullerin (SACD)

Challenge Classics

SACD

$17.99 Oct 02, 2026

Franz Schubert's 'Die schone Mullerin' receives a deeply personal and strikingly intimate new interpretation in this recording by tenor Markus Miesenberger and guitarist Christian Haimel. Based on Wilhelm Muller's timeless poems, the cycle follows the emotional journey of a young miller's apprentice consumed by love, longing, jealousy and despair. Rather than presenting another traditional version of this beloved masterpiece, the artists return to the sound world of Schubert's Vienna through the use of a gut-strung Biedermeier guitar, revealing the songs with extraordinary transparency, fragility and emotional immediacy. In this setting, the famous cycle becomes what Miesenberger calls 'an authentic reflection of the soul of a broken man,' where voice and guitar move together with breathtaking lightness between hope and heartbreak. An essential part of this album's unique atmosphere is the remarkable recording environment itself: in sound engineer and producer Bert van der Wolf's celebrated High Street Studio in Heerewaarden, the Netherlands. Housed in a church renowned for it's natural acoustics, profound silence and immersive sound quality, the studio offered the perfect space to 'open new spaces' within Schubert's music. Combined with Van der Wolf's visionary engineering and the warmth of historical instrumentation, the recording creates a vivid new sonic perspective - intimate yet modern, pure yet expansive - allowing listeners to experience 'Die schone Mullerin' with a sense of immediacy and emotional depth rarely heard before.

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Die schone Mullerin (SACD)
Challenge Classics Oct 2026
SACD
$17.99

Telemann: Zerschmettert Die Götzen, Etc / Ad-el, Mields, Martens, Accademia Daniel
CPO Sep 2007
CD
$18.99

Gottes Wille meint es gut - Complete Cantatas for Tenor and

CPO

$18.99 Jul 17, 2026

Christoph Graupner must have made a deep and lasting impression on his contemporaries. Otherwise, more than two decades after his death, an admiring epitaph would scarcely have attested that he regarded church music as "so lofty, venerable, and sacred that he distinguished it from operatic and chamber styles as far as heaven from earth; the stranger who heard him for the first time marveled and believed himself transported into another world." Our catalogue now offers ample opportunity to test the truth of these words of praise. The cantatas released thus far represent only a small fraction of the nearly fifteen hundred works Graupner left behind. Yet, in every single one, we hear that he approached this genre "with diligence, punctuality, quiet serenity, and joy of heart." These same qualities have clearly inspired the performers, who now join forces for the sixth time in their commitment to the long-serving Kapellmeister of the Darmstadt court.

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Gottes Wille meint es gut - Complete Cantatas for Tenor and
CPO Jul 2026
CD
$18.99

Mix & Match

Schubert: Lied Edition 28 - Friends, Vol. 3

Naxos

$9.99 ~~$19.99~~ Save 50% Sep 30, 2008

The Naxos Deutsche Schubert-Lied-Edition: Schubert set the poetry of over 115 writers to music. He selected poems from classical Greece, the Middle Ages and the Renaissance, from eighteenth-century German authors, early Romantics, Biedermeier poets.

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Schubert: Lied Edition 28 - Friends, Vol. 3
Naxos Sep 2008
CD
~~$19.99~~ $9.99

Clavier｜ung Dritter Teil
Kontrapunkt Jan 1990
CD
$41.99

Rihm: Das Gehege - Beintus: Le Petite Prince / Nagano, Deutsches Symphony Orchestra Berlin

Capriccio

$21.99 Sep 07, 2018

When Kent Nagano assumed the direction of the Bavarian State Opera in Munich in autumn 2006, he had intended a new production of Richard Strauss’ Salome as one of the first premieres. He wanted to precede the challenging one-act opera after Oscar Wilde’s drama with a new music theatre work. He turned to Wolfgang Rihm. ‘I replied’, Rihm said in an interview with Die Zeit: ‘There’s only one thing: the final scene from Schlusschor by Botho Strauß. Nagano’s commission became the catalyst in transforming this desire into reality. This is the genesis of Das Gehege. A nocturnal scene for soprano and orchestra. Kent Nagano and Jean-Pascal Beintus (* 1966) met in the orchestra pit of the Opéra de Lyon in 1988. After considering the first orchestral manuscripts, the maestro, known for his openness and great erudition, encouraged the young man to expand his musical career. Several pictorial projects came to Nagano’s mind, which he entrusted to Beintus’ musical imagination: first, Wolf Tracks for recitator and orchestra (recorded with the speakers Bill Clinton and Michail Gorbachov), for which Beintus was awarded a Grammy in 2004, before in 2008 writing for the family concerts of the German Symphony Orchestra in Berlin a suite on Antoine de Saint-Exupéry’s omnipresent The Little Prince.

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Rihm: Das Gehege - Beintus: Le Petite Prince / Nagano, Deutsches Symphony Orchestra Berlin
Capriccio Sep 2018
CD
$21.99