GIACOMO PUCCINI
TOSCA
“Kristīne Opolais – A great, highly dramatic singing actress whose interpretation gets under the skin.” (Kurier)
It is impossible to imagine today’s opera repertoire without Puccini’s Tosca, but rarely has an opera been so brutal: Murder, torture and love, jealousy and passion – everything is present in abundance. When it was written in 1900, this thriller set to music caused considerable controversy due to the political figureheads involved. Only much later the story about the deeply religious Tosca, the passionate Cavaradossi and the sadistic Scarpia was interpreted as the psychological drama it was meant to be. The drama on stage is accompanied from the orchestra pit by Marc Albrecht conducting the ORF Vienna Radio Symphony Orchestra by pointed sketches of the characters, but also – as typical for Puccini – by lyrical turns and beautiful melodies that make this opera shocker unique.
“Jonathan Tetelman stems Caravadossi with juvenile power and tenoral
beam that almost bursts the dimensions of the house.”
-Opernwelt-
BRUCKNER 11
CHRISTIAN THIELEMANN
WIENER PHILHARMONIKER
The complete symphonies
5 Blu-ray Box
“Only the highest musical perfaction sounds like this” (Süddeutsche Zeitung)
On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.
EVGENY KISSIN
THE SALZBURG RECITAL
“A Rachmaninoff package de luxe. [...] A piano experience you won't forget.” (klassik.com)
In this piano recital, master pianist Eygeny Kissin spans the programme from Bach to Mozart to Chopin and Rachmaninoff. For the latter, Kissin makes a passionate commitment in the year of the composer’s 150th birthday: “Rachmaninoff’s music”, he says, “has a quality that speaks directly to people. There are no language barriers.” With the selection of one piece, Kissin consciously positions himself against Russia’s war of aggression on Ukraine. Chopin's Polonaise in F-sharp minor, Op. 44, became part of the recital at short notice. Composed in 1841, it was written at a time when Poland was in a similar situation as Ukraine is now: Warsaw was occupied by Russian troops.
“Breathtaking virtuosity and brilliant sound,
cantabile and musicality without equal.”
-Der Standard-
LEOŠ JANÁČEK
KÁŤA KABANOVÁ
“Jittery and balletic, ecstatic and anxious, Winters has a child’s volatile presence, and her livewire voice conveys Kat’a’s wonder and vulnerability.” (NY Times)
Janáček’s opera Káťa Kabanová is set in a small Russian town and is based on the play The Storm by Aleksandr Ostrovsky. The story revolves around the central character, Káťa – sung by “the phenomenal Corinna Winters” (Neue Musikzeitung) – who is trapped in a loveless marriage to an abusive man named Boris. The opera explores themes of social conformity, oppression, and the consequences of forbidden love. Janáček’s use of musical leitmotifs and repetitive themes reflect the characters’ emotions and psychological states, adding depth and nuance to the story. Stage director Barrie Kosky managed to create an intimate but impressive setting in the magnificent Felsenreitschule. “The young Czech conductor Jakub Hruša, highly esteemed by the Wiener Philharmoniker, leads the orchestra with a feeling for the great moments as well as the fine lyricism of the grandiose score. Corinne Winters is thrilling in the title role” (Kronenzeitung).
"young Czech conductor Jakub Hruša, highly esteemed by the Vienna Philharmonic, leads the orchestra with a feeling for the great moments as well as the fine lyricism of the grandiose score. Corinne Winters is thrilling in the title role..”
-Kronen Zeitung-
GIACOMO PUCCINI
IL TRITTICO
“Asmik Grigorian in all three female lead roles. She is a stage animal, with charisma to burn and a fine, brilliantly managed voice, and she effortlessly commands attention.” (Financial Times)
Il trittico was first performed in New York on 14 December 1918, while the First World War was still raging in Europe. At first glance, the three one-act operas Gianni Schicchi, Il tabarro and Suor Angelica seem to have nothing to do with each other; their common denominator is merely the entanglement of man in a fateful destiny that only exceptionally, for a moment, seems to promise a happy outcome to the one happy outcome to the "adventure of life" - a complex of themes that in its complexity seems to be in such good hands with few directors as it is with Christof Loy directors as it is with Christof Loy. The female leads in the opera's three acts are sung by Lithuanian soprano Asmik Grigorian, a very rare and magnificent performance, but one that once again links the works together.
"The evening, which covers the whole palette of colours and emotions from funny to tragic and dramatic, is an orchestral event.”
-Kurier-
COPPEL.I.A
“As coherent as radically chic”
(Die Welt)
As love breaks into the lives of two young people, an artificial being questions everything they thought they knew. Jean-Christophe Maillot revisits this classic of romance and, with his original music, presents a reflection on the search for the ideal partner in a technologically advanced society. Is he still the flesh-and-blood human being with whom we are familiar, or another being who makes us doubt that we belong to the human race?
"The Dance is beautiful: Maillot knows exactly which movements enhance his dancers. Indeed, he as terrific soloists: Lou Beyne, whose gesture is as splendid as her morphology,
Matej Urban as a moving Coppélius.”
-Le Figaro-
“Les Ballets de Monte-Carlo magnificent as always.”
-La Stampa-
THE JOHN CRANKO
STUTTGART BALLET COLLECTION
ONEGIN
ROMEO AND JULIET
THE TAMING OF THE SHREW
+ 3 new Documentaries
Three legendary performances by the Stuttgart Ballet choreographed by John Cranko: Onegin, Romeo and Juliet and The Taming of the Shrew. With bonus talks on each ballet and three documentaries about the Stuttgart Ballet and its outstanding dancers Marcia Haydée and Friedemann Vogel: Of Miracles and Superheroes - The Stuttgart Ballet, Marcia Haydée - The Seduction to Dance and Friedemann Vogel - Incarnation of Dance. The 3 documentaries are available on DVD and Blu-ray for the first time!
CHRISTIAN THIELEMANN
WIENER PHILHARMONIKER
BRUCKNER 11 - Vol. 5:
Bruckner, Symphonies Nos. 4/9
"This leaves nothing to be desired!"
(Salzburger Nachrichten)
On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.
“Thielemann takes ample time, especially for the slow, the groping quiet and thus organically developsthe structure of the entire symphony.”
-Süddeutsche Zeitung-
UMBERTO GIORDANO
SIBERIA
“Musical storytelling theatre in perfection.”
(Süddeutsche Zeitung)
It is a tremendous act of love when Stephana gives up her life as a mistress in an elegant Saint Petersburg palais to follow her true love Vassili to a Siberian prison camp. In this exile, Stephana turns into a fearless hero...
For Umberto Giordano, who also composed Andrea Chénier and Fedora, Siberia is a universally applicable human drama despite its Russian color: “Love and pain do not have a nationality”. Siberia premiered in 1903 in La Scala in Milan replacing Giacomo Puccini’s postponed Madama Butterfly. Two young artists brought the rather lesser known but all the more stirring work to the Bregenz Festspielhaus: the internationally aspiring director Vasily Barkhatov and conductor Valentin Uryupin, whose “highly energetic, super-precise and sensitive conducting is impressive” (Der Standard).
"But truly great things come from the orchestra pit: Valentin Uryupin plunges into the score with verve and lets the Wiener Symphoniker rise above itself. It's unbelievable what this music has to offer.”
-Südkurier-
CHRISTIAN THIELEMANN
WIENER PHILHARMONIKER
BRUCKNER 11 - Vol. 4:
Bruckner, Symphonies Nos. 3/6
"Thielemann has found a symbiosis with the Vienna Orchestra that makes unrivalled interpretative statements possible, especially for this repertoire" (Die Presse)
On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.
“This work has not often been heard like this: setting the highest standards, as part of the excellent Bruckner cycle that the Vienna Philharmonic with Thielemann without competition.”
-News-
THE STUTTGART BALLET
IN JOHN CRANKO´S
THE TAMING OF THE SHREW
"Cranko's adaption of Shakespeare's comedy is an artistic gem." (Frankfurter Allgemeine Zeitung)
John Cranko's The Taming of the Shrew is one of the greatest ballet comedies of the 20th century. Inspired by William Shakespeare's world-famous play, Cranko brings to vivid life the story of the shrewish Katharina whom no one wants to marry and the dashing and clever Petruchio who makes her his wife and "tames" her. Set to cheerful and boisterous music by Kurt-Heinz Stolze after Domenico Scarlatti and with coulorful costumes and a charming set by Elisabeth Dalton, The Taming of the Shrew evokes the sunlit streets and gardens of Italy. The perfect ballet for the whole family, dances by the Stuttgart Ballet - "This company is world class. (Tanznetz)
DANIEL BARENBOIM
The Pierre Boulez Saal Sessions
LUDWIG VAN BEETHOVEN
The Complete Piano Sonatas
DVD 1
SONATA NO. 1 in F minor, Op. 2/1
SONATA NO. 3 in C major, Op. 2/3
SONATA NO. 2 in A major, Op. 2/2
SONATA NO. 4 in E flat major, Op. 7 “Grande Sonate”
SONATA NO. 5 in C minor, Op. 10/1
DVD 2
SONATA NO. 7 in D major, Op. 10/3
SONATA NO. 6 in F major, Op. 10/2
SONATA NO. 8 in C minor, Op. 13 “Pathétique”
SONATA NO. 9 in E major, Op. 14/1
SONATA NO. 11 in B flat major, Op. 22
SONATA NO. 10 in G major, Op. 14/2
SONATA NO. 12 in A flat major, Op. 26
DVD 3
SONATA NO. 19 in G minor, Op. 49/1
SONATA NO. 13 in E flat major, Op. 27/1
“Sonata quasi una fantasia”
SONATA NO. 14 in C sharp minor, Op. 27/2 “Moonlight”
SONATA NO. 20 in G major, Op. 49/2
SONATA NO. 15 in D major, Op. 28 “Pastoral”
DVD 4
SONATA NO. 16 in G major, Op. 31/1
SONATA NO. 17 in D minor, Op. 31/2 “The Tempest”
SONATA NO. 18 in E flat major, Op. 31/3 “The Hunt”
SONATA NO. 21 in C major, Op. 53 “Waldstein”
SONATA NO. 22 in F major, Op. 54
SONATA NO. 24 in F sharp major, Op. 78 “À Thérèse”
SONATA NO. 26 in E flat major, Op. 81a “Les Adieux”
DVD 5
SONATA NO. 25 in G major, Op. 79
SONATA NO. 23 in F minor, Op. 57 “Appassionata”
SONATA NO. 27 in E minor, Op. 90
SONATA NO. 28 in A major, Op. 101
SONATA NO. 29 in B flat major, Op. 106 “Hammerklavier”
DVD 6
SONATA NO. 30 in E major, Op. 109
SONATA NO. 31 in A flat major, Op. 110
SONATA NO. 32 in C minor, Op. 111
DVD 7
Interview with Daniel Barenboim on the Beethoven Sonatas
Masterclasses with Daniel Barenboim:
Alexandre Kantorow (Sonata No. 2 in A major, Op. 2/2)
DVD 8
Masterclasses with Daniel Barenboim:
Nathalia Milstein (Sonata No. 15 in D major, Op. 28 “Pastoral”)
Fabian Müller (Sonata No. 23 in F minor, Op. 57 “Appassi
CHRISTIAN THIELEMANN
WIENER PHILHARMONIKER
BRUCKNER 11 - Vol. 3:
Bruckner, Symphonies Nos. 2/8
“An overwhelming event, entirely of philharmonic sound”
(Kronen Zeitung)
On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.
“Orchestra and conductor impressed with Anton Bruckner's Second.”
-Der Standard on Bruckner 2-
"Only the highest musical perfection sounds like this"
-Die Presse-
GEORGE FRIDERIC HANDEL
GIULIO CESARE IN EGITTO
“A finely balanced mixture of poetry and comedy, of cinematic action and touching contemplation" (Der Standard)
Triumphantly premiered in 1724 at the King’s Theatre in London, George Frideric Handel’s Giulio Cesare in Egitto masterfully combines human emotions: Triumph with sorrow, despair with happiness and love with profound melancholy in the face of the transience of all earthly life. Star director Keith Warner creates a production that imaginatively blends silent film and baroque opera, delightfully echoing Mankiewicz’s legendary Cleopatra with Elizabeth Taylor, Rex Harrison and RichardBurton. An excellent cast of singers is led by two of the world’s leading countertenors: Bejun Mehta and Christophe Dumaux. Louise Alder shines as the seductive Cleopatra. Patricia Bardon, Simon Bailey and Jake Arditti are further highlights in this extraordinary group of singers, while Ivor Bolton provides the appropriate soundtrack on the podium of the Concentus Musicus Wien.
“Cheers for all involved”
-Kurier-
RICCARDO MUTI
WIENER PHILHARMONIKER
KONZERVEREINIGUNG WIENER STAATSOPERNCHOR
FEOLA/KOLOSOVA/KORCHAK/ABDRAZAKOV
Beethoven, Missa solemnis
“Muti mastered the work and presented it as stringently as perhaps no one else can do it today.” (Die Presse)
Since the death of Herbert von Karajan in 1989, the prestigious Vienna Philharmonic Orchestra’s concerts around Ascension Day (15 August) have firmly been in the hands of Riccardo Muti. Always sold out, they are among the highlights of every festival summer. On the occasion of his 80th birthday, the maestro chose Beethoven’s Missa solemnis, a piece he has never conducted before.
“Muti is a master in conveying extremes: monumentality, where it is compositionally intended, and highest internalization
alternate with each other in a dense interplay.”
- Frankfurter Allgemeine Zeitung-
CHRISTIAN THIELEMANN
WIENER PHILHARMONIKER
BRUCKNER 11 - Vol. 2:
Bruckner, Symphonies Nos. 1/7
“An overwhelming event, entirely of philharmonic sound”
(Kronen Zeitung)
On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.
“Thielemann conducted Bruckner's Seventh as a human drama in phiharmonic splendour.”
-Die Presse-
CHRISTIAN THIELEMANN
WIENER PHILHARMONIKER
BRUCKNER 11 - Vol. 1:
Bruckner, Symphonies F minor/D minor/No. 5
Symphonies in F & D minor for the first time
on DVD & Blu-ray!
On the occasion of the Bruckner bicentenary, the Vienna Philharmonic recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra's history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work.
“Masterly, kapellmeisterlike, dreamlike.”
-Der Standard-
“Beautiful to weep for and artistically accomplished. [...] The interpretation of the Fifth may be considered a milestone. The way the musicians realised this work was simply grandiose.”
-Kurier-
HERBERT BLOMSTEDT
WIENER PHILHARMONIKER
Honegger, Symphony No. 3 "Liturgique"
Brahms, Symphony No. 4
“A stirring, long-lasting listening experience” (br-klassik.de)
Now in his nineties, Herbert Blomstedt, former conductor of the Leipzig Gewandhaus Orchestra and the San Francisco Symphony Orchestra, is still a powerful interpreter of the symphonic repertoire. His programme with the Vienna Philharmonic is straightforward: it begins with Honegger’s brilliant Third Symphony and ends with Brahms’ Fourth. The eminent maestro, one of the orchestra’s favourites since his debut at the 2011 Salzburg Mozart Week, continues to enchant audiences with his enormous presence, verve and artistic drive.
“Fortunately, they still exist, the magical moments when time stands still, when music reaches and touches people. But for the sparks to really fly, you also need artists like Herbert Blomstedt and the Vienna Philharmonic. In the Großes Festspielhaus, they musically bundled faith and optimism into a heartfelt plea for peace.”
-Die Presse-
ALFREDO CATALANI
LA WALLY
“Izabela Matula - A Wagnerian hell of a woman with a great soprano.” (Kronenzeitung)
Catalani’s masterpiece was first performed in 1892 at La Scala in Milan and is often classified as verismo opera. Catalani was inspired by Wagner, German Romanticism and the operas of his contemporary Jules Massenet. Great attention is paid to the orchestra, which is given nuanced harmonies and colourful instrumentation. He chose highly unusual material for his opera: the successful novel Die Geier-Wally (1873) by Wilhelmine von Hillern tells the story of a young woman who does not fit any of the gender clichés of the time. Unlike many earlier operatic heroines commanded to marry against their will, Wally does not look for a solution in society, but instead runs away to the mountains. Her husband must be her equal, someone unafraid to face both a bear and her father…
"Catalani’s highly dramatic music finds an intense advocate in
Andrés Orozco-Estrada on the podium of the
excellently disposed Wiener Symphoniker.”
-Wiener Zeitung-
GEORGE FRIDERIC HANDEL
SAUL
“Breathtaking music theatre at its best”
(Neue Musikzeitung)
After his impressive Messiah of 2009, Claus Guth once again succeeds in a breathtaking realisation of a Handel oratorio with Saul. Florian Boesch in the title role dominates the production as the ruler slipping into madness. He is an elemental force that attracts attention on stage like a black hole. As David,
British countertenor Jake Arditti gives a perfect presentation of the change from the innocent boy to the man who, after many dramatic events, becomes Saul’s successor. “The pure Handel stroke of luck!” (Neue Musikzeitung). Anna Prohaska, Giulia Semenzato and Rupert Charlesworth perform convincingly the roles of Saul’s children who succumb to David’s physical and spiritual charms. The Freiburger Barockorchester under Christopher Moulds holds a finely textured balance between powerful ensemble and delicate solo passages of Handel’s score. The Arnold Schönberg Choir’s nuanced singing – alternately exulting, admonitory or mournful – is as inspiring as the sound of the renowned period-instrument ensemble.
“Florian Boesch as Saul is a vocal and acting elemental force,
simply an ideal cast.”
-Kurier-
“Handel vividly, today, as a mirror of the
metamorphoses of power. ”
-Kurier-
SERGEI PROKOFIEV
THE FIERY ANGEL
“Musically gripping, scenically intense” (Wiener Zeitung)
Prokofiev’s Fiery Angel is one of the outstanding operas of the 20th century. Director Andrea Breth transfers the story of Renata, who is plagued by visions, to a clinic. The atmosphere is characterised by agonising hopelessness, but at the same time heightened by the emotional excesses of the inmates. This monochrome approach, which dispenses with any historical embellishment, is legitimised by the careful elaboration of the characters. Aušrinė Stundytė, one of the outstanding singing actors of our time, and the congenial Bo Skovhus play out the consequences of traumatisation with
merciless precision in Breth’s interpretation.
“Sergei Prokofiev’s rarely performed opera ̒ The Fiery Angel̓
becomes a gripping psychodrama at the Theater an der Wien.”
-Der Standard-
STANISŁAW MONIUSZKO
HALKA
“A gripping opera evening, a discovery for the ears and eyes” (Wiener Zeitung)
At Theater an der Wien Stanisław Moniuszko‘s opera Halka, rarely performed outside Poland, is staged with a first-class cast including star tenor Piotr Beczała. In 1858, Moniuszko succeeded in defining a specifically Polish musical tone with Halka, for which reason this piece is still considered the Polish national opera today. The overwhelming success was based on the clever integration of Polish dances such as the Mazurka, the Polonaise and folklore. The socially critical plot is about poor Halka, who comes from a peasant background and falls in love with Janusz, who is above her in rank, and gets pregnant by him. But Janusz marries the beautiful and rich Zofia. Despite the love of her childhood friend Jontek, Halka commits suicide.
The Polish leading team, first and foremost director Mariusz Treliński, puts the plot into a supercooled crime aesthetic. With Piotr Beczała - “vocally outstanding” - and Tomasz Konieczny – “his acting is piercing” (Der Standard), two of the internationally most important Polish singers appear on the stage of the Theater an der Wien for the first time. The American soprano Corinne Winters as fragile Halka is an absolute equal partner. The ORF Radio Symphonie-Orchester Wien under the baton of Łukasz Borowicz plays with perceptible delight.
“A musically and scenically stirring work of art”
-Neue Musikzeitung-
“Piotr Beczała (...) once again world class”
-Der Standard-
JULES MASSENET
THAÏS
Massenet's masterpiece of French lyric art in the "gigantically well told" (Der Kurier) staging by Peter Konwitschny
Everyone is familiar with the famous Méditation that Massenet assigned to the solo violin which demonstrates Massenet’s outstanding talent as a composer of instrumental works. Nonetheless it is of course Massenet’s operatic works that cemented his reputation as a composer, and he is now considered one of the greatest exponents of the genre to emerge in the late 19th century. His opera Thaïs, a masterpiece of French lyric art, is characterised by a mixture of sensuality and religiosity: The libretto was inspired by an anti-clerical novel by Anatole France in which a monk loses his faith when he tries to convert a courtesan, with whom he falls in love. Peter Konwitschny’s production provides a simple, uncluttered setting that allows the dramatic and musical brilliance of Thaïs to shine through.
“The Arnold Schoenberg Choir and the ORF Radio Symphony Orchestra Vienna under conductor Leo Hussain (...) make Massenet's music - not only in the famous 'Meditation' - vivid and sensual to experience."
-Kurier-
“An acoustic delight”
-Der Standard-
RUGGERO LEONCAVALLO
ZAZÀ
“An intense, touching, musical chamber play about love, lies and the theatre” (Kurier)
With Ruggero Leoncavallo’s rarity Zazà, the Theater an der Wien scored a coup with the grandiose house debutante Svetlana Aksenova in the title role. Christof Loy delivers a striking staging of the Verismo drama and conductor Stefan Soltész spiritedly leads the ORF Radio-Symphonieorchester Wien through the highly acclaimed evening. At the center of the piece is the provincial variety theatre artist Zazà who soon finds herself between two men, but also between the life she has been used to up to now and the hope for the happiness of a secure middle-class existence through marriage and love. “It would take a whole newspaper page to praise all the performers appropriately”, praises Der Standard. Of particular note is Svetlana Aksenova as Zazá who “suffers the whole spectrum from intimate affection to raging jealousy and mute despair”, Nikolai Schukoff (Milio) “shows himself as a daredevil and a depressed mourner”, Christopher Maltman as Cascart “leads energetically and touchingly his already lost fight for his beloved.”
“Svetlana Aksenova is grandiose as Zazà –
also as actress of this torn figure”
-Salzburger Nachrichten-
JEAN-PHILIPPE RAMEAU
PLATÉE
"A candy-coloured baroque dream" (Salzburger Nachrichten)
Robert Carsen’s dazzling production of Rameau’s comic opera Platée at the Theater an der Wien, with the musicians of Les Arts Florissants under the supreme direction of William Christie transfers the mythological action in the high fashion scene – Karl Lagerfeld, his cat Choupette and the world’s most famous fashion editors included. Jupiter, in a ploy to rid his wife, Junon, of jealousy over his amorous exploits, courts the vain but unsightly swamp-nymph Platée. When Junon, styled as Coco Chanel, catches sight of Platée, her jealousy evaporates and everyone mocks the deceived and deflated nymph. Vanity, is seems, afflicts everyone on stage, but only Platée, touchingly embodied by Marcel Beekman, pays a price. Baritone Edwin Crossley-Mercer is an imposing Jupiter, and the soprano Jeanine de Bique brings her distinctive style to La Folie’s bravura music. What carries the production and caused cheers at the premiere is precisely the excess it seeks to criticize and not least Nicolas Paul’s sensational choreography of Rameau’s dance pieces.
“A must-see - and not only for fashion freaks!”
-Bühne-
HOFMANNSTHAL
JEDERMANN
+ Documentary:
The Great World Theatre
Salzburg and its festival
The centerpiece of the Salzburg Festival and an incontrovertible institution - for the first time available on Blu-ray!
Although the prestigious Salzburg Festival is generally associated with the performance of classical music and opera, theatre was the foundation stone of this annual event: The two main initiators of the project were the film and theatre director Max Reinhardt and the poet Hugo von Hofmannsthal. The staging of Hofmannsthal’s theatre play Jedermann. Das Spiel vom Sterben des reichen Mannes (Everyman. The play of the rich man’s death) marked the inauguration of the Salzburg Festival on 22 August 1920. Since then, performances of this work on the open-air stage in front of Salzburg Cathedral have become legendary. In 2020, its 100th anniversary year, the work was staged by Michael Sturminger and starred Tobias Moretti in the leading role. Other exceptional actresses and actors in the line-up are Caroline Peters as Paramour, Edith Clever as Everyman’s Mother and Peter Lohmeyer.
“Tobias Moretti plays with great commitment,
Caroline Peters gives a brilliant performance”
-Salzburger Nachrichten-
“Once again we were fortunate to see the experienced Peter Lohmeyer perfectly cast as a contemporary incarnation of Death, who gives the role a certain dignity while teetering around the stage in high-heeled shoes.” -Kleine Zeitung-
The release is completed by a high-quality one hour docufiction about the dramas and unknown events behind the scenes, from its founding in 1920 to the present day showing unseen footage from 30 archives worldwide and numerous private films. A cinematic journey through time with a top-class cast of film and theatre actors, above all Florian Teichtmeister as the servant of Max Reinhardt’s dinner party.
RICHARD STRAUSS
ELEKTRA
The triumphant opening of the 100th anniversary edition of the Salzburg Festival
In its 100th anniversary edition, the Salzburg Festival celebrates a real triumph with a mind-blowing new production of Elektra, one of the most famous masterpieces of opera history by the two festival founders Richard Strauss and Hugo von Hofmannsthal. The Lithuanian soprano Aušrinė Stundytė as vengeful and traumatized Elektra turns the opening of the Festival into a real knockout performance! Her sister Chrysotemis is sung by her compatriot Asmik Grigorian, who made her international breakthrough as acclaimed Salome at the 2018 Salzburg Festival, and whose performance once again draws the audience into spell. The staging by Krzysztof Warlikowski of this work about matricide, obsession, revenge and physical degradation is a deep psychological study of a broken family. Franz Welser-Möst brings his trademark flair to the pit where the brilliantly effervescent and then again heartrendingly gentle playing Wiener Philharmoniker create gloriously exultant Strauss moments...
"One highlight of the centenary season”
-The Telegraph-
“To have chosen Elektra of all pieces, was audacious
– and to have brought it off so well, triumphant”
-The Times-
GEORGE FRIDERIC HANDEL
ARIODANTE
Cecilia Bartoli in her first ever breeches role – “a league of her own!” (Standard)
A high-class ensemble, first and foremost a brilliant Cecilia Bartoli in the role of the knight Ariodante who effortlessly switches between cheerful and lamenting virtuoso singing – “a league of her own!” (Standard) – makes the production a true triumph. At her side perform audience favourite Rolando Villazón as Lurcano, French soprano Sandrine Piau as desperate love-seeking Dalinda and young American soprano Kathryn Lewek, praised by critics as a “true discovery” (Neue Zürcher Zeitung). Gianluca Capuano at the podium of the Musiciens du Prince – Monaco “provides for elegance, richness of colour and a sensitive, stirring realisation of the ingenious score” (Kurier).
"Loy’s production of this Baroque work is a recipe for success
that requires no additional ingredients.”
-Kleine Zeitung-
“The profound grief portrayed by Bartoli [...] is heart rending.”
-Die Presse-
WOLFGANG AMADEUS MOZART
COSÌ FAN TUTTE
The Da Ponte Cycle
Part III of Nikolaus Hanoncourt's Da Ponte Cycle at the Theater an der Wien
“He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had to offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research.
“A Mozart drawn from historical sources and yet
anchored in our own time.”
-Die Presse-
"Something we had never before heard like this”
-Kurier-
WOLFGANG AMADEUS MOZART
DON GIOVANNI
The Da Ponte Cycle
Part II of Nikolaus Hanoncourt's Da Ponte Cycle at the Theater an der Wien
“He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had to offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research.
"A Mozart drawn from historical sources and yet
anchored in our own time.”
-Die Presse-
“A widely acclaimed cycle!”
-news.at-
WOLFGANG AMADEUS MOZART
LE NOZZE DI FIGARO
The Da Ponte Cycle
Part I of Nikolaus Hanoncourt's Da Ponte Cycle at the Theater an der Wien
“He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had to offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research.
“The culmination of Harnoncourt’s involvement with these works.”
-Die Presse-
"Something we had never before heard like this”
-Kurier-
ANNE-SOPHIE MUTTER
YO-YO MA
DANIEL BARENBOIM
WEST-EASTERN DIVAN ORCHESTRA
Beethoven, Triple Concerto
Bruckner, Symphony No. 9
20th Anniversary Concert of the West-Eastern Divan Orchestra
The West-Eastern Divan Orchestra celebrates its 20th anniversary by giving a concert at the Berlin Philharmonie with world-renowned artists: Anne-Sophie Mutter and Yo-Yo Ma perform Beethoven’s Triple Concerto together with Maestro Barenboim and the young musicians. Yo-Yo Ma, who played with the West-Eastern Divan Orchestra at their first concert 20 years ago, and Anne-Sophie Mutter, who made her debut with the orchestra only this year, were named as honorary members of the orchestra on the occasion of this event.
“It is fascinating to experience how brilliant, concentrated and at the same time relaxed these three world stars make music together and listen to each other. A masterpiece of harmony.”
-rbb24-
LUDWIG VAN BEETHOVEN
FIDELIO
Christoph Waltz’s “convincing production” (Die Zeit) of Beethoven’s flaming musical plea for freedom and humanity
In his third opera production Christoph Waltz brilliantly stages the second version of the opera in the breathtaking set designed by the German-American architectural practice Barkow Leibinger. The abstract staircase landscape in the form of a double helix, symbolizing prison, extends space into the back theatre and is infinitely changeable in the cinematic lighting concept of Hollywood regular Henry Braham. Manfred Honeck at the rostrum of the dynamic Wiener Symphoniker leads a superb and versatile cast of “vocally oustanding” (Der Standard) singers.
“An ingenious, enigmatic direction" -Münchner Merkur-
"without grand operatic gestures, but with nuanced acting.”
-Frankfurter Neue Presse-
"Timelessly beautiful" (Süddeutsche Zeitung)
HANDEL/MOZART
DER MESSIAS
Known as a creator of astonishing images, stage director and visual artist Robert Wilson delivers a magnificent production of Mozart’s adaption of Handel’s Messias. With Marc Minkowski a conductor has been engaged who understands
perfectly how to combine baroque style with the tonal possibilities of an orchestra of the classical period like the Musiciens du Louvre. The excellent soloist quartet with Elena Tsallagova, Wiebke Lehmkuhl, Richard Croft and José Coca Loza merges perfectly into Wilson’s enormous flood of images. “A complete artwork”, praises Opernglas.
“Minkowski is the most imaginative, dynamic and passionate
of all baroque conductors”
– Süddeutsche Zeitung–
DANIEL BARENBOIM
MARTHA ARGERICH
WEST-EASTERN DIVAN ORCHESTRA
Tchaikovsky, Piano Concerto No. 1
Schubert, Symphony "Unfinished"
“Martha Argerich is and remains unique.” (Die Presse)
Acclaimed by critics as an evening of superlative, Martha Argerich – arguably the greatest living pianist – joins Daniel Barenboim and his West-Eastern Divan Orchestra for an unforgettable interpretation of Tchaikovsky’s First Piano Concerto. The young musicians from Israel, Palestine, and other countries of the Middle East fascinate with their intense and dynamic playing, fantasy and clarity are kept in excellent balance.
“Martha Argerich, Daniel Barenboim and the West-Eastern Divan Orchestra provide an exceptional atmosphere in the Festspielhaus.”
-Salzburger Nachrichten-
BERNARD HAITINK
EMANUEL AX
WIENER PHILHARMONIKER
Beethoven, Piano Concerto No. 4
Bruckner, Symphony No. 7
Bernard Haitink's farewell to the Salzburg Festival
After 65 years at the rostrum – longer than any other conductor before him – Bernard Haitink is making his departure from the concert stage at the age of 90. In his farewell concert at the Salzburg Festival, featuring the Vienna Philharmonic and pianist Emanuel Ax, the maestro conducts two tragical-lyrical works that mark the zenith of the respective composers’ creative powers – Beethoven’s Piano Concerto No. 4 and Anton Bruckner’s Symphony No. 7. The Dutch conductor was to enchant his audience, orchestra and apparently also himself in his final performance of the work. “One could quite happily listen to this gloriously natural, logical and deeply felt musical performance for eternity; for those 70 minutes, time seems to stand still.” (Salzburger Nachrichten).
“A collaboration like a dream […] a manifesto for Bernard Haitink’s last performance in Salzburg”
– Onlinemerker.com–
JACQUES OFFENBACH
ORPHÉE AUX ENFERS
Operetta enthusiast Barrie Kosky, whose close affinity to Offenbach is constantly reflected in the production, created a magically precise and witty staging with numerous extravagant costumes in a glittering opulent scenery and a literally devilish choreography.The superb cast impresses with virtuoso singing as well as ravishingly comedic acting, first and foremost the American coloratura soprano Kathryn Lewek as Eurydice “with crystal clear coloraturas and sovereign top tones” (Salzburger Nachrichten), and Swedish mezzo-soprano Anne Sofie von Otter as severe L’Opinion publique. Under the Italian conductor Enrique Mazzola’s precise conducting the Wiener Philharmoniker provide an exquisite “sparkling orchestral sound” (Frankfurter Allgemeine Zeitung).
“A frantic and fabulous show”
– The New York Times–
Barry Kosky's gigantic success of Offenbach's subversive and hilarious reversion of the Orpheus myth
GUSTAVO DUDAMEL
MÜNCHNER PHILHARMONIKER
Mahler, Symphony No. 2
Charismatic Venezuelan conductor Gustavo Dudamel returns to Palau de la Música Catalana, world heritage site and one of the most beautiful concert halls in the world, conducting Mahler’s existential Second Symphony with the Münchner Philharmoniker. American mezzo-soprano Tamara Mumford and Israeli soprano
Chen Reiss as well as the seemingly weightless choirs of Orfeó Català and Cor de Cambra del Palau de la Música Catalana perform “a mark-shattering finale with goosebumps” (Münchner Merkur). “The dynamic range is enormous. But most fascinating are the moments of absolute silence, in which you can feel how
the dramaturgy of the evening comes together: An audience holds its breath” (Süddeutsche Zeitung).
“Really an event […] a phantastic conjunction of stars […]
a memorable interpretation.”
– El Periódico–
A monumental work at a monumental venue
GIUSEPPE VERDI
SIMON BOCCANEGRA
Verdi’s emotional political thriller, brilliantly captured in Andreas Kriegenburg’s puristic staging, becomes a musical feast in Salzburg, starring a high-class ensemble under Valery Gergiev’s baton. The gloomy plot of Simon Boccanegra is about fateful concatenations and intrigues of power. Kriegenburg’s staging reflects the present radicalized world and highlights the relationship between Boccanegra (an expressive Luca Salsi) and Fiesco (vibrant-sounding René Pape)” (The New York Times). “The Wiener Philharmonike seemed to have virtually conspired with the conductor and the work, shining into every hidden sound angle, playing out all their sovereignty and opera experience” (Süddeutsche Zeitung).
“Kriegenburg’s Boccanegra was clear and levelheaded, the action focused, Valery Gergiev’s conducting mellow yet dynamic, the singing excellent.”
– The New York Times–
A fitting tribute to a long-underrated masterpiece
GIOACHINO ROSSINI
L'ITALIANA IN ALGERI
In a beguiling performance of Rossini’s L’Italiana in Algeri at Salzburg Festival, Italian star soprano Cecilia Bartoli, in the role of the spirited Isabella, teaches some lessons to the domineering male world of Algiers. Above all to the Bey Mustafà, brilliantly portrayed by Ildar Abdrazakov. Directed by the award-winning stage director duo Moshe Leiser and Patrice Caurier, this vibrant culture-clash comedy is a “Rossini masterclass” (Bachtrack).
“The role of Isabella is sung to perfection by Cecilia Bartoli – a clever, independent woman with an adventurous streak”
– The New York Times–
Cecilia Bartoli stars in Rossini’s vibrant musical comedy
RICHARD STRAUSS
SALOME
Debuting in the title role of Richard Strauss’s famous opera Salome at the Salzburg Festival – staged by Romeo Castellucci at the Felsenreitschule – Lithuanian soprano Asmik Grigorian has propelled herself to international stardom. To witness her performance together with an outstanding cast and Franz Welser-Möst and the Wiener Philharmoniker in the pit is a unique experience!
“Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera.
[...] Hers is a Salome to end all Salomes.”
– Financial Times –
“The Miracle of Salzburg” (Süddeutsche Zeitung)
PYOTR I. TCHAIKOVSKY
PIQUE DAME
Hans Neuenfels, the luminary of modern director’s theatre, provides a multilayered staging of Tchaikovsky’s Pique Dame at Salzburg Festival. In the stark, mostly abstract sets by Christian Schmidt, Neuenfels “draws gripping performances from a strong cast” (The New York Times) including Brandon Jovanovich and Evgenia Muraveva in the lead roles of Hermann and Lisa and legendary singer Hanna Schwarz as Countess. Mariss Jansons makes his rare appearance as an opera conductor at the helm of the Wiener Philharmoniker.
Mariss Jansons, “a compelling director in his element”!
– The New York Times –
“A masterpiece!
– Kurier –
Stark and wildly expressive!
Pique Dame from Salzburg Festival
LEONARD BERNSTEIN'S
YOUNG PEOPLE'S CONCERTS, VOL. 3
Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting”, Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired at prime-time on CBS from 1958 to 1972, 52 one-hour programs were written and hosted by Leonard Bernstein, “certainly the most influential American maestro of the 20th century” (The New York Times). With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers.
“Bernstein’s is the best kind of teaching: even more empowering than informative. Music, in his telling, is about open-ended, never-ending pleasure, about gaining confidence in your own choices and judgments.”
– The New York Times –
Vol. 3 of the unforgettable TV series now on DVD & Blu-ray
The unforgettable series digitally remastered on DVD & Blu-ray
LEONARD BERNSTEIN'S
YOUNG PEOPLE'S CONCERTS, VOL. 2
Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting”, Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired at prime-time on CBS from 1958 to 1972, 52 one-hour programs were written and hosted by Leonard Bernstein, “certainly the most influential American maestro of the 20th century” (The New York Times). With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers.
“Leonard Bernstein did this better than anyone. He was brilliant – as a musician and as an ambassador for music.”
– Whoopi Goldberg –
THE STUTTGART BALLET
IN JOHN CRANKO´S ROMEO AND JULIET
The choreography of the "Stuttgart Ballet Miracle",
finally on DVD & Blu-ray!
Vividly etched characters, breathtaking pas de deux, dashing sword fights, colourful ensemble scenes, magnificent sets and costumes evoking the sunlit streets of Verona – all this is John Cranko’s Romeo and Juliet. Set to Sergei Prokofiev’s lush score, Cranko’s ballet is one of the definitive versions of the Shakespearean love tale being performed around the globe today. As danced by the Stuttgart Ballet – one of the world’s leading ballet companies – this performance is “a revelation” (Daily Express).
THE STUTTGART BALLET
IN JOHN CRANKO´S ONEGIN
The very first DVD & Blu-ray release of Cranko's legendary ballet
John Cranko’s mastery of the art of the pas de deux finds its climax in Onegin, one of the most successful full length ballets of the 20th century. Set to sweeping music by Tchaikovsky, it tells Alexander Pushkin’s tragic love story of the world-weary aristocrat Onegin and the naïve country girl Tatiana in a superbly nuanced way. This very first recording of Cranko’s legendary ballet features world stars Alicia Amatriain and Friedemann Vogel. A must for all lovers of dramatic – and romantic – ballets!
LEONARD BERNSTEIN'S
YOUNG PEOPLE'S CONCERTS, VOL. 1
The unforgettable series digitally remastered on DVD & Blu-ray
Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting”, Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired at prime-time on CBS from 1958 to 1972, 52 one-hour programs were written and hosted by Leonard Bernstein, “certainly the most influential American maestro of the 20th century” (The New York Times). With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers.
“There had never been a communicator about music with anywhere near
Bernstein’s brilliance, humor, energy, reach and importance.”
– The New York Times –