From the San Francisco Opera 1989: Samuel Ramey’s powerful bass voice and compelling stage presence make him unforgettable in the demonic title role of Boito’s version of the Faust legend, a jewel of the nineteenth-century repertoire. Robert Carsen’s sumptuous production, steeped in a vivid and timeless symbolism, “breathes a sensitivity to the music and to Boito’s intentions that is rare on the operatic stage” (New York Times). Dennis O’Neill sings Faust, with Gabriela Benacková as Margherita. (Sung in Italian)
Nerone
Arrigo Boito’s libretti, including those for Giuseppe Verdis’s Otello and Falstaff, are some of the most outstanding achievements in operatic history and his own completed opera Mefistofele is present on the opera stages. On his opera Nerone Boito started working in 1862, but struggeled to complete it immediately, leaving it unfinished for several decades. It became his life’s work and it was only after his death that the conductor Arturo Toscanini created a performable version. The world premiere was held at La Scala Milan in 1924. Boito´s opera Nerone is here available for the first time on DVD/Blu-ray “Musically it´s brilliant.“ (Wiener Zeitung) and “Rafael Rojas triumphs in the murderous role of Nero, Lucio Gallo (Mago) is a great prince of darkness“ (Süddeutsche Zeitung).
Mefistofele
Best-known today as the librettist of Verdi’s final Shakespearean masterpieces, Otello and Falstaff, the multitalented Arrigo Boito was also a fine composer in his own right. Hugely ambitious in scope, and some 20 years in the making, his first (and only completed) opera, Mefistofele, sets out to encompass nothing less than the whole of Goethe’s vast poetic drama Faust (part I and II), and is considered the very central work of his phase between Verdi and Puccini. Making his debut at the Bayerische Staatsoper, director Roland Schwab (a protégé of the legendary Ruth Berghaus) plays devil’s advocate by setting the opera in a nightmarish atmosphere. “The exceptional solistic cast” (ORF) features René Pape, Joseph Calleja, Kristine Opolais and Karine Babajanyan.
Mefistofele
Making his debut at the Bayerische Staatsoper with Munich’s first ever staging of Boito’s masterpiece, director Roland Schwab (a protégé of the legendary Ruth Berghaus) plays devil’s advocate by setting the opera in what looks like a garbage-strewn nightclub that then transforms into a geriatric hospital ward, by way of a drunken detour to Munich’s own Oktoberfest. Is Hell, then, simply the hell-on-earth that passes for the modern world? Singing “with clear, strong bass lines” (Deutschlandradio Kultur), René Pape plays Mephistopheles as the sardonic leader of a satanic cult. As Faust, his slave, tenor Joseph Calleja “hits his high notes with formidable vigour” (Financial Times). Latvian soprano Kristine Opolais’s Margherita “shines with understated Grace Kelly elegance” (Opera Today), in the pit, Israeli conductor Omer Meir Wellber.
Nerone
The focus on rarities has been a trademark of the Bregenz Festival since the opening of the Festspielhaus in the 1980s. It is therefore not surprising that Roman emperor Nero, the colourful character in Arrigo Boito’s lavish opera, makes his appearance in the latest edition of the Festival: The spectacular self-staging of his power contrasts with pangs of remorse he feels after murdering his mother. Begun in 1862, Boito strived to complete the piece for several decades. Only after his death did Arturo Toscanini create a performable version, whose world premiere took place at La Scala in 1924. Olivier Tambosi’s interpretation of this rarely performed opera with love confusions and sectarian characters is radical and opulent. The Wiener Symphoniker perform under the baton of Dirk Kaftan and “the ensemble of singers leaves nothing to be desired and plunges boldly into the sound waves” as the Deutschlandfunk wrote.
Bryn Terfel – Bad Boys
Bass-baritone Bryn Terfel is a towering figure in today’s musical world – both physically and artistically. Whether in the opera house or on the recital stage, he blends his powerful, versatile voice with commanding stage presence. Since bass-baritones are usually the “bad boys” in opera, the Welsh singer has put together a program that portrays a gallery of rogues and villains, the “demonic misfits and malcontents of this wonderful music” (Bryn Terfel). The concert features Terfel in a number of demonic roles, including two Satans (one by Gounod and one by Boito), a murderous barber (Sondheim’s Sweeney Todd), a swaggering drug dealer (Gershwin’s Sporting Life) and much more. He is accompanied in this program – recorded at Cardiff’s St. David’s Hall in his native Wales – by the Sinfonia Cymru under Gareth Jones.