The Teatro La Fenice opened in 1792 and is one of the most renowned and most beautiful theaters in the world. “Amid mirrors, flowers and confetti, New Year’s Eve at La Fenice is a ritual” (MusicPaper). The Teatro Fenice’s Concerto di Capodanno – one of the world’s most celebrated New Year’s concerts – welcomes Daniel Harding back to the podium. After the monumental opening with Beethoven’s Fifth, soloists Mariangela Sicilia and Francesco Demuro perform beloved arias by Rossini, Leoncavallo, Puccini, Wolf-Ferrari, Bizet, Gounod and Verdi. Interwoven with the concert are scenes of Aterballetto dancers, choreographed by Marcos Morau, performing in Venice’s most iconic locations. The soloists’ “perfect vocal blend” in Libiamo ne’ lieti calici truly stands out (MusicPaper).
Pavarotti in Hyde Park
This legendary concert of Luciano Pavarotti in Hyde Park,1991, was held to mark the 30th anniversary of the start of Pavarotti’s operatic career. The Guardian wrote that there had not been “such a brouhaha for a free concert” since the concert given by The Rolling Stones in 1969. Attended by 120.000 fans, including Lady Diana, Prince Charles, Andrew Lloyd Webber, Michael Caine and premier John Major, Luciano Pavarotti thrilled the electrified audience with a popular program from Verdi to Puccini (Nessun Dorma), from Mascagni and Leoncavallo to Bixio (Mamma) and Di Capua (‘O sole mio), which is now available for the first time available on Blu-ray, digitally remastered!
Pavarotti in Central Park
When more than 500,000 people gathered in New York’s Central Park on 26 June 1993, they wanted to hear only one thing: The voice of the greatest tenor of the twentieth century: the voice of Luciano Pavarotti. A year earlier, Pavarotti had thrilled the crowds in London’s Hyde Park – here, in New York, he confirmed once again that he is an undisputed world star. He is accompanied by the New York Philharmonic Orchestra under Leone Magiera, featuring the flutist Andrea Griminelli and The Boys Choir of Harlem, whose voices can be heard on albums of Michael Jackson, Kathleen Battle and many more. The recording of this concert, without doubt one of Pavarotti’s most celebrated performances, includes the famous Puccini arias Nessun dorma and E lucevan le stelle and Neapolitanian songs as ‘O sole mio. This legendary concert is now available for the first time on Blu-ray!
Grafenegg: Midsummer Night’s Gala 2023
For a decade and a half, the Midsummer Night’s Gala has ushered-in the summer season at the Wolkenturm. It is also Grafenegg’s flagship media event, televised around the world. The best artists take centre stage, casting their spell over the audience amidst the idyllic scenery of the Castle grounds. For the cast of this edition – Lithuanian soprano Asmik Grigorian, American tenor Eric Cutler and French cellist Gautier Capuçon – Yutaka Sado, principal conductor of the Tonkünstler-Orchester, has put together a dramatic gala programme, with works by Verdi, Wagner, Puccini, Prokofiev, Leoncavallo and Dvorák. “Eric Cutler’s tenor was soaring, Gautier Capuçon’s cello melting, the Tonkünstler Orchestra sovereign. And simply stunning the soprano of Lithuania’s opera superstar Asmik Grigorian” (Niederösterreichische Nachrichten)
Grafenegg: Midsummer Night’s Gala 2017
It is the season’s sparkling highlight: the Midsummer Night’s Gala at the Wolkenturm with international stars in the open air! 2017 sees Russian vocalists Aida Garifullina and Dmitri Hvorostovsky adding Grafenegg to the roll-call of leading operatic venues around the world where their great voices have been heard. The young soprano Garifullina is in the ensemble of the Vienna State Opera and baritone Hvorostovsky sang at the Red Square concert in Moscow in 2013.
Juan Diego Flórez & Vincenzo Scalera – The Salzburg Recital
The Salzburg Festival, where the world’s most famous artists come together, is always good for great concert experiences – and yet this unique concert is sure to go down in the annals of the festival. With a varied programme of popular Italian airs by Tosti and Leoncavallo, tender French songs by Henri Duparc and old favourites from Italian bel canto, the “Peruvian vocal miracle” (Die Presse) was an utter delight at his soldout lieder recital in the Grosses Festspielhaus. The first of the three encores brought for many the covert climax of the evening: Floréz plucked a guitar and accompanied himself in Consuelo Velázquez’ “Bésame mucho”. With infinite tenderness, gentle heights, heartfelt devotion and seemingly never-ending top notes, Floréz conquered every heart in the house, prompting storms of enthusiastic applause.
Pavarotti in Hyde Park
It was billed as „Pavarotti in the Park,“ but Luciano Pavarotti‘s 30th-anniversary concert in Hyde Park this evening could just as well have been called „Pavarotti in the Deluge.“ The Prince and Princess of Wales, the Duchess of York, Prime Minister John Major and his wife, Norma, the composer Andrew Lloyd Webber, the actor Michael Caine and a crowd estimated at 125,000 turned out despite an incessant downpour to hear the 55-year-old Italian tenor sing a selection of his favorite arias to observe 30 years of a sterling career. He was accompanied by the 82-member Philharmonia Orchestra and the 120-voice Philharmonia Chorus.
Aida Garifullina at Teatro Colón
The Russian-Austrian soprano singer has dedicated her life of the world of opera and songs. Aida Garifullina is acclamind as the next Netrebko – since her stunning performance for the football world championship 2018 and in the film „Florence Foster Jenkins“. She is a popular star, film star and Instagram star. Aida slips into the role of Norma, Juliette, Rusalka, the Snow Maiden – and is dressed up in harnd-tailored couture dresses. Arias and songs from France, Russia, Italy & Argentina
New Year’s Eve Concert 1985
Is there such a thing as a Karajan “sound”? Beginning toward the end of his career, Herbert von Karajan began to attract criticism for having pushed his particular obsession clarity of an orchestra’s sound to the extreme. This New Year’s concert with the Berliner Philharmoniker is typical of his later interpretive approach: Karajan draws a particular sound out of the orchestra, but he and his musicians still take care to modulate that sound according to the repertoire they are playing. Their clear and precise performance of Weber’s brilliant Freischütz Overture is followed by their hypnotic string sound in Puccini and Leoncavallo’s two Intermezzi, culminating in the progressive and determined build-up of Ravel’s Boléro.