The opera “Arabella” was the last work written by the creative team of Richard Strauss and Hugo von Hofmannsthal. It was given its premiere in Dresden on 1 July 1933 under the direction of Clemens Krauss. Hofmannsthal wrote that the lead role is “a mature and beautiful young woman who has looked too deeply into certain facts of life, and is a little scarred by cynicism and resignation.” The “mature” Arabella is played by Gundula Janowitz, who, in addition to her lovely singing, gives an inspired acting performance. As Mandryka, Bernd Weikl is an ideal partner, a man whose passion is constantly on the verge of breaking social conventions. Outstanding are Edita Gruberova and Martha Mödl in their minor roles. The Vienna Philharmonic is conducted by Sir Georg Solti.
Der Rosenkavalier
Though the librettist Hugo von Hofmannsthal originally described the project as “a comedy for music”, there is also great emotional depth in this stirring portrayal of the delights and torments of love. Enhancing Strauss’s lush, late-romantic music are Otto Schenk’s rich and witty staging and, above all, Carlos Kleiber’s sensitive conducting. Internationally acclaimed singers Gwyneth Jones, Manfred Jungwirth, Brigitte Fassbaender, Benno Kusche, Lucia Popp and Francisco Araiza bring their superb vocal artistry into play to ensure an unforgettable musical experience.
Elektra
Strauss and Hugo von Hofmannsthal. The Lithuanian soprano Ausrine Stundyte 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. Tanja Ariane Baumgartner as Klytämnestra, Derek Welton as Orest and Michael Laurenz as Ägisth complete an ensemble of top-notch singers. 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. “To have chosen Elektra of all pieces, was audacious – and to have brought it off so well, triumphant”
Salome
Richard Strauss’s opera at the Salzburg Festival, staged by Romeo Castellucci at the Felsenreitschule, was nothing short of a sensation! Debuting in the title role, Asmik Grigorian propelled herself to international stardom with her mesmerizing singing and acting abilities. The exceptional soprano recently won the International Opera Award as best singer. To witness Maestro Franz Welser-Möst performing together with the Wiener Philharmoniker and an outstanding cast “makes you think you are hearing the piece in its most perfect incarnation yet” (Financial Times). “Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera. […] Hers is a Salome to end all Salomes. […] In total, it is stunning…” (Financal Times) “thrilling” (Spiegel Online) “A breathtakingly dense, musically epoch-making […] Salome, which brought the house down!” (Neue Zürcher Zeitung)
The Exclusive Subscription Concert Series – Christian Thielemann
The Subscription Concert Series of the Wiener Philharmoniker from the Golden Hall of the famous Musikverein are special concerts reserved for subscribers. Due to the exceptional quality of the concerts and the limited offer, the average waiting time for subscribers is more than 10 years. With this series, these very special concerts are made available for the first time audiovisually to a wider audience worldwide. For this subscription concert, the Wiener Philharmoniker asked a long-time artistic companion to take the podium: more than 140 concerts and a multitude of celebrated recordings connect Christian Thielemann with the traditional Viennese orchestra. The live recording of his debut on the podium at the Vienna Musikverein almost 23 years ago promptly became a reference recording. On the programme then as now: Richard Strauss’ monumental Eine Alpensinfonie (An Alpine Symphony). This work, often regarded as the final and climax of the “symphonic poem” genre, is juxtaposed with Arnold Schönberg’s probably most famous tonal composition, the orchestral version of the string sextet Verklärte Nacht (Transfigured Night). Composed in 1899, this highly expressive work by the 25-year-old Schönberg reads, in retrospect, like a swan song to the 19th century. “Schönberg and Strauss rarely sound so grandiose.“ (Kurier) “A truly persuasive performance.”(The New York Times)
Elektra – staged by La Fura dels Baus
NorrlandsOperan and the Catalan theatre art collective La Fura dels Baus have created a unique monumental outdoor performance of Richard Strauss’s one-act opera Elektra. Cranes, mechanical giants with singers standing inside their chests, skips filled with blood – Elektra is NorrlandsOperan’s biggest and most complex production ever, including many special effects: “Suddenly, the front of the large containers opened up. Bloody water came gushing out in copious amounts. The water level on the graveyard rose and turned red.” (Kulturkorren)
Julia Fischer at the BBC Proms
From the pastoral landscapes of Beethoven’s Symphony No. 6 to the vibrant folk scenes of Strauss’ sound-poem Till Eulenspiegels lustige Streiche and Dvorak’s Violin Concerto, this Prom takes a vivid journey across Central Europe. At the BBC Proms 2014, the world’s largest classical music festival, David Zinman appeared in his final concert as chief conductor of Zurich’s Tonhalle Orchestra, stepping down after almost 20 years. “This beautiful Prom marked the end of an era. David Zinman’s final concert as chief conductor of the Zurich Tonhalle was a superb example of his intelligent musicianship” (The Guardian). Julia Fischer “was the accomplished and eloquent soloist” (Evening Standard) performing Dvorák’s richly lyrical Violin Concerto with “the kind of flawless technique and steely vibrato that seems impervious to human fallibility” (The Telegraph).
Richard Strauss: At The End Of The Rainbow
Eric Schulz reveals in his latest music film a new perspective on the personality and oeuvre of Richard Strauss, who saw himself as the last great composer at the end of an era, “at the end of the rainbow”. This carefully researched production presents spectacular hitherto unreleased pictures of Richard Strauss. Among others: a live recording of the premiere of the “Olympic Anthem” at the Berlin Olympic stadium in 1936. The very first performance of this piece ever to be heard, performed by the Berlin Philharmonic and a choir of 1000 singers conducted by Richard Strauss himself. These spectacular rare pictures are embedded in interviews with relatives, famous musicians and Strauss experts, such as Christian Strauss, Stefan Mickisch and Brigitte Fassbaender.
Richard Strauss Gala
This exceptional programme of highlights from Richard Strauss´s works Der Rosenkavalier, Feuersnot,
Salome, Elektra, Die ägyptische Helena, Arabella, Die schweigsame Frau and Daphne was dedicated to Richard
Strauss 150th birthday in Dresden. The reputation as »THE Strauss-Orchestra« of the Staatskapelle
Dresden results from the special relation to Richard Strauss and his works, which started 130 years ago,
performing many world premieres of Richard Strauss´s operas and orchestral works.
The DVD includes the documentary My Strauss with Christian Thielemann, including a lot of archival
footage with Richard Strauss, rehearsals and concert excerpts of Elektra, Rosenkavalier, Frau ohne
Schatten, Heldenleben, Four last songs and more.
Vier letzte Lieder
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 An Alpine Symphony to the Dresden orchestra. The programme includes Four Last Songs, Ernster Gesang by Wolfgang Rihm and the German premiere of the last completed Strauss song “Mallows” in an orchestral version, arranged specifically for Dresden by Wolfgang Rihm.