With their “comedy for music” in the spirit of Mozart, Richard Strauss and his inspired librettist Hugo von Hofmannsthal created the most popular of all their works and one of the most frequently performed operas of all time. In the guise of a gossamer-light and supremely entertaining high-class comedy, Der Rosenkavalier touches on universal themes such as love, sex, marital fidelity and the changes that human relations undergo over time – and all of it set to music of the most glorious kind imaginable. With its stellar cast under the inspired direction of Harry Kupfer, the 2014 Salzburg Festival’s production of Der Rosenkavalier was one of the most internationally acclaimed interpretations of the work since the start of the new millennium. “A musical feast from beginning to end“ (Wiener Zeitung).
Andris Nelsons, Royal Concertgebouw Orchestra
Arabella
A “lyric comedy” is how Richard Strauss and Hugo von Hofmannsthal described their final collaboration, on which they worked between 1927 and 1929. Arabella revolves around the true
love between two very different couples – the love that unites two people forever “in joy and sorrow, hurt and forgiveness”, as Arabella herself puts it at the end of the opera. With Renée
Fleming in the title role and a supporting cast that includes Thomas Hampson, Gabriela Benacková and the young tenor Daniel Behle – surely a star of the future – this production from the Salzburg Easter Festival was the first of the piece at the Festival since 1958. Under the Strauss specialist Christian Thielemann, it featured a Strauss ensemble that could hardly be bettered today. Renée Fleming and Thomas Hampson are a “dream couple for Richard Strauss” (Salzburger Nachrichten).
Capriccio
Richard Strauss’s last stage work is an opera about opera as an art form, depicting the creation of a music drama in a wise and witty way. Which came first – words or music? That is the question that Strauss and his librettist Clemens Krauss address through the story of a Countess torn between a composer and a poet. “Renée Fleming is a world-class Countess, moving and intense … All around her there is luxury casting: Bo Skovhus as the Count, Michael Schade as Flamand, Markus Eiche as Olivier, Kurt Rydl as the theatre director La Roche, the wonderful Angelika Kirchschlager as Clairon – all strike exactly the right note, as do the singers in the smaller roles, turning this Capriccio into an event of the first importance.” (Der Kurier, Vienna)
Andris Nelsons, Royal Concertgebouw Orchestra Shostakovich Symphony No. 8
The Latvian maestro Andris Nelsons is already one of the most sought-after young conductors in the world and once again served notice of his extraordinary talent when he conducted two concerts with the Royal Concertgebouw Orchestra of Amsterdam at the prestigious Lucerne Festival. In the present recording of the first of these concerts (which are both available on DVD and Blu-ray from C Major Entertainment), orchestra and conductor demonstrate their brilliance in some of the most spectacular orchestral works ever written. “A profoundly moving interpretation” (Neue Zürcher Zeitung).
In Rehearsal: Zubin Mehta
Featuring some of today’s leading conductors in rehearsal, this series gives a unique insight into the process of creating great music. The conductors’ very different styles and methods; the dialogue between an orchestra and an inspired interpreter; the intensity of the preparations for a concert performance; and the struggle towards perfection are captured in these revealing audio-visual records. Most episodes include a full run-through of the work rehearsed. All include interviews with the conductor who is seen at work. Zubin Mehta rehearses the Israel Philharmonic Orchestra for a performance of Richard Strauss’s Till Eulenspiegels lustige Streiche Op. 28.
Richard Strauss – Romanticism and Resignation
At the end of his life, Richard Strauss (1864-1949) occupied an ambiguous role in the Third Reich – a successful public figure, but one whose cultural ideals clashed with those enforced by Hitler’s regime. This film explores the compromises of his old age, telling the story of the doyen of the late-Romantic style as he became increasingly embittered with his political masters. It includes rare footage from his family’s archive and extracts from a film about him made in 1949.
Don Juan
Masur conducts Strauss
It’s hard to overstate the esteem in which Kurt Masur and the Leipzig Gewandhaus Orchestra were held in Europe in the 1990s. As well as playing a pivotal role in the return of democracy and the reunification of Germany, they performed the German symphonic repertoire with unrivalled splendour and authority. This concert captures them on tour Frankfurt in 1992, in a programme of Richard Strauss at his most exuberant (Till Eulenspiegel) and his darkest (Metamorphosen). The Leipzig orchestra’s historic relationship with Strauss had never seemed more vital, and it gives a special emotional charge to Júlia Várady’s luminous performance of the Vier Letzte Lieder.
Martinu Symphony Cycle: Martinu 4, Strauss Horn Concerto No 2
At the acoustically superb concert venue of the Rudolfinum Prague, the Czech Philharmonic performs Bohuslav Martinu’s Symphony No. 4 as part of the first-ever filmed complete cycle of all six symphonies by the Czech composer. It is at the same time one of the last recordings with the Czech Philharmonic’s long-term musical director Jirí Belohlávek, who died in May 2017. Martinu’s Fourth Symphony – “the ultimate perfection” (Harmonie Magazine) – is complemented by Janácek’s late work Sinfonietta and Strauss’s Horn Concerto No. 2, performed by renowned French horn soloist Radek Baborák. Following the footsteps of his mentor Belohlávek, Jakub Hruša will continue the Martinu cycle in 2018.