Take life, drama, and comedy. Add stage and music. Voilà: you‘ve got opera! But once an opera has gone out into the world from the stages of Milan, Paris or Vienna, each work begins to develop a life of ist own. How do audiences of the 18th or the 21st century understand the work? How much of the composer‘s own biography has gone into his work? How does opera co-exist with the other arts of ist time? These and other topics form the core of ten half-hour documentaries, a one-of-a-kind tour of the most beautiful operas of all time. Evocative visuals, stylish re-enactments, statements from leading international singers, conductors and directors, excerpts from the most prominent productions of each opera – all of this is served up in a cool, modern aesthetic aimed at viewers who are not the traditional target audiences of opera.
Young Stars of Classical Music – Johannes Moser and Juraj Valcuha
Johannes Moser is the name to watch among today’s young violoncello virtuosos. Born in 1979, he has already performed with many of the world’s leading orchestras, such as the New York Philharmonic, the London Symphony Orchestra and the Chicago Symphony Orchestra, with which he made his U.S. debut under Pierre Boulez. His agenda is packed with appearances ranging from concerto soloist to chamber-music partner to interpreter of avant-garde music on an electric cello… In this concert of late-Romantic music with the Deutsche Radio Philharmonie, the “Echo Classic Award Winner” 2008 boldly infuses Hans Pfitzner’s Cello Concerto in A minor with a jolt of adrenaline that could very well boost this rarely heard work – which was long thought to be lost – into the concert repertoire. Written in 1883, Richard Strauss’ Romance in F major for cello and orchestra is an early work from the pen of this orchestral master, and another showcase for the talent of Johannes Moser. The concert also features another rising star of the classical music scene, the young Slovak conductor Juraj Valcuha, the principal conductor of the Swedish Radio Symphony Orchestra. Doing full justice to the refined atmosphere of the German late-Romantic works on the program, which also includes a Wagner overture, excerpts from Pfitzner’s opera Palestrina and Strauss’ Rosenkavalier Suite, conductor Juraj Valcuha soon makes it clear that elegance and transparency are his specialty.
Recital Diana Damrau
One of the warmest personalities on the opera and concert stage today, soprano Diana Damrau has put together a beguiling program for her recital at the Festspielhaus Baden-Baden. The selection of Romantic to fin-de-siècle pieces not only underscores her own vocal artistry, but also pays tribute to her accompanist Xavier de Maistre and, in particular, to the diaphanous delicacy of his instrument, the harp. The use of the harp to replace the piano in a voice recital is a truly unique and unexpected musical treat. De Maistre does more than simply transpose the piano part to his instrument; under the fingers of the Wiener Philharmoniker’s solo harpist, the ethereal sound of this instrument melds consummately with the soprano’s finely honed vocal part, so that the masterpieces by composers such as Schumann, Fauré and Debussy sound as if they had been conceived for voice and harp.
Making of “Der Rosenkavalier”
Julia Fischer – Violin and Piano
In her January 2008 concert with the Junge Deutsche Philharmonie under Matthias Pintscher, Julia Fischer, named ‘Artist of the Year’ in 2007 by the U.K.’s ‘Gramophone’ magazine, did exactly as Bach and Mozart did: she appeared in public as a soloist on two completely different instruments, the violin and the piano. Fischer, who also trained as a pianist, pulled off this rare and risky feat with extraordinary prowess. In Saint-Saëns’ Violin Concerto No. 3 in B minor op. 61, she weaves her lines seamlessly into the orchestral texture, emerging now with prominent embellishments, now with passionate cantilenas, or withdrawing to let the woodwinds express themselves as equals. For her ‘piano’ part of the evening, Julia Fischer chose the popular Grieg Concerto in A minor op. 16, a warhorse that shares with the previous work an intricate interweaving of the solo and orchestral parts. Commenting on her flawless piano technique and utterly natural artistry on this instrument, the Frankfurter Allgemeine Zeitung wrote: ‘She mastered the work with bravura … a more than amazing double talent.’
Documentary: Strauss, Alpensymphonie (An Alpine Symphony), op.64
Six great composers, six landmark symphonies, a top orchestra and its star conductor Kent Nagano – these are the components of an extraordinary classical-music television event. Shot in High Definition, it takes a bold and innovative approach to the recording of classical music. Boom and tracking shots, quick cuts, remote-controlled cameras – stylistic means previously used chiefly for pop music recordings give the programs an up-to-the-minute look and feel. A team of more than 30 specialists makes sure that viewers enjoy a truly cinematic experience. The programs also go new ways by featuring entertaining, historically founded animated sequences illustrating episodes from the lives of the composers. Backstage interviews with the musicians and excerpts from their rehearsals let us share in the spirit of their music-making. Conductor Kent Nagano also relates what is of special importance to him in each work, and offers fascinating insights on the origin and context of the work in question. Documentaries: Bruckner, Symphony No. 8 – Mozart, Symphony No.41 ‘Jupiter’ – Beethoven, Symphony No.3 ‘Eroica’ – Strauss, Alpensymphonie (An Alpine Symphony) – Schumann, Symphony No.3 – Brahms, Symphony No.4
Strauss, Alpensymphonie (An Alpine Symphony) op.64 (Kent Nagano Conducts Classical Masterpieces)
Six great composers, six landmark symphonies, a top orchestra and its star conductor Kent Nagano – these are the components of an extraordinary classical-music television event. Shot in High Definition, it takes a bold and innovative approach to the recording of classical music. Boom and tracking shots, quick cuts, remote-controlled cameras – stylistic means previously used chiefly for pop music recordings give the programs an up-to-the-minute look and feel. A team of more than 30 specialists makes sure that viewers enjoy a truly cinematic experience.
Kent Nagano Conducts Classical Masterpieces – Documentaries
Six great composers, six landmark symphonies, a top orchestra and its star conductor – these are the components of an extraordinary classical-music television event. Shot in High Definition, it takes a bold and innovative approach to the recording of classical music. Boom and tracking shots, quick cuts, remote-controlled cameras – stylistic means previously used chiefly for pop music recordings give the programs an up-to-the-minute look and feel. A team of more than 30 specialists makes sure that viewers enjoy a truly cinematic experience. The programs also go new ways by featuring entertaining, historically founded animated sequences illustrating episodes from the lives of the composers. Backstage interviews with the musicians and excerpts from their rehearsals let us share in the spirit of their music-making. Conductor Kent Nagano also relates what is of special importance to him in each work, and offers fascinating insights on the origin and context of the work in question. Documentaries: Bruckner, Symphony No. 8 – Mozart, Symphony No.41 ‘Jupiter’ – Beethoven, Symphony No.3 ‘Eroica’ – Strauss, Alpensymphonie (An Alpine Symphony) – Schumann, Symphony No.3 – Brahms, Symphony No.4
Kent Nagano Conducts Classical Masterpieces
Six great composers, six landmark symphonies, a top orchestra and its star conductor – these are the components of an extraordinary classical-music television event. Shot in High Definition, it takes a bold and innovativeo approach to the recording of classical music. Boom and tracking shots, quick cuts, remote-controlled cameras – stylistic means previously used chiefly for pop music recordings give the programs an up-to-the-minute look and feel. A team of more than 30 specialists makes sure that viewers enjoy a truly cinematic experience.
Strauss, Lieder
The internationally acclaimed baritone Hermann Prey was born in Berlin in 1929. He made his breakthrough in 1956 as Figaro in the Vienna State Opera’s production of Rossini’s “Barber of Seville”. He has since Hermann performed at all of the world’s great opera houses and festivals. Hermann Prey has always loved lieder, especially the works of Franz Schubert and Robert Schumann. In spite of his many engagements on the opera stage or in the concert hall, in the TV and recordings studios, Hermann Prey always takes the time to pass his knowledge and experience on to younger generations by giving master classes in lied singing all over the world. In this selection of Strauss songs, Hermann Prey spans a broad arch from Strauss’s extensive romantic repertoire – for he also set to music poems by Heinrich heine – to his early modern works. Accompanying him is the renowned pianist Oleg Maisenberg.