In 1988, conductor Daniel Barenboim, stage director Harry Kupfer, set designer Hans Schavernoch and costume designer Reinhard Heinrich came to Bayreuth to realize their vision of Wagner’s Ring. They firmly turned away from the work’s time of origin and set their sights on a “critique of the history of mankind and of the entire evolution of culture, the destruction of which we are actively furthering” (Kupfer). While Wagner’s “critique of mankind’s destructive frenzy, its coldness and alienation” (Kupfer) was rooted in Germanic mythology, Kupfer’s team locates its Ring in a present that also embraces the past and the future. The place where present, past and future converge is the “road of history”, which sets the scene for struggles of power and love, and takes us straight into the depths of the human psyche. “Harry Kupfer has created a production of great coherency, hard, cutting, transparent, which will delight those who see in Wagner a contemporary and will displease those who consume Wagner like some consecrated artifact in a museum. The entire mythological apparatus is demolished bit by bit: what remains is what Wagner himself wanted: the ‘pure humanity’ of the myth. […] The entire ‘Ring’ unfolds like an intellectual adventure that provokes unforgettable emotions.” (La Repubblica)
Das Rheingold
In 1988, conductor Daniel Barenboim, stage director Harry Kupfer, set designer Hans Schavernoch and costume designer Reinhard Heinrich came to Bayreuth to realize their vision of Wagner’s Ring. They firmly turned away from the work’s time of origin and set their sights on a “critique of the history of mankind and of the entire evolution of culture, the destruction of which we are actively furthering” (Kupfer). While Wagner’s “critique of mankind’s desructive frenzy, its coldness and alienation” (Kupfer) was rooted in Germanic mythology, Kupfer’s team locates its Ring in a present that also embraces the past and the future. The place where present, past and future converge is the “road of history”, which sets the scene for struggles of power and love, and takes us straight into the depths of the human psyche. “Harry Kupfer has created a production of great coherency, hard, cutting, transparent, which will delight those who see in Wagner a contemporary and will displease those who consume Wagner like some consecrated artifact in a museum. The entire mythological apparatus is demolished bit by bit: what remains is what Wagner himself wanted: the ‘pure humanity’ of the myth. […] The entire ‘Ring’ unfolds like an intellectual adventure that provokes unforgettable emotions.” (La Repubblica)
Tristan und Isolde
The premiere of this Tristan production at the 1993 Bayreuth Festival was greeted with “that mixture of enthusiastic approbation and predictable condemnation” (Wolfgang Wagner) which is the usual indicator of success in Bayreuth. Conducted by Daniel Barenboim with fire and sensitivity, the production was staged by the late German dramatist Heiner Müller. The sets were designed by Müller’s longtime associate Erich Wonder, and the costumes by Japanese couturier Yohji Yamamoto. Siegfried Jerusalem as Tristan and Waltraud Meier as Isolde have consistently drawn enthusiastic acclaim for their performances, not only in the year of the premiere, but in subsequent years as well. Müller and Wonder have compressed the monumental story into a clear and fascinating geometry of love. Wonder created highly evocative spaces through projections of colors and forms which shift according to the mood. One widely noted example of Müller’s elegant, restrained interpretation, in which small gestures replace sweeping displays of passion, is the famous love duet, in which Tristan and Isolde, instead of embracing rapturously, stand back to back and side by side and touch, ever so lightly, only the tips of their fingers.
Anne-Sophie Mutter, Yo-Yo Ma, Daniel Barenboim
The West-Eastern Divan Orchestra celebrates its 20th anniversary by giving a concert at the Berlin Philharmonie with world-renowned artists: Anne-Sophie Mutter and Yo-Yo Ma perform Beethoven’s Triple Concerto together with Maestro Barenboim and the young musicians. Yo-Yo Ma, who played with the West-Eastern Divan Orchestra at their first
concert 20 years ago, and Anne-Sophie Mutter, who made her debut with the orchestra only this year, were named as honorary members of the orchestra on the occasion of this event. “It is fascinating to experience how brilliant, concentrated and at the same time relaxed these three world stars make music together and listen to each other. A masterpiece of harmony“ (RBB24). The second part of the concert features Bruckner’s 9th Symphony, transcendental music which the composer himself dedicated to “the dear God“. The symphony is unfinished not only because Bruckner died during the process of composition, but especially because it seems to perish in nothingness. The musicians of the West-Eastern Divan Orchestra are excellently prepared and play technically and tonal flawlessly. A magic moment.
Martha Argerich and Daniel Barenboim at Salzburg Festival
Acclaimed by critics as an evening of superlative, Martha Argerich – arguably the greatest living pianist – joins Daniel Barenboim and his West-Eastern Divan Orchestra for an unforgettable interpretation of Tchaikovsky’s First Piano Concerto. Argerich’s playing is full of astonishing virtuosity and uncompromising, alternating with breakneck passages and tender tones: “Martha Argerich is and remains unique” (Die Presse). In addition to Tchaikovsky’s brilliant piece, Schubert’s Symphony “Unfinished” is played, a work that has never been performed during the composer’s lifetime. “Martha Argerich, Daniel Barenboim and the West-Eastern Divan Orchestra provide an exceptional atmosphere in the Festspielhaus.” (Salzburger Nachrichten)
Falstaff
Falstaff is Verdi’s masterpiece of comic opera, in which the behaviour of the ageing Sir John Falstaff, a devious freeloader and would-be ladykiller, causes uproar in the petty-bourgeois household of the Windsor’s. In this performance stage and film director Mario Martone updates the action to the present day and shows Falstaff as ageing rebel in dodgy sideburns and leather jacket. Among the “exquisit vocal cast” (Frankfurter Allgemeine Zeitung), Michael Volle gives his debut in the title role “with masterly dynamic shadings” (Financial Times) and “as if he had been preparing for this role for a lifetime.” (Frankfurter Allgemeine Zeitung) while “Daniel Barenboim and the Staatskapelle Berlin are tickling out all the wit and all the momentum from this score.” (Online Merker)
Mahler Symphony No. 9
Staatskapelle Berlin. Before embarking on this journey Barenboim and Boulez entered into a long period of reflection and discussion. For the accompanying documentary, director Christoph Engel compiled a rich selection of statements, conversations and musical excerpts by both conductors that provides a guide to the world of Mahler’s towering symphonies. BONUS: THE MAHLER PROJECT – Daniel Barenboim and Pierre Boulez working on the symphonies of Gustav Mahler Performed as a complete cycle in Berlin, Vienna and New York, the concerts were a tremendous success. The Financial Times even wrote “New York is going Mahler mad.” “A milestone for the Staatskappelle Berlin.” New York Times
Salzburg Festival Concert Box
A Box Set releasing 6 Concerts from the Salzburg Festival recorded between 2007 and 2013, featuring the Wiener Philharmoniker, the West-Eastern Divan Orchestra, the National Children´s Symphony Orchestra of Venezuela under the batons of Pierre Boulez, Nikolaus Harnoncourt, Daniel Barenboim and Sir Simon Rattle.
Salzburg Opening Concert 2010
As the 2010 Salzburg Festival marked two major landmark anniversaries – the Festival’s 90th and the Großes Festspielhaus’s 50th – a glamorous and very special opening concert was mandatory: Daniel Barenboim, the Vienna Philharmonic and a quartet of world-class singers opened the proceedings in style. Barenboim, who in 2010 also celebrated his 60th anniversary onstage, excelled as soloist and conductor of Beethoven’s unsurpassably lyrical Fourth Piano Concerto. And subsequently, under his baton, Dorothea
Röschmann, Elina Garanc?a, Klaus Florian Vogt and René Pape delivered unforgettable performances in Bruckner’s poignant Te Deum.
Daniel Barenboim and the West-Eastern Divan Orchestra – The Salzburg Concerts
The idea of uniting young musicians from Israel, Palestine and various Arab countries still seems incredible today. Yet the West-Eastern Divan Orchestra has been flourishing since 1999, when it was founded by Daniel Barenboim and Edward Said. In 2007 the ensemble took a highly acclaimed residency at the Salzburg Festival. The major orchestral concert comprises a Beethoven overture, an intricate and multilayered piece by Schoenberg, and Tchaikovsky’s Sixth Symphony, the Pathétique, in which Barenboim pulls out all the stops and coaxes rarely heard instrumental lines and accents from his musicians.