Gluck’s Alceste was the opera that launched a revolution. Urgent, direct and pulsing with emotion, it stripped away baroque conventions to create a new kind of opera, and more than two centuries later, this tragedy of a woman prepared to give her life for love still strikes straight to the heart. Anne Sofie von Otter is formidable in the title role of this powerful production, created by director Robert Wilson in 2000 for the Theatre du Châtelet in Paris. Paul Groves and Ludovic Tézier also star, with John Eliot Gardiner conducting the period instrument forcers of the English Baroque Soloists.
Orphée et Eurydice
The power of music, the pain of loss, and the price we pay for love: the characters in Orphée et Eurydice might be ancient, but the themes of the drama are eternal – and in his most celebrated opera, Gluck express them with a directness and an inspiration that feels as fresh today as it did in the composer’s own era. In Paris, in 2000, director Robert Wilson and conductor John Eliot Gardiner revived Berlioz’s adaptation of this groundbreaking score, coupling a pared-back minimalist setting with all the colours of the period-instrument Orchestre Révolutionnaire et Romantique. Magdalena Kožená brings all her youthful brilliance to the role of Orpheus.
In Rehearsal: John Eliot Gardiner
Through his particular combination of scholarship and inspired musicianship, John Eliot Gardiner has won international acclaim as a key figure in the revival of early music. His concert performances and recordings with the ensembles he has founded – the Monteverdi Choir, the English Baroque Soloists and the Orchestra Révolutionnaire et Romantique – are unmistakable, not just for their zest and technical mastery, but as highly personal readings of music from Monteverdi to Verdi and beyond.
This present film of the rehearsal of Bach’s Canata BWV 63 is intercut with comments from the singers and an interview with John Eliot Gardiner which reveals not only the depth of his knowledge of Bach’s music but also his profound love of the composer’s work. He talks incisively about Bach’s music as a whole, the place of the cantatas in the composer’s oeuvre, the particular structure and brilliance of “Christen, ätzet diesen Tag”, and explains something of his reasons for championing authentic rendition.
John Eliot Gardiner
Sir John Eliot Gardiner is one of the world’s most highly-regarded conductors of operatic and orchestral music. He first made his name in the field of Early Music, then, in 1990, he founded the Orchestre Révolutionnaire et Romantique, a period instrument orchestra dedicated to playing classical and Romantic music. This programme focuses on Gardiner’s work with this orchestra, which brings a new and exciting perspective to some of the best-loved symphonic music.
The Beggar’s Opera
John Gay (1685-1732), a genial poet and playwright with a talent for satire, got the idea for The Beggar’s Opera from his friend, the satirist Jonathan Swift, who had mentioned to him that “A Newgate pastoral might make a pretty sort of thing”. In general, ballad opera, set among London’s criminal classes and full of satirical jibes about corruption in high places, suited English taste better than Handel’s heroic operas by the 1720s.
Created specially for television, this Beggar’s Opera captures the quality and satiric edge of the Hogarth engravings which influenced Gay’s original version.
The music for this production has been arranged from the eighteenth-century folksongs of the original (selected by Johann Christoph Pepusch) by baroque specialists Jeremy Barlow and John Eliot Gardiner, who conducts The English Baroque Soloists, performing on authentic period instruments.
Roger Daltrey, lead singer of The Who and star of the films including Tommy, McVicar and Lisztomania, heads a distinguished cast as the villainous hero Macheath.
Mozartwoche 1997
Arriaga, Overture to “Los Esclavos Felices” (Mozartwoche 1997)
The little-known composer Juan Crisóstomo de Arriaga (1806-1826) was called the “Spanish Mozart” and died prematurely of consumption shortly before his 20th birthday. Born in 1943, the English conductor John Eliot Gardiner initially devoted himself to the historical performance practice of the music of the 17th and 18th centuries. In 1990 he founded the Orchestre Révolutionnaire et Romantique, which specializes in music of the classical and romantic eras and always has exciting surprises in store for its audience. Gardiner numbers among the most renowned opera and concert conductors of the late 20th century.
Mozart, Piano Concerto in E flat major, K. 271 (Jeunehomme Concert)(Mozartwoche 1997)
Born in 1943, the English conductor John Eliot Gardiner initially devoted himself to the historical performance practice of the music of the 17th and 18th centuries. In 1990 he founded the Orchestre Révolutionnaire et Romantique, which specializes in music of the classical and romantic eras and always has exciting surprises in store for its audience. Gardiner numbers among the most renowned opera and concert conductors of the late 20th century. Soloist in this concerto is the internationally renowned Portuguese pianist Maria Joao Pires.
Schubert, Symphony No.6 in C major, D. 589 (Mozartwoche 1997)
Born in 1943, the English conductor John Eliot Gardiner initially devoted himself to the historical performance practice of the music of the 17th and 18th centuries. In 1990 he founded the Orchestre Révolutionnaire et Romantique, which specializes in music of the classical and romantic eras and always has exciting surprises in store for its audience. Gardiner numbers among the most renowned opera and concert conductors of the late 20th century.
Gardiner conducts Berlioz and Elgar
The Orchestre Philharmonique de Radio France joins forces with conductor Sir John Eliot Gardiner and violist Antoine Tamestit for a concert featuring Italy and putting two composers in the spotlight: Hector Berlioz and Edward Elgar. With Harolde en Italie, Hector Berlioz invokes transalpine landscapes. Shaped by the period when the composer was resident at the Villa Medici, this symphony in four parts gives pride of place to the viola, played here by Antoine Tamestit – “one of the two or three greatest current performers” (Diapason). In the South (Alassio), composed between 1903 and 1904 by Edward Elgar, is still about Italy, pastoral atmosphere and Byronic colours. Brilliantly complex, this work, written in record time, is one of the peaks of romantic music. Let us travel a little deeper into Edward Elgar’s melancholy with his Sospiri. This adagio for strings composed at the dawn of the First World War is captivating in its romanticism and passion.