The conductor and composer Pierre Boulez is one of the most influential artists of our time. On the occasion of his 85th birthday, he conducts works from different stages of his creative development. ‘Messagesquisse’ for violoncello solo and six violoncelli. ‘Anthèms 2’ for violin solo and live electronics and ‘Le marteau sans maître’ for alto and six instruments. Boulez is joined by his friend Daniel Barenboim, the alto Hillary Summers and members of the West Eastern Divan Orchestra.
Das Rheingold
It began with a scandal, became the object of heated discussions, turned into a sensational success and finally blossomed into a legendary, standard setting production: Pierre Boulez’ and Patrice Chéreau’s epoch-making “Ring” cycle in Bayreuth, the “Centennial Ring”. When the production was premiered in 1976, there were brawls in the venerable Festspielhaus, with the audience divided into one mob roaring in favor and one screaming against. The main reason for the protests was Chéreau, who set the work in the time in which it was written and focused on the all-too-human passions that motivate gods and men alike. The grimy industrial era with its robber barons and suffering masses supplied the ideological underpinnings of Chéreau’s concept. Musical conservatives felt betrayed and cheapened by this association. The tide began to turn in 1977. Certain features were altered and the production began to have a more homogeneous feel. Finally, in 1980, its last year, the Ring concluded with a 90-minute ovation and 110 curtain calls. By the time Philips released the complete recording of this production in 1992, its legendary status had already begun to take shape: “Patrice Chéreau and Pierre Boulez not only wrote a major new chapter in Wagner interpretation with their Ring, but also carried out a revolution that affected all of musical theater. Since then, no production of the Ring has been able to come near to the concept put forward by Chéreau and Boulez.” (FonoForum) Unitel’s production, the first complete recording on film of Wagner’s Ring, marked the beginning of Unitel’s exclusive association with the Bayreuth Festival.
Introduction to Wagner, Der Ring des Nibelungen
Siegfried
It began with a scandal, became the object of heated discussions, turned into a sensational success and finally blossomed into a legendary, standard setting production: Pierre Boulez’ and Patrice Chéreau’s epoch-making “Ring” cycle in Bayreuth, the “Centennial Ring”. When the production was premiered in 1976, there were brawls in the venerable Festspielhaus, with the audience divided into one mob roaring in favor and one screaming against. The main reason for the protests was Chéreau, who set the work in the time in which it was written and focused on the all-too-human passions that motivate gods and men alike. The grimy industrial era with its robber barons and suffering masses supplied the ideological underpinnings of Chéreau’s concept. Musical conservatives felt betrayed and cheapened by this association. The tide began to turn in 1977. Certain features were altered and the production began to have a more homogeneous feel. Finally, in 1980, its last year, the Ring concluded with a 90-minute ovation and 110 curtain calls. By the time Philips released the complete recording of this production in 1992, its legendary status had already begun to take shape: “Patrice Chéreau and Pierre Boulez not only wrote a major new chapter in Wagner interpretation with their Ring, but also carried out a revolution that affected all of musical theater. Since then, no production of the Ring has been able to come near to the concept put forward by Chéreau and Boulez.” (FonoForum) Unitel’s production, the first complete recording on film of Wagner’s Ring, marked the beginning of Unitel’s exclusive association with the Bayreuth Festival.
Die Walküre
It began with a scandal, became the object of heated discussions, turned into a sensational success and finally blossomed into a legendary, standard setting production: Pierre Boulez’ and Patrice Chéreau’s epoch-making “Ring” cycle in Bayreuth, the “Centennial Ring”. When the production was premiered in 1976, there were brawls in the venerable Festspielhaus, with the audience divided into one mob roaring in favor and one screaming against. The main reason for the protests was Chéreau, who set the work in the time in which it was written and focused on the all-too-human passions that motivate gods and men alike. The grimy industrial era with its robber barons and suffering masses supplied the ideological underpinnings of Chéreau’s concept. Musical conservatives felt betrayed and cheapened by this association. The tide began to turn in 1977. Certain features were altered and the production began to have a more homogeneous feel. Finally, in 1980, its last year, the Ring concluded with a 90-minute ovation and 110 curtain calls. By the time Philips released the complete recording of this production in 1992, its legendary status had already begun to take shape: “Patrice Chéreau and Pierre Boulez not only wrote a major new chapter in Wagner interpretation with their Ring, but also carried out a revolution that affected all of musical theater. Since then, no production of the Ring has been able to come near to the concept put forward by Chéreau and Boulez.” (FonoForum) Unitel’s production, the first complete recording on film of Wagner’s Ring, marked the beginning of Unitel’s exclusive association with the Bayreuth Festival.
Götterdämmerung
It began with a scandal, became the object of heated discussions, turned into a sensational success and finally blossomed into a legendary, standard setting production: Pierre Boulez’ and Patrice Chéreau’s epoch-making “Ring” cycle in Bayreuth, the “Centennial Ring”. When the production was premiered in 1976, there were brawls in the venerable Festspielhaus, with the audience divided into one mob roaring in favor and one screaming against. The main reason for the protests was Chéreau, who set the work in the time in which it was written and focused on the all-too-human passions that motivate gods and men alike. The grimy industrial era with its robber barons and suffering masses supplied the ideological underpinnings of Chéreau’s concept. Musical conservatives felt betrayed and cheapened by this association. The tide began to turn in 1977. Certain features were altered and the production began to have a more homogeneous feel. Finally, in 1980, its last year, the Ring concluded with a 90-minute ovation and 110 curtain calls. By the time Philips released the complete recording of this production in 1992, its legendary status had already begun to take shape: “Patrice Chéreau and Pierre Boulez not only wrote a major new chapter in Wagner interpretation with their Ring, but also carried out a revolution that affected all of musical theater. Since then, no production of the Ring has been able to come near to the concept put forward by Chéreau and Boulez.” (FonoForum) Unitel’s production, the first complete recording on film of Wagner’s Ring, marked the beginning of Unitel’s exclusive association with the Bayreuth Festival.
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
With Pierre Boulez, Daniel Barenboim and the Vienna Philharmonic Orchestra you are assured of a
concert of superlatives.
“Unsurpassable in terms of the delicacy of its sonorities.” – Frankfurter Allgemeine Zeitung
„An ideal combination“ Kronenzeitung
“Boulez at his most responsive and insightful in all three works. And a grandiose orchestra – the Wiener
Philharmoniker in top form” (Kurier).
Salzburg Festival Opening Concert 2011
Dorothea Roeschmann, Anna Larsson, Johan Botha – and rising star Anna Prohaska: master conductor Pierre Boulez the “grand seigneur de subtle minimalism and exquisitely beguiling sounds” (Der Standard), assembled a cast of tremendous distinction for this prestigious concert, conceived as a tribute to Gustav Mahler. After two works by Mahler´s pupil Alban Berg, featuring Roeschmann and Prohaska, the main event of the concert is Gustav Mahler´s large-scale cantata “Das klagende Lied” – a “great spectral opera for the mind´s eye (Wiener Zeitung)
Salzburg Festival Opening Concert 2008
A dream of a line-up: Daniel Barenboim, Pierre Boulez and the Vienna Philharmonic! Put one of the world´s greatest orchestras in the hand of one of the foremost specialists of 20th-century music, add a soloist who is one of today´s leading pianists and conductors, and you are assured of a concert of superlatives that pays glowing tribute to three major works of the past century.
“The mutual affection felt by conductor and orchestra once again made for captivating results. Even without dancers, the music danced.” Frankfurter Allgemeine Zeitung