“Mahler, Live” is a dialogue between two outstanding ballets, the world premiere of “4” by Martin Schläpfer and Hans van Manen‘s icon of dance history “Live”. The new director of the Vienna State Ballet Martin Schläpfer not only presents his first own program at the Vienna State Opera with the premiere “Mahler, Live” but also introduce himself as choreographer with his world premiere “4” to Gustav Mahler‘s 4th Symphony. The result is a great ballet for the entire ensemble, which is preceded by an icon of dance history at the opening of the evening, with Hans van Manen‘s “Live”. Hans van Manen‘s “Live” is the first video ballet in dance history and a masterful puzzle game with the mechanisms of perception. First performed in Amsterdam in 1979, “Live” has so far been danced exclusively by Het Nationale Ballett. With this new production in Vienna, Hans van Manen entrusts his work to another company for the first time. “The ballet evening Mahler, live at the Vienna State Opera is already writing dance history” (Kurier), // “A sensational start. The Viennese have undoubtedly drawn a lucky draw.” (Süddeutsche Zeitung).
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)
Love Duets – Sonya Yoncheva & Vittorio Grigolo at Arena di Verona
In the imposing Arena di Verona, soprano Sonya Yoncheva and tenor Vittorio Grigolo present with dramatic and passionate synergy an evening of the most beautiful operatic love arias and duets in opera history. Passion that burns, consumes and sometimes kills is the central theme of this concert including arias from Roméo et Juliette by Charles Gounod as well as from Puccini´s Tosca, La bohème, Madama Butterfly and Verdi´s La traviata, all conducted by Plácido Domingo. Sonya Yoncheva has the full and vibrant timbre of a true lyrical soprano while Vittorio Grigolo, like Cavaradossi and Rodolfo, plays the cards of ardor and passion, with sweet and affectionate colors. An overall successful evening.
Plácido Domingo at the Arena di Verona
Opera legend Plácido Domingo returns to the spectacular Arena di Verona, where he more than 50 years ago made his debut. Plácido Domingo and Saioa Hernández perform a programme dedicated to the great Italian composers Giuseppe Verdi and Umberto Giordano. Jordi Bernàcer conducts the Orchestra of the Arena di Verona from the center of the Arena, which creates an incredible surround sound, embedded in a perfectly staged light show. It had been an extraordinary evening, where “the duets saw the artists perfectly in harmony” (OperaClick) and “Domingo performed with bravura, alternating with the spectacular Saioa Hernández” (operaactual.com).
A Midsummer Night’s Dream – A Ballet by John Neumeier
“During creation, every new ballet seems a possible film. When developing the idea of filming “A Midsummer Night’s Dream“, I insisted on planning a true ballet film which, for me, is completely different than a documentary. I intended to put the audience into the ballet, to bring it closer. Within the three days of recording, we did not schedule a single complete run-through of the work. Instead, we recorded the film in sequences and with exciting camera positions which can be compared to the way one would film a drama. What we really love when watching films, is the immediacy, the vibrancy of the moment. The camera being so close, means that we don’t want the dancers representing something, we don’t want them presenting something, we want them simply being – “now”. We want that spark of truth that springs towards us and that touches us.” John Neumeier In 1977 John Neumeier created one of his most popular ballets for the Hamburg Ballet: A Midsummer Night’s Dream based on William Shakespeare. This production has been invited regularly for guest performances in Europe, Asia, North and South America. The Hamburg Ballet’s archives document more than 300 performances. In addition, the ballet has been produced by prestigious companies such as the Paris Opera Ballet and the Ballet of the Bolshoi.
Lisa Batiashvili, Gautier Capuçon & Christian Thielemann
Violinist Lisa Batiashvili, cellist Gautier Capuçon, Christian Thielemann and the Staatskapelle Dresden present a sophisticated concert programme of three great composers: Johannes Brahms, Pyotr I. Tchaikovsky and Franz Liszt. In Brahms´ Double Concerto Lisa Bathiashvili is playing her Guarneri “with tenderness and devotion” (Der Neue Merker). Her lyrical, velevety performance is contrasted by Capuçon’s more throaty and vibrating tone: “The two ways of playing seem to collide sometimes but to match brilliantly at the same time”. Christian Thielemann and his Staatskapelle “are mixing different colours as if they were putting emeralds and rubies on precious metal, creating huge sonority but always retaining clarity in it” (Dresdner Neueste Nachrichten).
Andrea Chénier
Andrea Chénier, which premiered at La Scala in 1896, was last performed here 32 years ago by Riccardo Chailly. “By choosing to work with director Mario Martone, known for his films as well as his work in opera and theatre, Chailly has given overall coherence to his cinematic vision. This production is beautifully crafted and full of grim period detail. Riccardo Chailly conducted with vitality and drive“ (Financial Times) and in the main roles Yusif Eyvazov “proved to be technically very skilled“ and Anna Netrebko´s “beautifully timbred and perfectly tuned voice“ (theoperacritic.com) made “the acoustic experience of the Milanese Chénier high-class“. (BR Klassik)
Bruckner: The Symphonies 1-9
This Blu-ray box contains the international acclaimed Bruckner cycle of Christian Thielemann, a “magician of the Bruckner sound”(Kurier on Symphony No. 5) and the Staatskapelle Dresden, whose own Bruckner tradition dates back more than a century. Outstanding reviews emphasize the exceptionally high artistic quality of the concerts: “Once again Thielemann proved to be the unrestricted ruler on his ancestral territory, German Romantic repertoire” (Hamburger Abendblatt on Symphony No. 2). Christian
Thielemann “displays the full musical maelstrom of Bruckner’s Symphony No. 3” (Münchner Merkur). “Another Bruckner triumph for Dresden” (Sächsische Zeitung on Symphony No. 6). “… one would have to be hard-hearted not to be touched by this heartfelt music” (Der Tagesspiegel on Symphony No. 8).
Le Corsaire
With fairytale-like staging and a “Pas de deux” that made Rudolf Nureyev and Margot Fonteyn a legend and always awaited in the ballet galas, Le Corsaire is considered a choreographic milestone in the history of ballet. Le Corsaire debuted with enormous success at La Scala to celebrate the 200th anniversary of the legendary choreographer Marius
Petipa. The choreographic version by Anna-Marie Holmes after Marius Petipa and Konstantin Sergeyev made it „great fun! Spinatelli has given the dancers ravishing costumes and the orchestra plays some of ballet’s biggest hits. La Scala’s ballet company in top form.” (Gramilano) “A majestic staging and an excellent Dance Corps.” (L´ape Musicale) “Impeccable” (Informadanza)
Kit Armstrong plays Wagner, Liszt and Mozart
Bayreuth is not only the city of Richard Wagner, but also of his father-in-law Franz Liszt. Described by the New York Times as a “brilliant pianist” who combines “musical maturity and youthful daring in his exceptional playing”, Kit Armstrong performed at the famous Margravial Opera House Bayreuth, a masterpiece of Baroque theatre architecture, works by
Wagner, Liszt and Mozart in a concert that was “technically sophisticated – and poetically poignant”. (Der Opernfreund) Alfred Brendel, who has guided Armstrong as teacher and mentor since 2005, ascribes to him “an understanding of the great piano works that combines freshness and subtlety, emotion and intellect”.