“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.
The Sound of Nature – Beethoven Worldwide: the Pastoral Project
Creating music in the spirit of Beethoven’s “Pastoral Symphony” – With the 6th Symphony, the “Pastoral,” Ludwig van Beethoven expressed his romantic appreciation of nature. Now, this work is the basis of the “Beethoven Pastoral Project,” captured by Deutsche Welle in this documentary film. It presents five musicians and ensembles on five continents currently exploring the themes of nature and the environment. The artists include the Australian viola player and composer Brett Dean, the Indian film score composer and Grammy award winner Ricky Kej and the Ethiopian pop singer Betty G. What kind of music are they making in this era of climate change and environmental degradation?
A World Without Beethoven? Music documentary with Sarah Willis
“What would the world be like without Beethoven?” That’s the provocative question posed by this music documentary. To answer it, the film explores how Ludwig van Beethoven’s innovations continue to have an impact far beyond the boundaries of classical music. What would be missing from jazz or film music, for example, if Beethoven had never created his many innovations? Would the concert business exist as we know it today? And how has it changed the role of the artist? Sarah Willis, horn player with the Berliner Philharmoniker, sets out on an entertaining and informative journey in search of answers. She meets people from around the world – musicians and managers – to follow the traces of Beethoven’s influence.
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)
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)
BEETHOVEN‘S NINTH – Symphony for the World
A breathtaking Documentary about the greatest Symphony of all times. To this day, Beethoven’s Symphony No. 9 is one of the most popular pieces of classical music in the world. But what is it about this global hit? The film charts the success of the symphony around the globe and encounters passionate amateur musicians and musical personalities. Watch as Greek conductor Teodor Currentzis works on Beethoven’s Ninth with his ensemble, MusicAeterna. Follow Chinese composer and Oscar winner Tan Dun as he creates a new composition inspired by the great Beethoven symphony. Experience the Orchestre Symphonique Kimbanguiste in the Democratic Republic of the Congo, as they play the Ninth. Visit a favela in Brazil, where Beethovens’s music helps people get off the streets. Be amazed as a choir of 10,000 in Japan sings the final chorus of Beethoven’s Ninth Symphony, with great enthusiasm. Learn how Paul Whittaker helps make Beethoven accessible for deaf people. And find out how British DJ Gabriel Prokofiev performs a symphonic remix of Beethoven’s Ninth. A moving film – not just for the fans of classical music!
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”.
Alceste
The Belgian dancer and choreographer Sidi Larbi Cherkaoui interprets Gluck’s late Baroque opera Alceste as an impressive symbiosis between dance and music. The opera “can be experienced here in all its existential power.“ (SZ) It is here performed in the revised Paris version from 1776 where Gluck has revalued especially the ballet music. Cherkaoui – director of the Royal Ballet of Flanders – has worked with top artists across disciplines like superstar Beyoncé. The superb dancers of the Belgian Compagnie Eastman, Antwerp perform Gluck’s score physically, creating a fine and stringent aesthetics of “beautiful images” (Opernwelt). Dorothea Röschmann with her “inimitable charisma” (Financial Times) and Charles Castronovo deliver a brilliant performance in the roles of the self-sacrificing royal couple. “Musically impressive.“ (NMZ)
Peer Gynt
In this story ballet, choreographer Edward Clug merges the distinct versions of Peer Gynt by Edward Grieg and Henrik Ibsen into a new ballet experience. “A brilliant narrator” (Kronenzeitung), Clug captures the fantastic adventures of the boastful peasant boy, who sets off to become emperor of the world, with the help of the bold stage and costume design by Marko Japelij and Leo Kulaš. The result are “magical scenes, never seen like this in conventional ballets” (Kurier) with “an outstanding cast, down to the smallest roles” (Opernfreund).