At Maggio Musicale Fiorentino, maestro Fabio Luisi gives “a superb performance” (Operawire) of Der Fliegende Holländer (The Flying Dutchman), the forerunner of grand Wagnerian dramas. His Italian Richard Wagner debut is infused with energy and drive, under his direction the orchestra and chorus of Maggio Musicale Fiorentino, together with Coro Ars Lyrica, sparkle “in what was a five star performance” (Operawire). Thomas Gazheli stars as the Dutchman, who has been condemned to endlessly wander the seas until the day of Judgement. Marjorie Owens shines as his saviour Senta.
Don Quichotte
The “striking interpretation” (Neue Musikzeitung) of Jules Massenet’s operatic rarity Don Quichotte at Bregenz Festival, received an “unanimous jubilation for director Mariame Clément, her outfitter Julia Hansen and the entire stage team: a typical Bregenz Festival orchid flourished!“ (Neue Musikzeitung Online). But this opera is also a musical discovery, not least because of the outstanding cast: “the balsamic sound of well-being of Gábor Bretz, David Stouts mobile Sancho Panza is also wonderfully shaded (Salzburger Nachrichten) and “Anna Goryachova impresses as Dulcinée with vocal clarity and scenic presence”. (Wiener Zeitung) “The Bregenz Festival discovers a dreamlike operatic beauty full of melancholy and farewell” (Salzburger Nachrichten)
Ricciardo e Zoraide
World Premiere recording on DVD! To celebrate the 200th anniversary of the premiere of the Rossini rarity, the Rossini Opera Festival in Pesaro staged Ricciardo e Zoraide with an all-star cast. Juan Diego Flórez makes his debut as the crusader Ricciardo, giving a “masterclass in bel canto” (Bachtrack), his high notes are “… still thrilling with their laser-like precision” (Financial Times). The South African soprano Pretty Yende – “radiant and richly expressive” (Financial Times) as Zoraide – proves that she is “a virtuosa in Rossini singing” (Neue Musikzeitung). On the 150th anniversary of the composer’s death and 200 years after ist premiere, Ricciardo e Zoraide rings out with an artistic quality that is second to none, thanks to the skills of an “absolute Champions League ensemble” (Online Merker). Due to the “attentive conducting of Giacomo Sagrapanti, practically nothing stands in the way of enjoying the beauty of this rarely performed score to the fullest” (Online Merker). The result is an incredible orchestral performance.
Les Contes d’Hoffmann
The “superb, sinister“ Tales of Hoffmann at the Dutch National Opera with “excellent soloists, the impressive John Osborn” (Theaterkrant) and “Christine Rice, a vocally and physically voluptuous Giulietta“ (bachtrack.com), “mezzosoprano Irene Roberts, who plays and sings brilliantly” (Groene Amsterdammer) and “Erwin Schrott, singing the four villains for the first time, made it look like a blast.” (bachtrack.com) “Les Contes d’Hoffmann is a parade of golden voices”. (Volkskrant) Maestro Rizzi conducted with elegance and momentum the chorus and the „excellent playing Rotterdam Philharmonic Orchestra”. (Volkskrant) “Spectacular” (Trouw) “This production effortlessly fascinates from start to finish.“ (Theaterkrant)
A Musical Journey Across Austria
The Vienna Johann Strauss Orchestra can rightly claim to be one of the most authentic ensembles for interpreting the music of the Strauss dynasty. Founded in 1966 in Vienna, the aim of the new orchestra was to cultivate both the music of the Strauss dynasty, as well as so-called ‘light’ Viennese music. This festive concert from the Golden Hall of the Musikverein Vienna is a musical journey across Austria and includes beautiful footage of the Austrian landscape and famous historical monuments, as well as short introductions by the conductor Johannes Wildner. Enjoy the magic of the music of the Strauss family and the accompanying impressions of Austria.
Ein deutsches Requiem
“A powerful moment of musical history recreated” says Classic FM about the Brahms Requiem interpretation by Paavo Järvi, the Grammy Award-winning Estonian-American conductor, and his orchestra, Deutsche Kammerphilharmonie Bremen. The performance corresponds with Brahms’ final version including all seven movements and using the same number of musicians as the composer himself. The premiere of the German Requiem took place on April 10, 1868, in Bremen Cathedral under the direction of the composer himself, although the fifth movement, which was created later, was still missing. On April 10, 2018, for its 150th anniversary, the work is back to the exact place of its premiere in Bremen Cathedral. “Valentina Farcas was the perfect female counterpart to Goerne, which was not easy. She convinced with impeccable phrasing, diction, and legato, she never got shrill and she was not afraid to take risks in the high notes.” (El Pais), “rarely you hear such an insightful performance!” (FAZ)
Don Giovanni
Mozart’s Don Giovanni, in the beautiful staging by legendary Franco Zeffirelli is a spectacle with a strong aesthetising component, a feast for the eyes. In this production “Zeffirelli returns to a representative Super classic line, renewing the complex mechanisms of almost all his other productions” (Il corriere musicale) with “beautiful classic costumes by Maurizio Millenotti and lights by Paolo Mazzon” (L’ape musicale). Carlos Álvarez is “of beautiful voice” (GP Opera) and “presumably todays best Don Giovanni” (L’ape musicale) while “Irina Lungu is one of the best lyric sopranes” (L’ape musicale). “Donna Elvira, being sung by Maria José Siri was clearly and advantageously represented by her mellow and beguiling voice.” (MTG Lirica)
Die Entführung aus dem Serail
The unforgettable “masterful use of light and silhouettes” (Milano Post) with which Giorgio Strehler interpreted the charm of Mozart’s Singspiel was conceived for the Salzburg Festival, where it was staged in 1965 under the baton of then 29 year old Zubin Mehta, and then regularly revived at La Scala from 1972 onwards. At twenty years since the death of the great director, who from 1951 staged some by-now legendary operas at La Scala, Teatro alla Scala proposed anew this celebrated staging and called to the podium the man who conducted it the first time – Zubin Mehta. “Extraordinary, a wonder …” (Corriere Della Sera). The stage set with magnificent palace architecture and a sea view at centre is a veritable feast for the eyes, which is equally true for the elaborately and lovingly designed costumes. The viewer feels like he‘s being transported into the oriental aura. The fact that the current performance is conducted by Maestro Zubin Mehta, now over 80 years old, builds a bridge to Strehler‘s Salzburg production, which dates back more than half a century, and at the same time provides a touching detail of this timelessly monumental performance.
Tristan und Isolde
This production of Wagner’s Tristan und Isolde, directed by Pierre Audi, has received high acclaim in Paris and Rome. “Pierre Audi is one of the few directors who works with Wagner by subtraction, imagining the story in a minimalist dimension, out of time, abstract: … Don’t miss it.“ (Il Messagero). „The Orchestra of Teatro Opera of Rome proves with this interpretation that it is one of the best opera house orchestras in Europe.“ (KlassikInfo.de) “Ecstasy, emotion and effect unleashed by Daniele Gatti at the podium of the Orchestra was overwhelming.“ (News.at). “Excellent Andreas Schager as Tristan, vocally strong Rachel Nicholls as Isolde.“ (KlassikInfo.de). “Brilliant! Gatti is a supreme Wagnerian, gloriously aware of all the kinesthetic requirements. Schager is convincing, Nicolls among the great Isoldes I’ve heard. If your ambition is to increase your understanding of Tristan, beg, borrow or steal a ticket.” Jack Buckley, SEEN AND HEARD
La Cenerentola
Rossini’s second masterpiece La Cenerentola premiered at the Teatro Valle in Rome on the 25th of January 1817, less than a year after the first performance of his The Barber of Seville and it´s pure, perfect Rossini. In this production, a set-up made to celebrate 200 years Rossini in Rome, Emma Dante´s “rousing Cinderella” (Corriere della Sera) “succeeds in impressing her own contemporary vision on a classic masterpiece, in perfect symbiosis with the spirit of Rossini.” (Opera Now) “Alejo Pérez deserves the credit for an excellent ensemble and a dazzling rhythmic rendering of the Rossinian score.” (La Nazione – Il Resto del Carlino – Il Giorno)