The performance of all six of Anton Bruckner’s mature symphonies on six nearly consecutive evenings is an accomplishment that can truly be called “superhuman” (Der Tagesspiegel). Daniel Barenboim – conductor, pianist, all-round musical genius – set himself this task in June 2010 with the Staatskapelle Berlin at the Berlin Philharmonie. What Barenboim and his orchestra – he has been its principal conductor since 1992 – achieve in this marathon is a new view of the Bruckner opus that opts for grandeur and the mighty theatrical gesture. Bruckner’s symphonies as “operas without words” (Der Tagesspiegel).
Bruckner, Symphony No.9 in D minor
The performance of all six of Anton Bruckner’s mature symphonies on six nearly consecutive evenings is an accomplishment that can truly be called “superhuman” (Der Tagesspiegel). Daniel Barenboim – conductor, pianist, all-round musical genius – set himself this task in June 2010 with the Staatskapelle Berlin at the Berlin Philharmonie. What Barenboim and his orchestra – he has been its principal conductor since 1992 – achieve in this marathon is a new view of the Bruckner opus that opts for grandeur and the mighty theatrical gesture. Bruckner’s symphonies as “operas without words” (Der Tagesspiegel).
Bruckner, Symphony No.4 in E flat major “Romantic”
The performance of all six of Anton Bruckner’s mature symphonies on six nearly consecutive evenings is an accomplishment that can truly be called “superhuman” (Der Tagesspiegel). Daniel Barenboim – conductor, pianist, all round musical genius – set himself this task in June 2010 with the Staatskapelle Berlin at the Berlin Philharmonie. What Barenboim and his orchestra – he has been its principal conductor since 1992 – achieve in thi marathon is a new view of the Bruckner opus that opts for grandeur and the mighty theatrical gesture. Bruckner’s symphonies as “operas without words” (Der Tagesspiegel).
RCO: Mahler – Das Lied von der Erde
Concert on the occasion of the 50th anniversary of Bernard Haitink’s collaboration with the Royal Concertgebouw Orchestra.
Beethoven, Missa solemnis in D major, Op.123
The concert commemorating the bombardment of Dresden in World War II features Beethoven’s mighty choral work under the direction of Christian Thielemann. Playing with vibrancy and passion, the Staatskapelle Dresden made a profound impression on the entire audience. Particularly remarkable is the fabulously homogeneous solo quartet formed of Krassimira Stoyanova, Elina Garanca, Michael Schade and Franz-Josef Selig. Another major vocal feat was accomplished by the Saxon State Opera Choir, which mastered the extremely difficult choral part with effortless proficiency.
Coppélia
Marin’s reworking of this much-loved classic is a hugely entertaining and constantly surprising piece of dance theatre. The modern idiom of her imaginative choreography teams perfectly with the infectious melodies of Leo Delibes’ lively score, played by the Lyon National Opera Orchestra conducted by Kent Nagano. Marin’s Coppelia has lost none of the charm of the original, but has taken on a wry humour, which adds to ist appeal for today’s audiences. This programme was recorded with the Lyon National Opera Ballet on location in the suburbs of Lyon and in studio. An introduction by the choreographer is available.
Orfeo ed Euridice
From the Royal Opera House, Covent Garden 1991: Staged for the Royal Opera, Harry Kupfer’s production updates the Greek legend of Orpheus and employs ingenious sets by Hans Schavernoch, with projections onto revolving mirrors and screens, to conjure up images of a modern day Hell. It is sung using the original Italian libretto and, in the title role, the male alto Jochen Kowalski gives a “star performance of bewildering energy and commitment” (London Evening Standard). Soprano Gillian Webster is a radiant Euridice and Hartmut Haenchen conducts. (Sung in Italian)
Stabat Mater op. 58
Recorded live from the Vladislav Hall in the Hradchin, Prague, Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic Choir in a deeply moving performance of Dvorák’s choral work. (Sung in Latin)
Giselle
The acclaimed Swedish choreographer and dancer, Mats Ek, made dance history in the early eighties with his bizarrely unromantic and radically drastic new interpretation of the ballet classic. He interpreted the content and the style of the second act in a contemporary way for the Swedish Cullberg Ballet – one of the most famous modern dance formations in the world. Mats Ek keeps the music of Adolphe Adam: he uses a 1969 recording of the Monte Carlo Opera Orchestra conducted by Richard Bonynge that we also hear in this studio recording. The premiere cast of characters, Ana Laguna (Giselle), Luc Bouy (Albrecht), Yvan Auzely (Hilarion), Vanessa McIntosh (Bathilde) and Lena Wennergren (Myrtha), turn the accompanying recording into a first class ballet documentation.
“My version of Giselle is an attempt at retelling the story. For me Giselle – and this applies to the old ballet as well – is about love. Love, which in the old version conquers death. That differs in mine. But love remains the main thing.” Mats Ek”
Cinderella
Specially staged in studio for this recording, Maguy Marin’s reworking of the Cinderella story is astonishingly original and magical. “This is not Prokofiev’s Cinderella but Marin’s version – a brilliantly conceived one at that” (Anna Kisselgoff, New York Times). Montserrat Casanova’s designs transform the dancers into doll characters, using masks and paddedvcostumes, and her doll’s house set, with ist compartmentalised rooms, is equally inventive, Prokofiev’s wistful music has been cut, and additional sound effects added, to enhance Marin’s vision.