Beethoven, Symphony No.9 in D minor, op.125

Recorded live at the Berlin “Philharmonie” on New Year’s Eve 1977, this rousing interpretation of Beethoven’s most popular symphony with the Berlin Philharmonic under Herbert von Karajan weaves a rich tapestry of emotional contrasts. The Ninth is an affirmation of optimism and beauty, written when Beethoven was almost completely deaf. The final movement is considered by many to be the composer’s crowning glory. It had been Beethoven’s lifelong dream to set Schiller’s “Ode to Joy” to music, for the poem put into words Beethoven’s most impassioned desire: peace and brotherhood in the world. Giving eloquent voice to this plea are the world-renowned soloists Anna Tomowa-Sintow, Agnes Baltsa, René Kollo and José van Dam.

Beethoven, Symphony No.9 in D minor, op.125 “Choral”

When, in the mid 1960s, Herbert von Karajan decided to record on film all nine Beethoven symphonies with the Berlin Philharmonic, he began with the “Fifth” and asked the famous French movie director Henri-Georges Clouzot (Quai des Orfèvres) to direct. Recognizing in the music-loving director a kindred soul and master of the symbolic image, Karajan found an inspired partner. In another of Karajan’s first efforts, he asked six directors to “stage” one movement each of a Beethoven symphony. For a full week, the directors had the Berlin Philharmonic and Herbert von Karajan – all in full dress – at their disposal, with all the 35mm film, cameras, lighting and technical assistance they needed. Karajan’s most controversial production was Hugo Niebeling’s highly personal interpretation of the “Pastorale”, with its abstract shots of instruments, rapid rhythms, fade-ins and symbolically arranged colors.

Michael Nyman in Progress

The film is about a very special moment in the famous composers artistic life. Composing with innovative minimalism for films as memorable as “The Draughtsman’s Contract”, “The Ogre”, “Man on Wire”, and most famously for Campion´s “The Piano”, he has reached an international audience. But now, Michael Nyman is about to become a filmmaker himself. At first it was documenting, „collecting moments“, Michael Nyman was „just curious about the visual world out there“ but right now this turns into an art process. Featuring unprecedented access to the composer and his working life, this film shows one of the great composers of our time in all his diversity and endless energy. From London to Berlin, in Mexico, Poland, the Netherlands and Portugal this film is also a journey through the musical world today. It shows Michael Nyman, the musician, in his concerts with the Michael Nyman Band and live collaborations with other internationally known musicians or orchestras. But throughout his journeys, this film discovers Nymans increasing passion for filming and photography. Witnessing the development of Nyman´s visual works from the very moment of inspiration right through to his editing of the footage and the combination of the visuals with his music, this film gives a unique insight into Michael Nyman´s very personal views, his thoughts and emotions; his world.

Coppélia

“Coppélia” was premiered with great success at the Théâtre Impérial de l’Opéra de Paris on 25 May 1870. Since then, the ballet has lost none of its freshness and popularity. The librettist of “Coppélia”, Charles Nuitter, found the subject of his work in a tale by E.T.A. Hoffmann, “The Sandman”. “Coppélia” is the first of many ballets which take as their theme the humanization of mechanical objects.

Josephs Legende

“Composed to a libretto by Harry Graf Kessler and Hugo von Hofmannsthal and premiered by Sergei Diaghilev’s Ballet Russes in the summer of 1914, Strauss’ Josephs Legende was one of the earliest cultural casualties of the First World War. The leads in John Neumeier’s production from 1977 are terrific, especially the sensational Judith Jamison as Potiphar’s Wife. The Wiener Philharmoniker sounds sumptuous and conductor Heinrich Hollreiser keeps the drama from dragging without getting in the way of the dancers.” (James Leonard, ALLMUSIC.com)

Wiener Philharmoniker: Tugan Sokhiev & Martha Argerich

“Glaring drama and bizarre comedy, lyrical poetry and gripping, vivid theatricality: Argerich demonstrated this par excellence in Prokofiev” (Der Standard). Under Tugan Sokhiev, the Wiener Philharmoniker presents two masterpieces of the early 20th century: Classical icon Martha Argerich interprets Sergei Prokofiev’s Third Piano Concerto with “great dexterity and fire” (Die Presse), “Thunderous cheers and bravos!” (Kronenzeitung). Igor Stravinsky’s ballet music “Petrushka” (1911 version) was transformed by Sokhiev “into a furious sound theatre” (Kurier). PROGRAM Prokofiev: Piano Concerto No. 3; Scarlatti: Sonata, K.141; Stravinsky: Petrushka – Suite

Grafenegg: Midsummer Night’s Gala 2025

The Midsummer Night’s Gala heralds the start of the summer festival season every year, captivating the audience and celebrating the summer against the idyllic backdrop of the extensive castle grounds. On the Wolkenturm stage, chief conductor Fabien Gabel joins star pianist and festival director Rudolf Buchbinder for their first collaboration at Grafenegg. Buchbinder, intimately familiar with the venue, performs a movement from Schumann’s Piano Concerto in A minor. South African mezzo-soprano Siphokazi Molteno makes her festival debut, alongside American tenor Michael Spyres, recently named Best International Opera Singer at the Oper! Awards. The programme offers a vibrant mix of opera arias, overtures, and orchestral works, featuring Rossini’s Il barbiere di Siviglia, Puccini’s Turandot, and a spotlight on French and Spanish music.

Salzburg Festival 2025: Mozart – Mass in C minor

The Salzburg Festival brings Mozart’s monumental, unfinished Great Mass in C minor to St. Peter’s Abbey Church – the beautiful church for which the piece was composed and where it was probably also premiered. Gianluca Capuano conducts the orchestra Les Musiciens du Prince – Monaco and the vocal ensemble Il Canto di Orfeo. Mélissa Petit and Patricia Nolz are an “outstanding female duo” (Die Presse): Pétit’s coloraturas “sparkle like precious gems” and Nolz’s “darkly-shaded, slender soprano blends beautifully” (Salzburger Nachrichten)