From the San Francisco Opera 1989: Samuel Ramey’s powerful bass voice and compelling stage presence make him unforgettable in the demonic title role of Boito’s version of the Faust legend, a jewel of the nineteenth-century repertoire. Robert Carsen’s sumptuous production, steeped in a vivid and timeless symbolism, “breathes a sensitivity to the music and to Boito’s intentions that is rare on the operatic stage” (New York Times). Dennis O’Neill sings Faust, with Gabriela Benacková as Margherita. (Sung in Italian)
La Bohème
From the San Francisco Opera 1988: Luciano Pavarotti and Mirella Freni’s incomparable partnership as Rodolfo and Mimi, the tragic lovers in Puccini’s much-loved bittersweet opera, is captured for posterity in this live recording from the San Francisco opera. Francesca Zambello’s production boasts a superlative cast with Gino Quilico as Marcello, Nicolai Ghiaurov as Colline, Stephen Dickson as Schaunard and Sandra Pacetti as Musetta. The Italian conductor Tiziano Severini drew critical acclaim for his passionate and spontaneous reading of the score.
Requiem Op.89
Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic choir in this performance of Dvorák’s Requiem Op. 89, recorded live from the magnificent St. Veit’s Cathedral in Prague.
Swan Lake
Natalia Makarova, one of the most important interpreters of the classical ballet repertoire in the twentieth century, has also had great success as a producer. Her staging of Swan Lake is based on the original choreography by Petipa and Ivanov, with additional choreography by the late Sir Frederick Ashton. Evelyn Hart and Peter Schaufuss dance the main roles in this studio recording. Makarova’s innovative interpretation presents the work as a story of perfect and eternal love. The main focus is on Siegfried’s love for Odette, her love for him, his unfaithfulness, for which she ultimately forgives him, and her self-sacrifice in going to her death with him in order to break the power of an evil curse. The production is succinct and well paced. The stage design by Günther Schneider-Siemssen does not use scenery to communicate changes of place and mood but back projections, which are extremely effective for creating a mysterious, magical atmosphere.
La Cenerentola
From the Salzburg Festival 1988 Rossini’s version of the Cinderella story – an exciting mixture of comedy, pathos, coloratura fireworks and masquerade – features bel canto specialists Dame Ann Murray (Angelina) and Francisco Araiza (the Prince). The effervescent and noble score is conducted by Riccardo Chailly, whose masterly display of the Rossini style is visually matched by the ravishing sets of Mauro Pagano and the stylish direction of Michael Hampe. This is a performance of exceptional theatrical surprise and phenomenal vocal agility. (Sung in Italian)
Idomeneo
From the Drottningholm Court Theatre 1991 Conductor Arnold Östman worked with producer Michael Hampe on this production of Idomeneo. The opera boasts a series of superbly expressive pieces and was described by Einstein as “one of those works that even a genius of the highest rank, like Mozart, could write only once in his life”. It is set in Crete in the aftermath of the Trojan Wars. (Sung in Italian)
Die Entführung aus dem Serail
From the Drottningholm Court Theatre 1990: Set in the exotic seraglio of the Pasha Selim, the story revolves around the rescue of the lovely Constanze by her lover Belmonte – a tale of love, bravery and forgiveness. In this work, Mozart breaks new ground in introducing dramatically rounded characters with recognisably human feelings and weaknesses. The work influenced and changed the nature of opera throughout Europe.
This charming production from Drottningholm does full justice to Mozart’s score. Arnold Östman’s deliberate conducting combined with Carl Friedrich Oberle’s design demonstrates that this really is “an eternal masterpiece of music drama by a youthful, exuberant composer who suddenly found his individual voice and style in the field of opera with this particular work” (Opera now). Sung in German.
Die Zauberflöte
From the Drottningholm Court Theatre 1989: The international bass Laszlo Polgar joins a strong Scandinavian cast, including Stefan Dahlberg, Petteri Salomaa and Mikael Samuelsson, for this production, directed by Göran Järvefelt and conducted by Arnold Östman. Their authentic staging of the opera, held to be Mozart’s artistic – and philosophical testament, has an atmosphere of naive enchantment and was hailed as “…revelatory …liberating in the sense that it released the opera from the assumptions of the twentieth century” (The Independent). (Sung in German)
La gazza ladra
This Cologne Opera production, one of Rossini’s most brilliant compositions, was directed by Michael Hampe and boasts a star-studded cast with Ileana Cotrubas, Carlos Feller, David Kuebler and Alberto Rinaldi.
Rossini’s opera is a perennial favourite and tells the story of a servant girl, accused of stealing a silver spoon. She is brought to trial by the Justice of the Peace, whose advances she has repulsed, and is condemned to death. Tragedy turns to comedy when, just before the execution is due to take place, it is discovered that the real thief is a magpie.
Bruno Bartoletti conducts this lively and colourful production, designed by o Pagano.
La clemenza di Tito
From the Drottningholm Court Theatre 1987: For his last opera, written for the coronation of Leopold II as King of Bohemia in 1791, Mozart used a formal opera seria libretto by Metastasio, but at ist heart are intimate scenes of intense emotional conflict. This recording shows the producer “Järvefelt at his best… the whole evening – authentic but bristling with theatrical life – was a shining example of everything Drottningholm stands for” (Financial Times). (Sung in Italian)