On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra’s history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. “Thielemann takes ample time especially for the slow, the groping quiet and thus organically develops the structure of the entire symphony …” (Süddeutsche Zeitung on Bruckner 4) “The Vienna Philharmonic Orchestra brings out the beauty of this three-movement symphony in all its facets […] This leaves nothing to be desired.” (Salzburger Nachrichten on Bruckner 9)
Bruckner 11 – Christian Thielemann & Wiener Philharmoniker
Symphonies in F & D minor for the first time released on DVD/Blu-ray! On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra’s history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. “Two symphonies that document Bruckner’s path to mastery quite excellently. (…) Conclusion: The next interesting Bruckner milestone in the cycle.” (Kurier) / “Masterly, kapellmeisterlike, dreamlike.” (Der Standard) / Beautiful to weep for and artistically accomplished. […] The interpretation of the Fifth may be considered a milestone. The way the musicians realised this work was simply grandiose.” (Kurier) PROGRAM Bruckner: Symphony in F minor (Study Symphony), Symphony in D minor (Nullte), Symphony No. 5; BONUS: Discovering Bruckner with Christian Thielemann
Bruckner 11 – Christian Thielemann & Wiener Philharmoniker
On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestra’s history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. “With the First, they […] provided an hour of happiness. […] An overwhelming event, entirely of philharmonic sound”. (Kronen Zeitung) // “Thielemann conducted Bruckner’s Seventh as a human drama in philharmonic splendour”. (Die Presse) PROGRAM: Bruckner: Symphony Nos 1 & 7; BONUS: Discovering Bruckner with Christian Thielemann
La Wally
Catalani’s masterpiece, first performed in 1892 at La Scala in Milan, is best known for its aria “Ebben? Ne andrò lontana”. With nuanced harmonies and colourful instrumentation, he pays great attention to the orchestra sound. He chose highly unusual material for his opera: the successful novel Die Geier-Wally by Wilhelmine von Hillern tells the story of a young woman who does not fit any of the gender clichés of the time. Unlike many earlier operatic heroines commanded to marry against their will, Wally does not look for a solution in society, but instead runs away to the mountains. Her husband must be her equal, someone unafraid to face both a bear and her father. “Izabela Matula – A Wagnerian hell of a woman with a great soprano.” (Kronenzeitung) / “Catalani’s highly dramatic music finds an intense advocate in Andrés Orozco-Estrada on the podium of the excellently disposed Wiener Symphoniker.” (Wiener Zeitung)
Beethoven: Missa solemnis
Since the death of Herbert von Karajan in 1989, the prestigious Vienna Philharmonic Orchestra’s concerts around Ascension Day (15 August) have firmly been in the hands of Riccardo Muti. Always sold out, they are among the highlights of every festival summer. For this year’s concert and on occasion of his 80th birthday, the maestro was acclaimed for his interpretation of Beethoven’s Missa solemnis, a piece he has never conducted before. “Muti is a master in conveying extremes: monumentality, where it is compositionally intended, and highest internalization alternate with each other in a dense interplay.” FAZ // “Muti mastered the work and presented it as stringently as perhaps no one else can do it today.” Die Presse
Saul
In 2009, Claus Guth staged a highly impressive “Messiah” at the Theater an der Wien; with “Saul”, he created again breathtaking musical theater at its finest. Florian Boesch in the title role dominates the production as the ruler slipping into madness. Boesch is an elemental force that attracts attention on stage like a black hole. As David, British countertenor Jake Arditti gives a perfect presentation of the change from the innocent boy to the man who, after many dramatic events, becomes Saul’s successor. “The pure Handel stroke of luck!” (Neue Musikzeitung). Anna Prohaska (Merab), Giulia Semenzato (Michal) and Rupert Charlesworth (Jonathan) perform convincingly the roles of Saul’s children who succumb to David’s physical and spiritual charms. The Freiburger Barockorchester under Christopher Moulds holds a finely textured balance between powerful ensemble and delicate solo passages of Handel’s score. The Arnold Schoenberg Choir’s nuanced singing – alternately exulting, admonitory or mournful – is as inspiring as the sound of the renowned period-instrument ensemble. “Handel vividly, today, as a mirror of the metamorphoses of power.” (Kurier) / “Florian Boesch as Saul is a vocal and acting elemental force, simply an ideal cast.” (Die Presse)
Halka
At Theater an der Wien Stanislaw Moniuszko’s Polish national opera Halka is performed by a superb cast including Corinne Winters (“devotedly”), Piotr Beczala (“vocally outstanding”) and Tomasz Konieczny (“his acting is piercing”) (Der Standard). The Polish leading team, above all director Mariusz Trelinski, puts the plot into a supercooled crime aesthetic. The ORF Radio Symphonie Orchester Wien under the baton of Lukasz Borowicz plays with perceptible delight. “A gripping opera evening” (Wiener Zeitung).
The Fiery Angel
Renata is obsessed with the love for the “fiery angel”. Ruprecht, in love with Renata, wants to free her from the madness, but all his efforts are in vain. She goes to the monastery, but here too she is being haunted by the image of the fiery angel. The Inquisition accuses Renata of witchcraft and sentences her to death. Prokofiev’s Fiery Angel is one of the outstanding operas of the 20th century. With her production, director Andrea Breth moves the action from 16th century Germany to the sterile environment of a modern psychiatric ward. The atmosphere of this prison-like place is sombre. “Musically gripping, scenically intense.” (Wiener Zeitung) / “A scenic sensation.” (Kurier) / “Aušrine Stundyte succeeds in her singing balancing act between eruptive power and vulnerability.” (Die Presse)
Platée
Jean-Jacques Rousseau hailed “Platée” as “the best musical play ever to be heard in our theatres.” In Robert Carsen’s production, the mythological events take place in the world of Parisian haute couture and Jupiter is portrayed as the fashion god Karl Lagerfeld (1933-2019) – who has now really been transferred up to Olympus. This ingeniously apt transposition of this satirical opera into the modern day has long been a hit! The renowned specialist in baroque music, William Christie, conducts his Les Arts Florissants, the Arnold Schoenberg Chor and a fantastic cast. “A candy-coloured baroque dream” Salzburger Nachrichten // “A must-see – and not only for fashion freaks!” Bühne BONUS: Interviews with Marcel Beekman, Nicolas Paul (Choreographer), Gideon Davey (Set and Costume Designer), William Christie and Robert Carsen
Thaïs
With the “Méditation”, Jules Massenet probably wrote one of the most famous melodies of our time. It originates from his Comédie-lyrique “Thaïs”, which – unlike Massenet’s operas “Werther” or “Manon” – never made it into the international opera repertoire. Presumably because the two main roles of Thaïs and Athanaël demand something almost
superhuman from the singers. In the new production by Peter Konwitschny at the Theater an der Wien, the American soprano Nicole Chevalier is one of the most exciting singers currently on stage in the title role. At her side, the young Austrian bass-baritone Josef Wagner celebrates his house debut. This is a fascinating and musically excellent performance of a timeless classic of the opera repertoire. “Gigantically well told (…) Grandiose!” (Der Kurier) // “An acoustic delight” (Der Standard)