Operetta enthusiast Barrie Kosky has landed a gigantic success with Offenbach’s subversive and hilarious reversion of the Orpheus myth at the Salzburg Festival. Kosky created a magically precise and witty staging with numerous extravagant costumes in a glittering opulent scenery and a literally devilish choreography. For the dialogues he has found an impressively ingenious solution as they are not spoken by the singers. Rather they are performed by the brilliant German actor Max Hopp as John Styx “who performs a true vocal miracle” (Neue Zürcher Zeitung) in a slapstick-like manner. The superb cast impresses with virtuoso singing as well as ravishingly comedic acting, first and foremost the American coloratura soprano Kathryn Lewek as Eurydice “with crystal clear coloraturas and sovereign top tones” (Salzburger Nachrichten), the Swedish mezzo-soprano Anne Sofie von Otter as severe L’Opinion publique or the Austrian bass baritone Martin Winkler as foolish father of the gods Jupiter. Under the Italian conductor Enrique Mazzola’s precise conducting the Wiener Philharmoniker provide an exquisite “sparkling orchestral sound” (Frankfurter Allgemeine Zeitung). “A frantic and fabulous show” (New York Times)
Fidelio
None other than Oscar-winner Christoph Waltz has been engaged for the stage direction of the new production of Fidelio from the Theater an der Wien. There, at one of the oldest opera houses in Vienna, L.v. Beethoven was what one would call today a composer-in-residence. And he was this in two respects: here he lived for two years in an apartment in the wing of the building. And it was here that he premiered many of his most famous orchestral works, symphonies and his only opera: Fidelio. In his third opera production Waltz brilliantly stages the second version of the opera in the breathtaking set designed by the German-American architectural practice Barkow Leibinger. The abstract staircase landscape in the form of a double helix, symbolizing prison, extends space into the back theatre and is infinitely changeable in the cinematic lighting concept of Hollywood regular Henry Braham. Manfred Honeck at the rostrum of the dynamic Wiener Symphoniker leads a superb and versatile cast of “vocally oustanding“ (Der Standard) singers: Nicole Chevalier bewitches vocally and dramatically on her stage debut as Leonore, Eric Cutler gives Florestan a powerful voice. Christof Fischesser, Gábor Bretz, Mélissa Petit complete the strong ensemble. But the production, which was sold out months before, never saw its stage premiere, as the Theater an der Wien sadly had to shut down due to the Covid 19 pandemic a few days before. Thanks to an incredible effort by all participants, the opera house was converted into a film studio at short notice so that Christoph Waltz’s “convincing production” (Die Zeit) of Beethoven‘s flaming musical plea for freedom and humanity could be preserved for posterity. “An ingenious, enigmatic direction” (Münchner Merkur)
Bernard Haitink – Farewell Concert at Salzburg Festival
“No more Bruckner under Haitink, that’s a cut in the history of interpretation” Wiener Zeitung. To end his active conducting career after 65 years, maestro Bernard Haitink together with the Wiener Philharmoniker gives a farewell concert at the Großes Festspielhaus at Salzburg Festival, leaving no doubt of being one of the best Bruckner interpreters ever. The Dutch conductor, who was appointed honorary member of the Wiener Philharmoniker shortly before the concert, is joined by star pianist Emanuel Ax in Beethoven’s Piano Concerto No. 4: a musical interaction “of a depth of sentiment and an agreement in making music together that sounds wonderfully natural” (Salzburger Nachrichten). The concert ends with Bruckner’s monumental Symphony No. 7 with its famous second movement, which marked the composer’s breakthrough and remains one of his most popular symphonies. The Wiener Philharmoniker play under Haitink’s masterful baton completely focused, but dynamic and with deepest sensation. The atmosphere of this last performance is without doubt exceptional and a visibly emotional Haitink was celebrated by the audience with long standing ovations. “You shouldn’t throw terms like ‘magic moments’ around easily. But what could be heard in Salzburg was certainly one” (Klassikinfo.de)
Ariodante
At Salzburg Festival, Cecilia Bartoli shines as Ariodante with her dazzling coloratura in a highly acclaimed new production by the German director Christoph Loy, who is known for his clever psychological stagings. Loy turns Handel’s splendid baroque opera into an exciting and differentiated reflection on gender roles. A high-class ensemble, first and foremost a brilliant Cecilia Bartoli in the trouser role of the knight Ariodante who effortlessly switches between cheerful and lamenting virtuoso singing makes the production a true triumph. At her side perform audience favourite Rolando Villazón as Lurcano and young American soprano Kathryn Lewek, praised by critics as a „true discovery“ (Neue Zürcher Zeitung). Gianluca Capuano at the podium of the Musiciens du Prince – Monaco „provides for elegance, richness of colour and a sensitive, stirring realisation of the ingenious score.“ (Kurier). „Cecilia Bartoli is a league of her own!” (Der Standard). “The singing was sensational” (LA Times)
Simon Boccanegra
Verdi’s masterpiece „Simon Boccanegra“ is presented in a „clear and levelheaded“ (The New York Times) staging by Andreas Kriegenburg from the Salzburg Festival. The tragedy of the corsair who becomes Doge of Genoa and is poisoned shortly after having found his lost daughter is conducted by Valery Gergiev, „makes for gorgeously beautiful tone colours“ (Der Kurier). The excellent cast includes Luca Salsi („Italy’s finest baritone today“, Financial Times) in the title role, René Pape („in sumptuous voice“, Financial Times) as his contrahent Fiesco, as well as Marina Rebeka and Charles Castronovo as the loving couple Amelia and Adorno who „together create islands of bliss in duet and action.“ (Neue Zürcher Zeitung). Valery Gergiev provides for an excellent musical realization, the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsopernchor perform superbly: “The Wiener Philharmoniker seemed to have virtually conspired with the conductor and the work, shining into every hidden sound angle, playing out all their sovereignty and opera experience” (Süddeutsche Zeitung).
Pique Dame (The Queen of Spades)
Hans Neuenfels, the luminary of modern director’s theatre, provides a compelling, multi-layered staging of Tchaikovsky’s Pique Dame at Salzburg Festival. In the stark, mostly abstract sets by Christian Schmidt, Neuenfels “draws gripping performances from a strong cast” (The New York Times) including Brandon Jovanovich and Evgenia
Muraveva in the title roles of Herman and Lisa and legendary singer Hanna Schwarz as Countess. Mariss Jansons, “a compelling director in his element” (The New York Times) makes his rare appearance as an opera conductor, at the helm of the Wiener Philharmoniker – “Another triumph in this hot festival summer!“ (Neue Zürcher Zeitung). Mariss Jansons, “maybe the best connoisseur of this unjustly neglected opera” (Süddeutsche Zeitung), turns this Queen of Spades with as much verve as sensitivity into a “captivating musical drama” (Die Zeit).
Salome
Richard Strauss’s opera at the Salzburg Festival, staged by Romeo Castellucci at the Felsenreitschule, was nothing short of a sensation! Debuting in the title role, Asmik Grigorian propelled herself to international stardom with her mesmerizing singing and acting abilities. The exceptional soprano recently won the International Opera Award as best singer. To witness Maestro Franz Welser-Möst performing together with the Wiener Philharmoniker and an outstanding cast “makes you think you are hearing the piece in its most perfect incarnation yet” (Financial Times). “Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera. […] Hers is a Salome to end all Salomes. […] In total, it is stunning…” (Financal Times) “thrilling” (Spiegel Online) “A breathtakingly dense, musically epoch-making […] Salome, which brought the house down!” (Neue Zürcher Zeitung)
L’Italiana in Algeri
“The role of Isabella is sung to perfection by Cecilia Bartoli – a clever, independent woman with an adventurous streak” (New York Times). Bartoli’s superb performance in Gioachino Rossini’s L’Italiana in Algeri (The Italian Girl in Algiers) at Salzburg Festival, directed by the BAFTA-winning stage director duo Moshe Leiser and Patrice Caurier, is a highlight among the Rossini celebrations on the occasion of the 150th anniversary of the composer’s death. The DVD captures Bartoli’s excellent performance in a rare audiovisual recording of the Italian superstar, who is one of the most successful opera singers of our time. In this vibrant comedy, every look, every hand gesture brings Isabella to life: Bartoli presents the spirited Italian woman with fire, finesse and extraordinary acting abilities – “a Rossini masterclass” (Bachtrack). Her Isabella is a strong, independent woman who has no intentions of accepting the advances of the powerful Mustafà. In the staging by Leiser/Caurier, which plays with preconceived notions about clashing cultures, Mustafà is no longer an Ottoman bey, but a kind of local gangster who smuggles electronics at the port of modern-day Algiers. In the colourful sets of Christian Fenouillat, Ildar Abdrazakov sings the leering macho, looking for a love affair with the beautiful Italian, with delight and “great comic talent” (Salzburger Nachrichten). Edgardo Rocha’s bright tenor climbs up without effort, making his performance as Isabella’s lover Lindoro flowing and highly emotional. The conductor Jean-Christophe Spinosi, showing sensitivity to the intricacies and sparkle of Rossini’s score, leads the excellent Ensemble Matheus in a “beguiling performance” (The New York Times).
Leonard Bernstein – Young People’s Concert (Vol. 2)
“There had never been a communicator about music with anywhere near Bernstein’s brilliance, humor, energy, reach and importance.” (The New York Times) // “Leonard Bernstein did this better than anyone. He was brilliant – as a musician and as an ambassador for music.” (Whoopie Goldberg). Young People’s Concerts Vol. 2 comprises 14 episodes of the legendary series, which remains unmatched until today. Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting”, Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired at prime-time on CBS from 1958 to 1972, 52 one-hour programs were written and hosted by Leonard Bernstein, “certainly the most influential American maestro of the 20th century” (The New York Times). With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers.
Leonard Bernstein’s Young People’s Concert (Vol. 3)
“There had never been a communicator about music with anywhere near Bernstein’s brilliance, humor, energy, reach and importance.” (New York Times). Young People’s Concerts Vol. 3 comprises 18 episodes of the legendary series, which remains unmatched until today. “Leonard Bernstein did this better than anyone. He was brilliant – as a musician and as an ambassador for music” (Whoopie Goldberg). Awarded three Emmys and hailed by Variety as “a rare moment in the symbiosis of the arts and broadcasting”, Leonard Bernstein’s Young People’s Concerts left their mark on television history. Aired at prime-time on CBS from 1958 to 1972, 52 one-hour programs were written and hosted by Leonard Bernstein, “certainly the most influential American maestro of the 20th century” (New York Times). With the New York Philharmonic and guest artists providing the live music, these programs brought musical concepts and music history to life for generations of viewers. Volume III includes 18 Episodes – the Concerts Nos. 29-43 plus Young Performers Nos. 7-9 (featuring Edo de Waart, Horacio Gutiérrez, Young Uck Kim)