n the middle of the historic baroque garden in Ceský Krumlov, a UNESCO World Heritage Site located in the South Bohemian Region of the Czech Republic, Messiah comes alive in a magical atmosphere of light and dark. The production, which subtly links the biblical story of Jesus Christ with the life of Josef Adam, born in 1722, Duke of Krumlov and Prince of Schwarzenberg, is effec-tively staged as a baroque feast, with top-class early music soloists and one hundred and fifty choristers performing in replicas of baroque costumes. The performances take place at a unique spot: The theatre with revolving auditorium in Ceský Krumlov is one of only two theatres of this type in Europe. Located in front of the
rococo Bellarie Palace in the Baroque garden of the chateau, it was first put into operation in 1958 and, after several reconstructions, currently holds almost 650 spectators. With 56,000 tickets sold, the performances are the most attended summer cultural event in the entire Czech Republic and are thus the focus of interest among domestic and foreign spectators.
Two world-renowned baritones Thomas Hampson and Luca Pisaroni lead the audience through a gallery of opera characters which the “kings of high-Cs” cannot portray. They introduce themselves as devoted friends (Marquis Posa), rulers (Phillip II. and King Herod), devils (Mephistopheles) and the most famous operatic embodiment of evil (Iago) … . Most composers devoted the roles of lovers to tenors; yet, the most famous seducer of all times, Mozart’s Don Giovanni, is a baritone … . —— Works by Wolfgang Amadeus Mozart, Charles Gounod, Jules Massenet, Giuseppe Verdi, Vincenzo Bellini, Gioacchino Rossini, Richard Rodgers & Oscar Hammerstein II, Leonard Bernstein, Gaetano Donizetti
For his tone poem ‘Scheherazade’ Nikolai Rimsky-Korsakov chose four episodes from the famous 1001 nights tales collection to set, using glowing instrumental colors and exotically tinged ornaments. Andris Nelsons, the young and charismatic star conductor from Latvia, will be sure to inspire a veritable sonic intoxication with the wonderful
Concertgebouw Orchestra. In contrast, the first part of the concert will strike a heroic note when Yefim Bronfman, whose virtuosity knows no limits, plays Beethoven’s Fifth Piano Concerto.
Daniel Barenboim and the West-Eastern Divan Orchestra performing works by the Jordanian composer Saed Haddad (*1972) and the Israel-based “composer-in-residence” of Lucerne Festival 2013, Chaya Czernowin (*1957). The two world premieres were contrasted by works of the two great composers celebrating their 200th anniversary: Giuseppe Verdi and Richard Wagner. —– PROGRAM: G. Verdi: Overture to Les Vêpres siciliennes; S. Haddad (*1972): Que la lumière soit (world premiere); G. Verdi: La traviata, preludes to act 1 and 3, Overture to La forza del destino; R. Wagner: Prelude to Parsifal; Ch. Czernowin (*1957): At the Fringe of Our Gaze (world premiere); R. Wagner: Prelude to Die Meistersinger von Nürnberg
Claudio Abbado himself chose Brahms’ Alto Rhapsody as the center of the opening concert 2014, and Andris Nelsons and the Lucerne Festival Orchestra probe its psychological depths – while further exploring the psychic landscape of this German Romantic’s music as expressed in the Second Serenade and the Second Symphony. —– PROGRAM: Brahms: Serenade No. 2 in D major op. 16 for Small Orchestra / Alto Rhapsody op. 53 for Alto, Male Chorus and Orchestra / Symphony No. 2 in D major op. 73. (Cat. No. UNITEL: A955500030000)
Founded in London in 1994, the Belcea Quartet is now seen as one of the world’s most renowned string quartets. The quartet’s broadly based repertoire ranges from the works of the Viennese Classical era to premieres of contemporary compositions. Here the Belcea Quartet devotes itself to the three string quartets by Johannes Brahms: “The three quartets are of great beauty and refined sophistication, which never fails to inspire us”, says Corina Belcea. It is a beauty and refinement that radiates from the brilliant and nuanced interpretation to be heard on this studio recording.
In order to celebrate the declaration of the “Human Rights” Daniel Barenboim and his West-Eastern Divan Orchestra perform an all-Mozart programme at the heart of the United Nations in Geneva in the presence of the Secretary-General of the United Nations, Ban Ki-moon. The performance under the title Concert for the Understanding of Civilizations and Human Rights featured W.A. Mozart’s last three Symphonies, No. 39, No. 40 and No. 41 (Jupiter). The imposing setting of the Human Rights Hall at the Palace of Nations, which houses the Miquel Barceló dome, provides a stunning backdrop for the music of Wolfgang Amadeus Mozart in this concert that aimes at promoting peace efforts around the world and highlights the principles contained in the Universal Declaration.
Meet the exceptionnal Teodor Currentzis at the helm of musicAeterna for a memorable concert at Luzern’s KKL! On the program: Gustav Mahler’s Symphony No. 5, a favorite of the ensemble, with its gorgeous Adagietto whose direction is a challenge to all conductors, the perfect opportunity for the maestro to showcase his style. Then, we move on to Anaphora by contemporary composer Alexey Retinsky, a work which plays on the contrasting sound textures between acoustic and electric instruments to create innovative and rich harmonic colors. PROGRAM Mahler: Symphony No. 5; Retinsky: Anaphora
For Philippe Jordan, the conductor of this production from the Opernhaus Zürich, ‘Doktor Faust’ is one of the greatest operas of the 20th century, ranking alongside ‘Wozzeck’ and ‘Lulu,’ and resplendent with lush, lateromantic harmonies and motivically derived melodies reminiscent of Wagner, Verdi and even Mahler. Director Klaus Michael Grüber has produced a staging that ‘emphasizes the sensuality and operatic quality of the work’ (Neue Zürcher Zeitung). Adding the final touch to the sensuality
of Busoni’s music, Jordan’s expressive control of the complex score and Grüber’s stage magic is Thomas Hampson in the lead role.
One of the most successful European operas of the first half of the 20th century, D’Albert’s Tiefland has had a long history and this minimalist new staging by Matthias Hartmann and Franz Welser-Möst gives it a welcome revival. Matthias Goerne’s portrayal of Sebastiano’s brings out the essence of evilness. Peter Seifert and Petra Schnitzer – husband and wife in real life – as Pedro and Marta are simply splendid in their roles, both in their singing and their acting. László Polgár is excellent as Tommaso.
