The title role of “Les contes d’Hoffmann”, Jacques Offenbach’s most ambitious opera, requires an exceptional tenor. The Dutch National Opera in Amsterdam found him in John Osborn. He beautifully shows the sufferings of Hoffmann, the prototype of the German romantic period artist, in the “enormously clever production” (Concerti) by Tobias Kratzer. Among the top vocal cast are Nina Minasyan, Ermonela Jaho and Christine Rice as the three women in Hoffmann’s “tales”. Vocal powerhouse Erwin Schrott sparkles with devilish charisma and Carlo Rizzi excels on the rostrum of the Rotterdam Philharmonic Orchestra. “Unanimous applause for all!” (NMZ)
Ermione
Ermione, the rare opera gemstone by Gioachino Rossini, like you have never seen it before: Filmmaker Felix Breisach captured the masterpiece, staged and conducted by Gustav Kuhn at the Tyrol Festival Erl in a shortened version especially made for this recording. The result is an opulent opera film, in which impressive exterior shots are combined with artistic shots of the dramatic action on stage. Maria Radoeva in the title role leads a cast of outstanding singers in a “festival” of “great voices” (Standard).
Der Freischütz
Christian Räth’s inspired staging of Der Freischütz, Weber’s seminal Romantic opera, at the Haus am Ring stands out due to the bold set and costume design by Gary McCann. To win Agathe’s hand, the young assistant forester Max has to pass a test of skill in marksmanship. The desperate lover, in order to win the shooting contest, resorts to the use
of magic bullets. With his “magnificent Heldentenor”, Andreas Schager offers “a convincing portrait” and Camilla Nylund’s Agathe arias are “captivating poetry” (Kleine Zeitung Steiermark).
The Nutcracker
Because of Tchaikovsky’s imaginative music, “The Nutcracker“ is one of the most popular works of the ballet repertoire, instantly bringing to mind scenes of a splendidly decorated Christmas room, dancing snowflakes and the waltz of the flowers. The plot of “The Nutcracker“ is based on a novella by E.T.A. Hoffmann. While the masterful fairytale virtuously jumps back and forth from a dream to reality, in its adaptation as a ballet libretto by Alexandre Dumas and Marius Petipa, it lost much of its dark romantic fantasy. Christian Spuck attempts to distance himself from the Dumas/Petipas version in his choreography and puts the literary origin at the heart of his ballet, emphasizing the fantastical nature of the original rather than the delightful Christmas fairytale and bringing back the fairytale of the princess Pirlipat, who turns into a nut monster, as told by E.T.A. Hoffmann. In Rufus Didwiszus’ stage setting, the workshop of the godfather Drosselmeier turns into an old revue-theater, where the characters of the ballet come to life. Spuck’s choreography plays with the richness of characters in Hoffmann’s narrative cosmos, the absurdity and overwrought humor that inhabit them while at the same time looking down into the dark abyss of Romanticism.
Tristan und Isolde
If there is one work that has been crucial to Barenboim’s conducting career, it has to Wagner’s Tristan und Isolde. From Bayreuth to Berlin through Milan and New-York, the Argentinian conductor has been working on piercing its secrets for more than 35 years, going as far as to author a book on the subject. In the pit of the newly renovated Staatsoper and at the head of the Staatskapelle Berlin, he once again makes magic happen. Dmitri Tcherniakov, no stranger to the work for having already staged it at the Mariinsky in 2005, delves into the psychological aspects of the drama and works to make the mythical lovers as relatable to as possible. He thus gives a new realistic depth to this opus, probably the most fascinating and odd among the wagnerian corpus. The Act III, which sees the tragic end of Tristan und Isolde’s doomed love affair, is striking by ist powerful simplicity, and the famous Liebestod, where Isolde bids farewell to her dead lover, reaches unparalleled levels of emotionality and intensity. Thanks to his demanding direction of the cast, but also to the precise light work by Gleb Filshtinsky, Tcherniakov once again manages to craft intense images which effectively resonate with the rapturous and voluptuous enchantments of the score. To complete this high-level artistic crew, the Staatsoper called upon some of the finest Wagner experts: Andreas Schager, already a superb Parsifal and a regular guest at the Bayreuth Festival, is Tristan, Anja Kampe is an unforgettable Isolde, and Ekaterina Gubanova thrills as Brangäne.
The Creation (Die Schöpfung)
To mark its 40th anniversary, the International Baroque Days of Melk Abbey are returning to their roots: Under the musical direction of Stefan Gottfried, the Concentus Musicus Wien, the Bach Choir Salzburg, together with soloists Anna Lucia Richter, Michael Schade and Florian Boesch, perform Joseph Haydn’s famous oratorio “Die Schöpfung” (The Creation). First performed in Vienna in 1798, Haydn’s three-part oratorio is still considered a reference work today. The creation of the world, the chaos of all beginnings is marked by picturesque depictions of nature in the composition.
Tristan und Isolde
Wagner’s Tristan und Isolde is one of Bernstein’s finest opera recordings and still considered exemplary. Leonard Bernstein’s way of conducting this opera is unique and he makes orchestra and singers perform at their very best. The Symphonieorchester des Bayerischen Rundfunks was the only German orchestra with which Leonard Bernstein regularly collaborated for many years and it has numbered among the top ten orchestras in the world. A star cast of singers with Peter Hofmann and Hildegard Behrens in the title roles, completes this exceptional semi-staged production. Bernstein’s 1981 recording of Wagner’s Tristan und Isolde is still considered an outstanding interpretation and has set the bar until this day. When he heard this performance Karl Böhm said, “Bernstein has conducted Tristan und Isolde the way that Wagner intended it to be conducted”.
Le Comte Ory
With the Opéra Comique’s staging of Le Comte Ory in Paris, starring stellar soloists Philippe Talbot, Julie Fuchs and Gaëlle Arquez as well as the Orchestre des Champs-Élysées, conducted by Louis Langrée, the Rossini anniversary year starts off with “a masterpiece!” (Télérama). It is staged by a first-rate creative team: Stage director Denis Podalydès and costume designer Christian Lacroix provide stunning visuals, whilst conductor Louis Langrée leads the Orchestre des Champs-Élysées, the Choeur Les éléments and a stellar cast of soloists in this delightful fool’s game. Gaëlle Arquez shines with her “superlative technique” (Le Monde). “Pure pleasure!” (Les Échos)
Roméo et Juliette
The most famous tragic love story in history, conducted by a legend of opera: superstar Plácido Domingo leads the stellar Juan Diego Flórez and Aida Garifullina as star-crossed lovers in Jürgen Flimm’s atmospheric staging of “Roméo et Juliette” by Charles Gounod at the Wiener Staatsoper. Domingo, Flórez and Garifullina tell a tale of “tragic love that has the air of Hollywood about it!” (Die Presse)
Andrea Chénier
Jonas Kaufmann and Anja Harteros, the dream team of opera, continue their successful collaboration in a new production of Umberto Giordano’s Andrea Chénier at the Bayerische Staatsoper in Munich. Alongside the superb baritone George Petean, the superstars show how love triumphs over death in the shadow of a terrifying regime. In the opulent staging by film director Philipp Stölzl, Marco Armiliato conducts the Bayerisches Staatsorchester. “A sensational Anja Harteros brings the house down! Kaufmann is perfect for the role – full of vitality and radiance! World-class!” (BR Klassik)