Through his particular combination of scholarship and inspired musicianship, John Eliot Gardiner has won international acclaim as a key figure in the revival of early music. His concert performances and recordings with the ensembles he has founded – the Monteverdi Choir, the English Baroque Soloists and the Orchestra Révolutionnaire et Romantique – are unmistakable, not just for their zest and technical mastery, but as highly personal readings of music from Monteverdi to Verdi and beyond.
This present film of the rehearsal of Bach’s Canata BWV 63 is intercut with comments from the singers and an interview with John Eliot Gardiner which reveals not only the depth of his knowledge of Bach’s music but also his profound love of the composer’s work. He talks incisively about Bach’s music as a whole, the place of the cantatas in the composer’s oeuvre, the particular structure and brilliance of “Christen, ätzet diesen Tag”, and explains something of his reasons for championing authentic rendition.
This programme records the meeting of two Russian musical giants, as Valéry Gergiev, the most charismatic and dynamic conductor of our day, rehearses, performs and discusses Stravinsky’s masterpiece. Innovative, inspiring and exhilarating, the Sacre du printemps is close to the maestro’s heart. Among a wide range of archive material used in the programme is a rare clip of Igor Stravinsky conducting the Sacre, as well as footage of him talking about his composition.
Sir Georg Solti (1912-27) was one of the twentieth century’s greatest conductors.
This definitive profile, made during the last year of his life, captures the amazing energy and
passion for music of this remarkable man. Filmed with Solti in Budapest, Bavaria, Chicago and
London, and with a wealth of archive footage, it charts his exceptional musical journey. Solti is
seen in rehearsal and performance, and also working with singers Dame Kiri Te Kanawa and Bryn
Terfel.
Sabine Kupferberg is a remarkable dancer. At an age when most dancers hang up their shoes, leading dance-makers, including van Manen, Forsythe and Ek, continue to create exciting new pieces for her and her colleagues at Nederlands Dans Theater 3. This company for the over-forties was founded by her partner, the internationally-acclaimed choreographer Jirí Kylián. Her collaboration with Kylián comes into focus in this dance-filled profile which showcases her distinctive talent in a wealth of performance extracts.
Bryn Terfel is one of the world’s most sought-after bass-baritones. It is the burly Welshman’s ability to express and colour words in a way that moves even the coldest of hearts that has established his ascendancy in the most illustrious vocal company. This profile charts his rise to fame and focuses on his development of various roles in Mozart’s Don Giovanni. He is seen preparing the role of the Don himself with Sir Georg Solti.
The Grail – the cup which Jesus Christ used at the Last Supper, and which subsequently collected His blood as He bled on the Cross – is one of the most powerful symbols in the last two thousand years of Western culture.
Parsifal, Wagner’ three-act opera, is the most famous work to celebrate the Search for the Grail. First performed in 1882, and written especially for the composer’s revolutionary theatre in Bayreuth, Parsifal has towered above twentieth-century culture, in so far as it became a principal source of inspiration for Hitler.
Tony Palmer’s film centres round a performance of Parsifal, with the unmistakable Placido Domingo in the title role, and conducted by the distinguished Valery Gergiev. The striking documentary, narrated by Domingo himself, offers a description of the plot and explores theories about Parsifal’s origins and considerable sphere of influence.
The music was recorded at the Mariinsky Theatre in St Petersburg and in the gardens of the Villa Rufolo in Ravello, Italy, which had been a principal source of inspiration for Wagner.
This powerful and controversial film provides an invaluable oppurtanity to explore Wagner and his most intense opera.
Sir André Previn’s success is phenomenal: from Berlin refugee to multi-Oscar-winning film score composer, from renowned jazz pianist to chief conductor of both the London Symphony and the Los Angeles Philharmonic Orchestras. This film was made with him as his first opera, A Streetcar Named Desire, was being staged at the San Francisco Opera. It follows the production from first rehearsals through to opening night and Previn talks candidly about the experience, relating it to his international life and career.
Written and presented by Sir Simon Rattle, the foremost British conductor of our day, this series forms a fascinating introduction to, and overview of, the music of the twentieth century. Each of the seven programmes feature over thirty minutes of specially-shot music in performance, with Rattle conducting the City of Birmingham Symphony Orchestra.
Simon Rattle leads viewers on an exhilarating journey through the music of our time, explaining the chief musical developments from Mahler to the present day. Each programme is illustrated with evocative imagery, archive film and photographs and the featured music is set within the broader context of artistic and social change.
Why “Leaving Home”? The story of twentieth-century music is one of leave-takings in many ways. As a wealth of talented composers searched for new creative responses to the world around them, many made departures from the solid ‘home’ foundations of eighteenth- and nineteenth-century music – tonal harmony, melody, regular rhythm and metre. Many had to literally leave home, displaced by political uphevals. A remarkable diversity of expression developed – not all of the difficult or discordant variety commonly associated with modern music. The range is wide and this series samples the work of over thirty composers, discovering new and challenging sounds as well as some unexpectedly familiar music. It presents an extraordinary kaleidoscope of orchestral images, full of contrasts and surprises.
The first episode in the series describes a great musical culture in decline in turn-of-the-nineteenth-century Vienna. From that decline erupted a musical revolution whose reverberations have continued to this day. The names of Schönberg, Webern and Berg still strike terror into the hearts of many concert-goers, but with Simon Rattle we hear in this music’s brooding power not only the collapse of the old Austro-German order and the rise of Facism, but also the portents of the music to come in the second half of the twentieth century.
The last decade of the twentieth century alone spawned three operas based on the life of the “principe die musici”: Alfred Schnittke’s Gesualdo was premiered in 1995 at the Vienna State Opera; then the following year came Franz Hummel’s opera of the same name, a commission from the city of Kaiserslautern; and in 1998 Salvatore Sciarrino wrote an opera for the Schwetzingen Festival entitled Luci mie traditrici, after a sixteenth century drama about a prince who murders his wife.
So Gesualdo was already the focus of a good deal of interest when the Munich-based director and film producer Werner Herzog also developed an interest in the composer at about this time. Herzog seemed somehow predestined for the job. His preference for eccentric protagonists, amply attested to in films such as Aguirre, Wrath of God and Fitzcarraldo starring Klaus Kinski, went hand in hand with a musical streak that has won him a great deal of admiration since the mid 1980s with regular opera productions at the Bayreuth Festival, the Opera Bastille in Paris and La Scala, Milan. Of course, one was never to expect a creative artist of Herzog’s talents to produce a conventional documentary film.
Featuring interviews with Aulis Sallinen, Hans Magnus Enzensberger, Irene Dische and Okko Kamu, this documentary introduces The Palace and also shows the magnificent setting of the Savonlinna Opera Festival, which takes place each summer in the courtyard of the Olavinlinna castle, the best-preserved medieval fortification in the Nordic countries.
Directed by Jarmo Jääskelainen
