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)
Theodora
George Frideric Handl´s oratorio Theodora, in it´s first-ever staged version at Salzburg Festival, was among the highlights of Handel Year 2009. Acclaimed director Christoph Loy presented Theodora as the profoundly moving tale of a woman who prefers death to denying her faith, an interpretation captivated with bravura by world-renowned video director Hannes Rossacher. A luminous Christine Schaefer and countertenor Bejun Mehta formed a perfect leading couple altoghether suited to conductor Ivor Bolton´s vigorous reading. “With Christine Schaefer, Salzburg has found an ideal singer for the title role.” (Süddeutsche Zeitung)
Saul
After his impressive Messiah of 2009, Claus Guth once again succeeds in a breathtaking realisation of a Handel oratorio with Saul. Florian Boesch in the title role dominates the production as the ruler slipping into madness. He 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, Giulia Semenzato and Rupert Charlesworth 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 Schönberg Choir’s nuanced singing – alternately exulting, admonitory or mournful – is as inspiring as the sound of the renowned period-instrument ensemble.
Salzburg Festival 2019: Idomeneo
After their successfull collaboration for La clemenza di Tito the drm team Peter Sellars and Teodor Currentzis again joined forces to transpose Mozart’s extraordinary opera Idomeneo into the present world. The fabulous Freiburger Barockorchester shines with elegance and precision, and MusicAeterna Choir can rightfully be called “the best choir in the world” (Süddeutsche Zeitung). Chinese lyric soprano and rising star Ying Fang gives her highly acclaimed Festival debut in the role of Ilya, Nicole Chevalier is brilliant as furious Elettra.
Pure Schumann! Robert Schumann – The Solo Concertos
Who would have thought to hear the Freiburger Barockorchester playing Schumann? At the end of a long journey from Baroque to Romanticism the FBO and Pablo Heras Casado perform the three great solo concertos by Robert Schumann and his rarely heared “Ouvertüre, Scherzo und Finale” op. 52. Isabelle Faust, Jean-Guihen Queyras and Alexander Melnikov. More than being exceptional soloists, Isabelle Faust, Alexander Melnikov and Jean-Guihen Queyras all three are members of the same trio and this experience will not fail to give their interpretation homogeneity and absolutely unprecedented scale. A unique concert recording from Berlin Philharmonic Hall: Pure Schumann! Length: 99’ (17’ / 28’ / 26’ / 28’ ).