Arena di Verona Box (New Edition)

Turandot / Tosca / Love Duets – Sonya Yoncheva & Vittorio Grigolo

Turandot: “Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual” (La Stampa)

Tosca: “spectacle of monumental opulence” (Online Merker). “A Tosca to relish!” (Artesnews.it) “standing ovation Tosca at the Arena di Verona” (Operalife).

Love Duets – Sonya Yoncheva & Vittorio Grigolo: “A concert evening about love, lust and passion. Sonya Yoncheva has the full and vibrant timbre of a true lyrical soprano” (L’Arena) “Vittorio Grigolo is undoubtedly a charismatic artist and always attentive to the interpretation of the characters” (operclick)

Così fan Tutte

Jean-Pierre Ponnelle (1932-1988) was one of the most eminent opera directors of the second half of the 20th century. His productions not only graced the repertoires of opera houses in Salzburg, Milan and New York, but also enhanced television programming with original, classical opera films produced exclusively by Unitel. Ponnelle always bestowed particular love and care on Mozart’s operas, whether popular works such as “Die Zauberflöte” and “Figaro,” or less known works such as “La clemenza di Tito,” “Idomeneo” and “Mitridate.” Ponnelle’s last film project was the Unitel production of “Così fan tutte” with the Vienna Philharmonic Orchestra conducted by Nikolaus Harnoncourt, and featuring the internationally acclaimed singers Edita Gruberova, Teresa Stratas, Delores Ziegler, Ferruccio Furlanetto, Luis Lima and Paolo Montarsolo. “I prefer to produce ‘Così fan tutte’, a work of great artificiality, in a film studio, since I have a greater range of possibilities there than on stage: for me, the camera becomes another means of expression, which supplements the score.” (Jean-Pierre Ponnelle) “Così fan tutte” contains some of Mozart’s loveliest arias and the greatest number of ensembles in any of his operas. Although its libretto is often said to be frivolous, it is a foil for Mozart’s lucid and utterly non- Romantic view of the sexes.

Rigoletto

Renaissance Italy has never been portrayed more opulently and more realistically than in Jean-Pierre Ponnelle’s film of Verdi’s “Rigoletto”, the composer’s first true masterwork for the stage. Towering over the production is Luciano Pavarotti as the cynical, dissolute Duke of Mantua, one of the famed tenor’s greatest vocal and dramatic roles. Rigoletto is magnificently portrayed by the Swedish baritone Ingvar Wixell. His beautiful daughter Gilda is interpreted by Edita Gruberova, one of the leading coloratura sopranos of our time. Director Jean-Pierre Ponnelle, “whose stage and television work has brought a new and grandly colorful vitality to opera interpretation” (The New York Times), acclaimed Italian cameraman Pasqualino de Santis (Death in Venice) and architect Gianni Quaranta have created a spellbindingly unique atmosphere. The drama unfolds with a powerful authenticity highlighted by the historic locations in which it was filmed: Parma’s Teatro Farnese of 1628, Mantua’s Palazzo Te, famed for its frescoes by Giulio Romano, and the Palladian-style Teatro Olimpico in Sabbioneta. Riccardo Chailly’s vibrant interpretation of Verdi’s score, with the Vienna Philharmonic Orchestra responding magnificently to his conducting, is a perfect complement to Jean-Pierre Ponnelle’s high-intensity retelling of the drama.

Turandot

It is an event that attracts thousands of music lovers to Verona every summer: the opera season in the ancient Roman Arena. Nearly 22,000 spectators regularly fill the amphitheater for the performances. The Arena di Verona honours Italian stage director and filmmaker Franco Zeffirelli and his legendary production of Turandot. His imposing cinematographic production reproduces imperial China thanks to its impressive scenery and scenes, enriched by the sumptuous costumes of the Oscar-winning Japanese costume designer Emi Wada. Everything helps to highlight the atmosphere of the drama of enigma per excellence, where life itself is in danger and the answer lies in love, which melts the protagonist’s icy heart. “Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual” (La Stampa)

Don Carlo

Based on Schiller’s play of the same name, Don Carlo is Verdi’s most ambitious work, written for the Paris Opéra in 1865–66 in the tradition of a French grand opera. This legendary production from the Salzburg Easter Festival is directed by Herbert von Karajan. With its extraordinary vocal cast, the wonderful set design and costumes it is truly one of the most memorable opera performances.

Don Giovanni

When Herbert von Karajan conducted Mozart’s opera Don Giovanni at the Salzburg Festival in 1987 featuring an outstanding cast of singers, the fantastic Wiener Philharmoniker and staged by Michael Hampe, it became a legendary performance of the highest artistic level. This dream of artistic collaboration made it one of the best opera performances, which now is available for the first time on Blu-ray.

Eugene Onegin

Director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors. The title role is a tour de force for any baritone, who must walk a tightrope between cynical, insufferable snob and sympathetic, broken-hearted lover. This is carried off superbly by Peter Mattei, who ‘has acquired a fabulous vocal profile and is a gifted actor blessed with debonair selfconfidence.’ (Neue Zürcher Zeitung) But the true hero of the opera is Tatyana, a multi-layered, conflicted, driven, doubt-ridden heroine. As portrayed by the dazzling Russian soprano Anna Samuil, this Tatyana ‘is ready to start a revolution.’ (F.A.Z.)

Arena di Verona Festival 2022: Turandot

The Arena di Verona honours Italian stage director and filmmaker Franco Zeffirelli and his legendary production of Turandot. His imposing cinematographic production reproduces imperial China thanks to its impressive scenery and scenes, enriched by the sumptuous costumes of the Oscar-winning Japanese costume designer Emi Wada. Everything helps to highlight the atmosphere of the drama of enigma per excellence, where life itself is in danger and the answer lies in love, which melts the protagonist’s icy heart. “Netrebko does not merely sing it: she interprets it. What emerges is a character much more human and ultimately truer than usual” (La Stampa)

I vespri siciliani

Verdi’s opera “I vespri siciliani” was written after “Rigoletto,” “Il Trovatore” and “La Traviata,” this triumvirate of immortal stage works. It was commissioned by the Paris Opéra and was designed to respect the French taste for large choral scenes and lengthy ballets. The libretto of the “Vêpres siciliennes” was written in verse form by Eugène Scribe and was based on a historical event from the 13th century, when Sicily rose up against the French occupiers. Verdi achieved great success with this work in 1855, and the Opéra continued its collaboration with him twelve years later by commissioning “Don Carlos.” The Italian version of the work was premiered that same year and became known throughout the world. La Scala of Milan brought out several major productions of this work, including the one recorded here in 1990. The aristocrat of conductors, the autocrat of the baton, Riccardo Muti cuts a noble figure at the head of any orchestra, and ennobles every ensemble through his charismatic personality and red-blooded musicality. In many respects, including his unwillingness to compromise over artistic matters, he is reminiscent of Arturo Toscanini, who was also a demanding ruler at the podium. His rise to international fame set in with his guest conductorships at the Salzburg Festival in 1971 and at the head of the Berlin Philharmonic and the Philadelphia Orchestra in 1972. Muti became principal guest conductor of the Philadelphia Orchestra a few years later, and was named its music director in 1980. Always a conductor of both the symphonic and operatic repertoire, Muti advanced to the post of music director of La Scala in Milan in 1986. The 1990s saw Muti consolidating his reputation at the head of this venerable institution, as well as in countless other high-caliber venues around the world. Today he is one of the undisputed giants among the leading conductors of the world.

RCO: Mariss Jansons conducts the Christmas Matinee (Kerstmatinee 2012)

‘Rarely is such a warm, captivating and smooth voice heard here in the Netherlands,’ wrote Peter van der Lint in the Dutch newspaper Trouw following the Italian bass Ferruccio Furlanetto’s last performance with the RCO, for which he garnered wide acclaim with the orchestra singing Mussorgsky’s Songs and Dances of Death on 25 August 2010. Now he returns with his favourite arias from Mozart’s Le nozze di Figaro and Don Giovanni. After the interval, a truly unique event takes place: for the very first time, a work by Anton Bruckner is performed at one of the legendary Concertgebouw Christmas Matinee’s – and what’s more, it is conducted by chief conductor Mariss Jansons. ——- Program: W.A. MOZART: ‘Madamina, il catalogo è questo’ from ‘Don Giovanni’ KV 527; ‘Non più andrai, farfallone amoroso’ from ‘Le nozze di Figaro’ KV 492; Overture to ‘Le nozze di Figaro’ // ANTON BRUCKNER: Symphony No. 7. (Cat. No. UNITEL A865500010000)