“The whole world is a jest, man was born a great jester…” So goes the brilliant conclusion to Verdi’s Falstaff, an opera inspired by Shakespeare’s beloved comedy The Merry Wives of Windsor. The virtuosic score requires a particularly talented cast, not to mention a truly exceptional conductor. Herbert von Karajan perfectly fits the bill, and this performance featuring the Wiener Philharmoniker and an all-star group of singers is clearly worthy of Verdi’s powerful work, a masterpiece whose comic facade thinly veils the complex and sometimes even tragic characters’ struggles.
La Cenerentola
From the Salzburg Festival 1988 Rossini’s version of the Cinderella story – an exciting mixture of comedy, pathos, coloratura fireworks and masquerade – features bel canto specialists Dame Ann Murray (Angelina) and Francisco Araiza (the Prince). The effervescent and noble score is conducted by Riccardo Chailly, whose masterly display of the Rossini style is visually matched by the ravishing sets of Mauro Pagano and the stylish direction of Michael Hampe. This is a performance of exceptional theatrical surprise and phenomenal vocal agility. (Sung in Italian)
Die Entführung aus dem Serail
August Everding staged Mozart’s Singspiel “Die Entführung aus dem Serail” (The Abduction from the Seraglio) in Munich’s National Theater as a sunny comic opera but, as the director says, one with the “depth” required by Mozart. The buffo characters, for instance, take on compellingly human traits. The stage consists of a bright, orientally suggestive architecture, whose elements are constantly sliding or revolving. The set designer Max Bignens speaks of a “choreographic” setting: “For Mozart’s music, we wanted nothing heavy and, above all, no major scene changes.” Karl Böhm, who conducted his first “Entführung” in 1924, plunges into the depths of the music and uncovers its magic and brilliance, its eros and spirituality. At the center of the performance is Edita Gruberova, whose coloraturas are dazzling and always precise. As Osmin, Martti Talvela is a supple, shifty swaggerer. Thomas Holtzmann speaks the Bassa Selim as a nervous, passionate potentate. Francisco Araiza sings Belmonte with glowing lyricism. Norbert Orth is a spirited Pedrillo and Reri Grist a Blondchen with a natural charm and musical sensitivity.
Don Giovanni
“Il dissoluto punito, ossia Il Don Giovanni” is the full title of the opera that is widely held to be the most perfect work of its genre. Luckily, it is known today merely as “Don Giovanni,” a title that far better evokes the hero in all of his seductive power, his disregard for the social order, his merry wantonness. It is this hero who fascinated Mozart, not the “dissoluto punito” – the “rake punished” – who harks back to the morals and conventions of the late 18th century. The work, again on a libretto by Lorenzo Da Ponte (like “Figaro” and “Così”), was written for Prague after “Figaro” had enjoyed such an overwhelming success in the Bohemian capital. It was premiered there on 29 October 1787. The opera’s perfect fusion of opera buffa and opera seria is suggested by its novel designation as a dramma giocoso, or merry drama. It is a moral tale of murder, sexual exploitation and betrayal that is lightened by comedic elements that infuse the whole with warmth and humanity. 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.
Falstaff
Based, in part, on Shakespeare’s The Merry Wives of Windsor, Falstaff is Verdi’s last work for the stage – and only his second comic opera. And yet the humour in this multilayered masterpiece is distinctly wry, for all the main characters exhibit an array of human weaknesses that are implacably exposed by Verdi and his librettist Arrigo Boito. In this legendary performance from the Salzburg Festival 1982, Herbert von Karajan is not only leading a stunning cast of singers featuring the Wiener Philharmoniker, he too directed the opera, in the amazing set design of Günther Schneider-Siemssen.
Anne-Sophie Mutter, Herbert von Karajan, Berliner Philharmoniker
For the first time available on Blu-ray is this extraordinary artistic collaboration of three super stars: Herbert von Karajan, Anne-Sophie Mutter and the Berlin Philharmonic perform three popular violin concertos, filmed in 1984 and 1987 at the legendary Philharmonie Berlin. The very famous Beethoven Violin Concerto, the cardinal work in the violin repertoire, was filmed with 21-year old Anne-Sophie Mutter in 1984. In 1987 Karajan, together with Anne-Sophie Mutter and the Berlin Philharmonic, inaugurated the Chamber Music Hall at Berlin Philharmonie with this festive performance of Vivaldi’s The Four Seasons. And New Year´s Eve concert in 1984 celebrated the 300th birthday of Johann Sebastian Bach. These concerts show that Karajan, throughout his career, championed the use of visual media and new audio technology to enhance musical expression.
Die Zauberflöte (The Magic Flute)
“Don’t leave out the serious aspects, but don’t forget the humor either!” This, according to August Everding, was the basic idea behind his staging of “The Magic Flute”, which premiered on 30 August 1978 at the Bavarian State Opera. He wanted his Magic Flute neither too philosophical nor too comical, but sought instead to unite all the conflicting elements in this work: the fairy-tale magic, fun, brightness, intellectual depth and humanistic ideals. He also did not want to bore his audience with continuous scene changes behind a closed curtain. In order to realize Everding’s concept of an uninterrupted change of scenes, stage designer Jürgen Rose resorted to painted backdrops and architectural elements. Everding calls the result a mixture of timeless fairy tale and 18th century. For this production, Everding and Wolfgang Sawallisch revised and greatly shortened Schikaneder’s dialogues. The trio sung by Sarastro, Tamino and Pamina, for example, was moved forward a few numbers for dramaturgical reasons. According to Sawallisch, “in its original position, this trio is illogical and a ‘brake’.”
Il Ritorno d’Ulisse in Patria
In a rare display of unanimous praise, international music critics rated this cycle one of the greatest operatic events of its time. Although Monteverdi played a truly important role in the development of opera, only few major opera houses have ventured to present these three Baroque masterpieces. Years of intensive study by conductor Nikolaus Harnoncourt, not only of the transmitted scores but also of the instruments used in Monteverdi’s time, were necessary to provide a basis for the exceptionally high standard of the Zurich productions. Just how meticulously Harnoncourt and the celebrated stage director Jean-Pierre Ponnelle prepared themselves is made partly clear by the fact that the orchestra exclusively played original 17th-century instruments and specially-made copies for these productions. This in turn meant that each of the 39 members of the -awaited expansion of the standard opera repertoire had successfully been realized. What makes the Monteverdi cycle a unique project is the certainty that it can never again be repeated with quite the same quality and feeling.
La Cenerentola
The popularity of Rossini’s delightful fairy-tale opera is, to a great extent, due to Jean-Pierre Ponnelle’s now legendary production, first seen at La Scala of Milan in 1971. Claudio Abbado, who was then the artistic director of La Scala, has put together for this production a cast – including Frederica von Stade, Francisco Araiza and Paolo Montarsolo – that boasts an outstanding affinity for Rossini’s humor in addition to peerless musicality.
L’Orfeo
Monteverdi’s first opera “L’Orfeo”, one of the earliest operas in the history of the genre, composed for Duke Vincenzo Gonzaga of Mantua and performed in 1607, unfolds before our eyes through a perfect harmony of theater, dance, opera, music and film. The camera shows us every minute detail of an imaginary court entertainment in Northern Italy at the beginning of the 17th century; and through this attention to detail, we too are drawn into the entertainment. The now legendary Zurich Monteverdi cycle, consisting of three productions of Monteverdi’s only surviving operas (“L’Orfeo”, “The Coronation of Poppea” and “The Return of Ulysses”) mounted in the Zurich Opera House during the late 1970s, is one of the finest achievements of the mutually inspiring partnership of director Jean-Pierre Ponnelle and conductor Nikolaus Harnoncourt. With sets of startling visual appeal by Ponnelle himself, lovingly recreated period costumes by Pet Halmen, these productions are pure delight. The Zurich productions were shown in Hamburg, Vienna, Edinburgh, Berlin, Milan, Wiesbaden and Munich. The orchestra plays exclusively on original instruments or carefully reconstructed copies.