The Salzburg Festival hosts a new production of Verdi’s “Don Carlo”, directed by Peter Stein and embodied by Jonas Kaufmann. The production is based on the original version of the opera, which includes those passages that were cut shortly before the first performance in 1867. Verdi’s masterpiece demands world-class singers at the peak of their powers, such as Jonas Kaufmann, “who combines absolute technical stability with the highest musical intelligence”, and soprano Anja Harteros, who’s “Elisabetta is quite simply sublime: majestically phrased, rich in nuance, clear of diction and moving easily from immaculately floated pianissimo to sterling fortissimo”. (The Telegraph)
Don Giovanni (Mozart 22)
“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. As sung by baritone Thomas Hampson, who made his international breakthrough as Don Giovanni under Harnoncourt in 1987, the title hero superbly incarnates the aging rake and emotional anarchist who’s seen and done everything. Ildebrando D’Arcangelo plays his servant without exaggeration, as an astute observer. While Melanie Diener dazzles as Donna Elvira, it is Christine Schäfer and Piotr Beczala who, with their powerful stage presence, give exceptionally unforgettable performances as Donna Anna and Don Ottavio. Director Martin Ku¿ej interprets “Don Giovanni” with compelling images that cast the rake as a child of today’s consumer society, a man who acquires women, uses them and disposes of them after consumption. Happiness can be bought – but the specter of retribution is never far away, as in the evocative “tableau vivant” of spent and broken high-society hedonists. Under the baton of young conductor Daniel Harding, the Vienna Philharmonic weave a fresh, transparent and jaunty musical fabric that underscores every nuance of passion and despair, as well as every shading of wit and humanity that make “Don Giovanni” a work of unequalled artistry.
Sound of Freedom
The Soundtrack to Liberty – From the French Revolution to fall of the Iron Curtain. Music can move, comfort and encourage like no other medium. Social upheaval and political songs have marched hand in hand since the French Revolution, probably even before then. Music is a tool for mobilisation. It is the embodiment of the ideals and the hope for a better life. It galvanises the oppressed, spurs on the resistance and fires on the revolutionaries. The two part documentary Sound of Freedom goes back to the roots of this music of hope, rebellion, of the mavericks and the oppressed. This is the first time the sound of freedom and protest is being considered in its full historical context; not just within the microcosm of the Sixties and the civil rights movement, but with the narrative arc stretching from the 18th century to the present day. Part I: From the chansons of the French Revolution to the labour movement and the resistance against the Nazi Regime / Part II: From the hymns of the civil rights movement and the fight against apartheid to the call for sexual freedom and equality
For the Love of Mahler: The Inspired Life of Henry-Louis de La Grange
For the Love of Mahler presents a portrait of the famed French-American music historian Henry-Louis de La Grange, now 90. The film joins him on his annual migration from Marrakech to Paris and to Toblach in the Italian Alps, while he busily works on revising his epic four-volume biography of Gustav Mahler. How Mahler’s music inspired his life, and how Henry-Louis channeled what could have been a self-indulgent obsession into a lifetime of groundbreaking discoveries, famous friendships and award winning accomplishment, demonstrates the remarkable power of music to change lives.
Everywhere and Forever – Mahler’s Song of the Earth
In the summer of 1907 composer Gustav Mahler experienced a crisis of such magnitude that some thought he would never recover. His five-year-old daughter died of scarlet fever after 15 days, and a doctor diagnosed him with a congenital heart defect. Mustering his courage and tapping in to his genius, Mahler transformed his despair into a great piece of music. It was something entirely new: a “song-symphony” based on ancient Chinese verses. The film presents dramatizations of the poems, commentary by renowned experts, and excerpts from a brilliant performance featuring Metropolitan Opera stars Thomas Hampson and Paul Groves with the Orchestre de la Suisse Romande conducted by Neeme Järvi. The documentary explores the biographical, cultural and philosophical context of The Song of the Earth, a masterpiece often singled out as the composer’s most personal musical statement.
3 Stars in Munich
The superstars of classical music are together for the first time at the Königsplatz, Munich for one night only. With this rare meeting of opera superstars, the square transforms into an opera house under the open sky, and creates an atmospheric setting for its 15 000 strong audience. Anna Netrebko joins Jonas Kaufmann and Thomas Hampson at the cultural heart of Munich for an open-air evening of celebrated arias, duets and opera scenes by Verdi, Puccini, Giordano, Leoncavallo, Bizet, Offenbach, Lehár, and more. Special guests: Elena Zhidkova and Ildar Abdrazakov.
Magic Moments of Music – Maria Callas & Tosca
The beginning of 1964 held a great surprise for the music world: Maria Callas returns to the opera stage as prima donna. Her “Tosca” at the Royal Opera House becomes a sensation. Not even the Beatles received more press coverage. All this, for an artist whose glorious career was said to be over, with the singer herself passing over to legend. It is no longer her performances, but her scandals that, are dominating the headlines. Unlucky in love with her billionaire boyfriend Aristotle Onassis, Maria Callas wants to show them all that the title of ”Primadonna assoluta” is still rightfully hers. On condition that famed stage director Franco Zeffirelli takes on the production, the exceptional vocalist is prepared to take on the role of Tosca. Her fans queue outside the Royal Opera House in London’s Covent Garden for four, even five nights. To get their hands on the sought after tickets, they spend the freezing winter nights in sleeping bags and on fold up chairs. A British broadcaster has recorded the opera’s second act. It is one of the most dramatic acts in opera history – to save the artist Cavaradossi from his torturer; Tosca ends up murdering the chief of police Scarpia. The film recording is one of the few opportunities to see Maria Callas on stage and witness her emotional dramatics and vocal competence.
The Bernstein Centennial Celebration at Tanglewood
The Bernstein Centennial Celebration at Tanglewood spotlights Bernstein’s wide-ranging talents as a composer, his many gifts as a great interpreter and champion of other composers, and his role as an inspirer of a new generation of musicians and music lovers across the country and around the globe. The gala concert features a kaleidoscopic array of artists from the worlds of classical music, film, and Broadway. The entire first half of the program is dedicated to selections from such brilliant Bernstein works as Candide, West Side Story, Mass, and Serenade. Music from the classical canon very dear to Bernstein’s heart-selections from Mahler’s Des Knaben Wunderhorn and music by Copland – plus a new work by John Williams, makes up a good portion of the program’s second half; the finale of Mahler’s Resurrection Symphony No. 2 brings the program to a dramatic close. 141 mins (including Bernstein at Tanglewood film + Video Greetings) /
127 mins (concert version only)
Mahler: Lieder eines fahrenden Gesellen / Dvorák: Symphony No. 8 (Kerstmatinee 2007)
Star baritone Thomas Hampson is the soloist in this performance of Mahler’s ‘Lieder eines Fahrenden Gesellen’. Joining him are famous conductor Bernard Haitink and the Royal Concertgebouw Orchestra. Also on the programme: Antonín Dvorák’s Symphony No. 8.
Eras of Music History
Bold in conception, popular in format, gripping in its presentation – “Eras of Music History” makes the soundtrack to European history come alive – immediate and easily comprehensible for young viewers, classical newcomers and experts. In the series “Eras of Music History” music becomes something palpable – sounds you can touch and feel. Graphic novels, historical scenes, jam sessions and commentaries by classical stars, footnotes from political figures, philosophers and cultural scholars – all these are woven together with video and audio documents of the history of great performances. (4 part series: Baroque, Romantic, Viennese Classicism, 20th Century – 4×90’ or 8×45’)