“Those in search of a thoroughly teutonic Fidelio should speed to The Royal Opera House, Covent Garden. It moves swiftly and surely, is powerfully cast and is conducted with fine muscular authority by Christoph von Dohnányi,” wrote The Times of this production by Adolf Dresen, which starred Gabriela Benacková and Josef Protschka. Designed in an austere but traditional style by Margit Bardy, it conveys Beethoven’s theme – the triumph of love and freedom over the forces of evil and oppression – with a natural, unadorned simplicity.
Mefistofele
From the San Francisco Opera 1989: Samuel Ramey’s powerful bass voice and compelling stage presence make him unforgettable in the demonic title role of Boito’s version of the Faust legend, a jewel of the nineteenth-century repertoire. Robert Carsen’s sumptuous production, steeped in a vivid and timeless symbolism, “breathes a sensitivity to the music and to Boito’s intentions that is rare on the operatic stage” (New York Times). Dennis O’Neill sings Faust, with Gabriela Benacková as Margherita. (Sung in Italian)
Stabat Mater op. 58
Recorded live from the Vladislav Hall in the Hradchin, Prague, Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic Choir in a deeply moving performance of Dvorák’s choral work. (Sung in Latin)
Requiem Op.89
Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic choir in this performance of Dvorák’s Requiem Op. 89, recorded live from the magnificent St. Veit’s Cathedral in Prague.
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
From the Drottningholm Court Theatre 1990: Set in the exotic seraglio of the Pasha Selim, the story revolves around the rescue of the lovely Constanze by her lover Belmonte – a tale of love, bravery and forgiveness. In this work, Mozart breaks new ground in introducing dramatically rounded characters with recognisably human feelings and weaknesses. The work influenced and changed the nature of opera throughout Europe.
This charming production from Drottningholm does full justice to Mozart’s score. Arnold Östman’s deliberate conducting combined with Carl Friedrich Oberle’s design demonstrates that this really is “an eternal masterpiece of music drama by a youthful, exuberant composer who suddenly found his individual voice and style in the field of opera with this particular work” (Opera now). Sung in German.
Cinderella
Specially staged in studio for this recording, Maguy Marin’s reworking of the Cinderella story is astonishingly original and magical. “This is not Prokofiev’s Cinderella but Marin’s version – a brilliantly conceived one at that” (Anna Kisselgoff, New York Times). Montserrat Casanova’s designs transform the dancers into doll characters, using masks and paddedvcostumes, and her doll’s house set, with ist compartmentalised rooms, is equally inventive, Prokofiev’s wistful music has been cut, and additional sound effects added, to enhance Marin’s vision.
La gazza ladra
This Cologne Opera production, one of Rossini’s most brilliant compositions, was directed by Michael Hampe and boasts a star-studded cast with Ileana Cotrubas, Carlos Feller, David Kuebler and Alberto Rinaldi.
Rossini’s opera is a perennial favourite and tells the story of a servant girl, accused of stealing a silver spoon. She is brought to trial by the Justice of the Peace, whose advances she has repulsed, and is condemned to death. Tragedy turns to comedy when, just before the execution is due to take place, it is discovered that the real thief is a magpie.
Bruno Bartoletti conducts this lively and colourful production, designed by o Pagano.
La clemenza di Tito
From the Drottningholm Court Theatre 1987: For his last opera, written for the coronation of Leopold II as King of Bohemia in 1791, Mozart used a formal opera seria libretto by Metastasio, but at ist heart are intimate scenes of intense emotional conflict. This recording shows the producer “Järvefelt at his best… the whole evening – authentic but bristling with theatrical life – was a shining example of everything Drottningholm stands for” (Financial Times). (Sung in Italian)
Rusalka
David Pountney’s landmark English National Opera staging of Dvorák’s haunting fairy tale opera left critics and audiences spellbound. The production is set in a Victorian nursery where an adolescent girl, on the brink of sensual awakening, dreams of first love. Her story is that of Rusalka the wood nymph who, like Hans Christian Andersen’s Little Mermaid, sacrifices all for a love destined to be betrayed. High above the stage Rusalka dreamily swings as the picturesque gives way to the surreal. Influenced by Jung and Freud, Magritte and Delvaux and magically realised in the designs of Stefanos Lazaridis, Pountney’s Rusalka succeeds in creating a fairy tale to enchant the most hardened modern audience.
David Pountney states that Rusalka is about “a typical initiation into social and sexual experience” – the evolution from a child to young woman. He conjures up an enchanted world of repression and surreal fantasy. The set is spacious, gleaming white and full of archetypal symbols including a rocking horse, wardrobe, furniture which slides about, dolls that dance, floorboards that open to reveal a pool with a swing high above it. The effect produces a dreamworld which teeters on the edge of a nightmare. Sung in English.