Harry Kupfer’s harrowing realisation of Zimmermann’s radical opera reveals the ful compassion and humanity of the work, and harnesses to maximum effect the vast theatrical and musical resources it requires. It tells the story of the degradation of a young girl in the hands of a corrupt and egotistical military aristocracy, and several courses of dramatic action unfold simultaneously, so that past, present and future merge in tableaux of the monstrous, dehumanising effects of war. The cast includes Nancy Shade, Michael Ebbecke and William Cochran. Bernhard Kontarsky conducts.
Orlando furioso
Certainly more than just the composer of the Four Seasons, Vivaldi also wrote hundreds of largely famous instrumental works, and his glorious church music is well known; but it wasn’t until recent decades that his operas – of which he is said to have written more than fifty – were resurrected. Orlando furioso occupies a central and very significant place among Vivaldi’s works. Not only does the whole score of this opera demonstrate its composer’s full, creative maturity, but its outstanding features are also an extraordinary musical beauty, an attractive recitative line, and a balance thus created between the various parts of the dramatic and musical whole. This exceptional musical achievement was no doubt partly due to the famous theme of the original story, as well as the literary and dramatic qualities of a first-rate libretto. Pier Luigi Pizzi’s 1979 production of Orlando furioso in Verona marked the beginning of contemporary international interest in Antonio Vivaldi’s operas. Ten years later the same director once more produced this work at the San Francisco Opera. A Californian public greeted the baroque magnificence of this production with great enthusiasm, and both the daily and specialist press outdid each other in eulogies of praise for the director, his new staging, the vocal casting of all the roles and the musical quality of the whole opera.
In Rehearsal: Valery Gergiev
Featuring some of today’s leading conductors in rehearsal, the “In Rehearsal” series gives a unique insight into the process of creating great music. The conductors’ very different styles and methods; the dialogue between an orchestra and an inspired interpreter; the intensity of the preparations for a concert performance; and the struggle towards perfection are captured in these revealing audio-visual records. Most episodes include a full run-through of the work rehearsed. All include interviews with the conductor who is seen at work. Valéry Gergiev works with the Rotterdam Philharmonic Orchestra on Prokofiev’s Scythian Suite Op. 20. Directed by Rob van den Berg 59′
Billy Budd
A cast of luminaries supported by the English National Opera gives a profound and masterful reading of Britten’s gripping opera of sadism and injustice aboard a British man-o’-war this month. Following the widely acclaimed Peter Grimes, released on Arthaus in May 2003, this production reunites Tim Albery’s direction with the phenomenal talent of Philip Langridge, often acclaimed as a natural successor to Peter Pears. The libretto, by E.M. Forster and Eric Crozier, is based on the literary masterpiece by Herman Melville and tells the tale of a young seaman, Billy Budd, who is persecuted malevolently by his master-at-arms, Claggart. Accused of mutiny, the stammering Budd accidentally strikes Claggart dead and the tormented Captain Vere has no alternative but to hang him. The opera explores many universal themes – the individual at odds with society, the corruption of innocence, the continual conflict of good and evil – which no doubt lay close to the heart of Britten’s own pacifism and are themes common to much of his dramatic music.
This production has Britain’s leading operatic baritone, Thomas Allen, in one of his most distinguished roles, as Billy. He is noted not only for his superb abilities as a singer, but also for his acting skills, particularly necessary for the demanding role of the naive and virtuous character of Billy Budd. Philip Langridge as Captain Vere repeats his recently highly-praised portrayal.
L’africaine
Plácido Domingo, as Vasco da Gama, and Shirley Verrett, as the African queen whom he has enslaved, star in Meyerbeer’s spectacular grand opera, in a colourfully exotic production by Lotfi Mansouri, under the sensitive musical direction of Maurizio Arena. The visual splendour of Wolfram Skalicki’s designs matches the vocal distinction of the cast: “Domingo was the honeyed, ringing Gama of everyone’s expectations, Verrett as lustrous and inward a Sélika as ever, Ruth Ann Swenson a gem-like Inès” (Opera Magazine).
La finta giardiniera
From the Drottningholm Court Theatre 1988: “The new production of La finta giardiniera at Drottningholm fully justified producer Goran Järvefelt’s and conductor Östman’s faith in the opera. It proved not only an evening of rare enchantment, but an instructive argument for period performance of Mozart” (The Independent). Britt-Marie Aruhn sings the role of the Countess, who disguises herself as a gardener in order to find and forgive her lover, who has fled, thinking he has killed her in a quarrel. (Sung in Italian)
The Rape of Lucretia
This specially-staged studio recording of the English National Opera’s highly-acclaimed production of Benjamin Britten’s work features outstanding performances by Jean Rigby as Lucretia and Richard Van Allan as Collatinus. Anthony Rolfe Johnson and Kathryn Harries sing the Male and Female Chorus who poignantly comment on the brutal rape of Lucretia by Tarquinius, Prince of Rome. With ist bare scrubbed boards, ist sliding screens – against which the characters sometimes appear in silhouette – and ist high-railed gantry from which the Chorus observe, both Graham Vick’s staging and Russell Craig’s severe designs have a cool, elegant simplicity. With no extraneous movement or gesture to distract the eye, everything is focused with a luminous intensity on the ritualistically compact unfolding of the drama and the inescapable fate of her characters. This ascetic production tellingly matches the austere restraint of Britten’s first chamber opera, scored with sparse texture for a mere twelve instruments, a limitation over which Britten triumphed to produce music of deeply moving intensity.
This innovative production is a fine example of the exciting and imaginative work that is characteristic of the English National Opera.
Silent Cries
Jiri Kylián uses Claude Debussy’s dreamlike Prélude à l’Après-midi d’un faune for this stylised portrayal of a process of self-discovery and acceptance. He created the solo work in collaboration with his wife, the dancer Sabine Kupferberg, who performs in this studio recording.
Don Juan
L’ enfant et les sortilèges
Jiri Kylián’s fantasy ballet about a naughty boy is set to an opera by Maurice Ravel, which the composer based on a libretto by Colette. Angry because he does not want to learn his lessons, the boy destroys his books and vandalises the room he is in. But his surroundings come to life, seeking revenge, and he finds himself in some tricky situations before the restoratio of normality. Lorin Maazel conducts the Orchestre National de Paris and a fine cast of young singers, and the enchanting scenery and costumes are by award-winning designer John MacFarlane. A short introduction by Kylián is included in this studio recording.