A work narrowly linked to the Festival’s rich history, Richard Strauss’ Die Liebe der Danae (The Love of Danae) surely ranks among the highlights of this year’s Salzburg Festival. Krassimira Stoyanova, regular fixture at the Salzburg Festival, is heading a truly supreme cast and emerges as the “one in a thousand, the true Strauss lyric-dramatic soprano who can soar and swoop, working miracles on phrases that never stop coming” (The Artsdesk). Bass-Baritone Tomasz Konieczny, “sings this Jupiter almost unsurpassably” (FAZ). Alvis Hermanis’ colourful production brings oriental flair to the Salzach, his “staging was spectacular above all else” (Opera Today). Labelled as “too beautiful to be true”, the score presents a retrospect of Strauss’ lifework.
Salzburg Easter Festival: Pagliacci
“Opera as Great Romantic Cinema”, wrote the Salzburger Nachrichten about the two one-act operas Cavalleria rusticana and Pagliacci, which proved real crowd-pullers and ensured record attendances at the Salzburg Easter Festival. No wonder, for “Jonas Kaufmann, for whom it was in both cases his role debut, was on stellar form twice” (Daily Telegraph). “Kaufmann sings both parts so lyrically, with such italianità, mellow with impeccable highs, as to be a pure delight.” (Kurier) Equally impressive are Thielemann – “the uber-conductor” (Telegraph) – and the Dresdeners, who “take time for sensitive, melodious soul portraits, while delivering consummate drama at just the right moment. What we hear from the pit is sensational in its nuances.” (Kurier) The scene is set by film and opera director Philipp Stölzl, contributing to the performance’s huge fascination: Stölzl divides the stage into several levels, staging crowd scenes below, private feelings above – the latter projected with filmic close-ups – doubling and trebling the action. Productions like this, insists Kurier, “simply must be described as worldclass”. “Thrilling” concludes the Telegraph.
Salzburg Easter Festival: Cavalleria rusticana
“Opera as Great Romantic Cinema”, wrote the Salzburger Nachrichten about the two one-act operas Cavalleria rusticana and Pagliacci, which proved real crowd-pullers and ensured record attendances at the Salzburg Easter Festival. No wonder, for “Jonas Kaufmann, for whom it was in both cases his role debut, was on stellar form twice” (Daily Telegraph). “Kaufmann sings both parts so lyrically, with such italianità, mellow with impeccable highs, as to be a pure delight.” (Kurier) Equally impressive are Thielemann – “the uber-conductor” (Telegraph) – and the Dresdeners, who “take time for sensitive, melodious soul portraits, while delivering consummate drama at just the right moment. What we hear from the pit is sensational in its nuances.” (Kurier) The scene is set by film and opera director Philipp Stölzl, contributing to the performance’s huge fascination: Stölzl divides the stage into several levels, staging crowd scenes below, private feelings above – the latter projected with filmic close-ups – doubling and trebling the action. Productions like this, insists Kurier, “simply must be described as worldclass”. “Thrilling” concludes the Telegraph.
Salzburg Festival: Strauss, Der Rosenkavalier
“Harry Kupfer and Franz Welser-Möst re-create a wonderful Rosenkavalier.” (FAZ) “Cheers for Welser-Möste and the Vienna Philharmonic Orchestra. (…) The best music theatre production ever of Salzburg Festival.” (Neue Osnarbrücker Zeitung) “With eyes wide shut you could hear the flurries of Straussian invention whirring, whirling, whistling and waltzing round the orchestra pit, making the score sound like a three-hour symphonic poem with voices rather than a “comedy in music”. (Financial Times)
Salzburg Festival: Verdi, Il Trovatore
“Anna Netrebko – better than Maria Callas” (Süddeutsche Zeitung) – Since her sensational success in “La Traviata” the soprano Anna Netrebko, now even more popular than ever before, returns regularly to the great festival hall at the Salzburg Festival. This time she shines as Leonora in Giuseppe Verdi’s tragic opera “Il Trovatore” at the side of Placido Domingo and the critics go wild: “A triumph” writes the New York Times, while the Neue Zürcher Zeitung speaks of “truly divine sounds”. Alvis Hermanis staged the plot that revolves round two rival brothers who love the same woman and only learn they are related at the moment of her death, using sets that “in their opulent adherence to detail and fantastically illuminated atmosphere (…) offer much more than just a decorative sight for sore eyes“ (Salzburger Nachrichten).
King Roger
“It’s hard to believe that this ‘Król Roger’ had been neglected for so long!” The prestigious “Opernwelt” was not alone in welcoming the belated rediscovery of Polish composer Karol Szymanowski’s (1882-1937) masterpiece of 1926, which resonates with echoes of Late-Romanticism and Expressionism, Richard Strauss and Richard Wagner. Presented at the Festival Hall of the Bregenz Festival in a production by festival director David Pountney, the musical rarity, a combination of opera, oratorio and mystery play, tells the story of 12th-century Sicilian King Roger, who is led astray by a mysterious shepherd who preaches a life of unrestrained hedonism. Director David Pountney delivers an uncommonly riveting production by staging the clash of virtue and immorality in a simple, archaic, yet wondrously luminous set reminiscent of an ancient Greek theater.
Claudio Abbado’s inaugural concert from 1989
It was only logical that Claudio Abbado should start his tenure with the Berliner Philharmoniker in December 1989 conducting Mahler’s First Symphony. Firstly, because Abbado was even then considered one of the great Mahler conductors of his time, and secondly because this symphony by the still young composer is infused with an irresistible expression of freshness and new beginnings. Even today we can feel the special magic of this new beginning in this video document. The election of Claudio Abbado came as a surprise to the music world – not least to the conductor himself. In many ways he embodied a contrast to Herbert von Karajan who, particularly in his later years, had became ever more remote from his musicians. Claudio Abbado, however, made it clear from the outset that he was simply “Claudio” to everyone. Furthermore, he followed new musical directions; he aimed at a more transparent sound, and put an emphasis on new music – and also on Mahler who had only occasionally appeared in Philharmoniker concerts under Karajan.
Abbado in Berlin – The First Year
The vote was over, and a decision had been made: Claudio Abbado was the new chief conductor of the Berliner Philharmoniker. So it was in 1989, when – for the first time – the orchestra itself decided who was to be its leader. The result was a surprise for the music world – and also for Abbado himself. This documentary from 1990 traces the first year of the new chief conductor in Berlin, the special atmosphere of new beginnings and the diverse expectations the musicians had of Herbert von Karajan’s successor. Other than this, many insights are provided into the first artistic projects of the new man at the helm, starting with the rehearsals for Mahler’s First Symphony with which he ushered in his tenure in December 1989. We are also taken behind the scenes to see among other things Abbado’s first visit to Karajan’s room – which was now to be his – and to a first birthday party with the musicians of the Berliner Philharmoniker. Of course, the members of the orchestra have their say, and tell of their hopes and what they expected of their new boss. Even today, these impressions convey the special magic that was in the air at that time.
Anna Netrebko: The Woman, The Voice
Vincent Paterson’s camera and imagination have given Anna Netrebko the scope to embrace five totally different characters within about an hour’s screen time. Revealing her true personality through an extensive and intimate interview on childhood, education, career and private matters, she then convinces the viewer as a gifted performer in her portrayals of Mozart’s Donna Anna, Bellini’s Amina, Gounod’s Marguerite, Dvorák’s Rusalka, and Puccini’s Musetta. The visual language of this portrait reflects a contemporary approach of introducing one of the most exceptional sopranos of our time to a wider audience.
Arnold Schönberg – The Restless Visionary
He was the founder of a new musical age and the overpowering father figure of musical modernism. With his departure from tonality and the invention of twelve-tone music, Arnold Schönberg left his mark on the music of the 20th century more momentously than any other composer. The founder of the Second Viennese School, whose concerts in the first decade of the 20th century provoked notorious scandals among audiences, did not see himself as a radical subversive but rather as a staunch upholder of the great German-Austrian musical tradition. On his way into new musical territory, he was guided by an uncompromising desire for the integrity of musical expression. To celebrate the 150th anniversary of his birth, the 90 min. film Arnold Schönberg. The Restless Visionary uses previously unpublished archival material to paint a long overdue, comprehensive portrait of one of the most important, yet also most original and versatile artistic personalities in history. The film also provides surprising insights into lesser-known aspects of his life and personality: his religious conflicts, his family environment, setbacks, his painful emigration to America, and his enigmatic fear of the number 13.