What do Jonas Kaufmann, Anja Harteros, Piotr Beczala and Daniel Behle have in common? Besides being internationally acclaimed singers, they’re all “vocal athletes” who keep their voices in shape. In this “rewarding documentary” (Opernglas), filmmakers Barbara and Wolfgang Wunderlich team up with Thomas Voigt to examine the physical and psychological hurdles that constantly face professional singers. Next to theoretical matters, the program offers a generous selection of musical excerpts that illustrate the topic at hand and shed light into the complex interplay of every singer’s body and mind.
The Vatican Concert 2005 – In Honor of Pope Benedikt XVI
Recorded live in the presence of His Holiness Pope Benedict XVI in Vatican City, this profoundly moving and inspiring concert is a true musical landmark. While the music ranges from the grand to the sublime, the atmosphere retains the warmth and intimacy of a “family reunion”: both the Munich Philharmonic and the boys’ chorus “Regensburger Domspatzen” are world-renowned institutions from the Pope’s native Germany and from cities closely connected with the former Cardinal Ratzinger. Among the works performed is a Sanctus from a mass written by Georg Ratzinger, the Pope’s brother and one-time director of the “Regensburger Domspatzen”. Under the direction of its distinguished young principal conductor Christian Thielemann, the Munich Philharmonic is joined by the boys’ chorus (which also sings a cappella works led by Georg Büchner) in music by Liszt, Mendelssohn, Mozart, Palestrina, Pfitzner, Verdi, Wagner and Georg Ratzinger. The musical event is rounded off with an address to the listeners and performers by His Holiness Pope Benedict XVI.
Spontini, La fuga in maschera
This early work of Gaspare Spontini, a composer once known for his grand operas written for the courts of Napoleon, Berlin, Vienna etc., is found at an antiquarian book dealer in England in 2006 and performed for the first time since 1800 at Festival Pergolesi e Spontini in Jesi. Corrado Rovaris and I Virtuosi Italiani, known for their historically informed performances on non-historical instruments, play “with great verve and joy” (Milano Finanza). Director Leo Muscato “transforms the typical Neapolitanstyle musical comedy into a shrill, irreverent, over-the-top spectacle” (Corriere della sera).