World of the gods – world of the earthly elements: Herbert von Karajan has succeeded in forcefully underscoring the contrast between the world of the gods and the earthly realm. The ‘Rhinegold’ already bears within it a foreboding of the ‘Götterdämmerung’. In the Prelude, man – the hero – does not yet appear; what checks the power of the gods are the earthly elements: fire, water and earth. Wotan only appears to be victorious when he enters Valhalla with his fellow gods. The actual victor is Loge. Based on a production from the Salzburg Easter Festival, Georges Wakhevitch has produced stage settings and transformations that support Karajan’s concept with every possible means. The depths of the Rhine are dynamic and full of natural motion, but the inside of the earth – Nibelheim – with its corridors and vaults which lead to Alberich’s realm, also has something organically proliferating about it. With his singers – foremost among them Peter Schreier – Karajan has an ensemble that fully conforms to his intentions. Thomas Stewart is a nobly singing Wotan. Next to him is the grandiose Brigitte Fassbaender als Fricka, a profoundly embittered figure.
Der Freischütz
“I am trying,” says director Vicco von Bülow, also known as Loriot, “to take this opera very seriously and to show all its horror, mystery, piousness and the German forest.” Germany’s most refinedly witty comedian staged “Der Freischütz” in 1988 at the Ludwigsburg Festival. Von Bülow considers the work “a mixture of comedy, drama, romanticism and deep religiousness.” Comedy, however, was not the guiding principle of his production. He relates the story like a tale from some romantic picture- book, in a mysterious, symbolic manner. The stars of the performance were, next to the splendid sets reminiscent at times of the paintings of Caspar David Friedrich, the excellent singers and brilliant orchestra conducted by Wolfgang Gönnenwein. Among the singers, the most highly applauded were Uwe Heilmannn as Max, Ulrike Sonntag as Ännchen and Nancy Johnson as Agathe.
Rigoletto
Along with “Il Trovatore” and “La Traviata,” “Rigoletto” is part of the immortal triumvirate of milestone operas written by Giuseppe Verdi and premiered in the early 1850s. It has become one of the most popular operas in the entire repertory, with stupendous music for the baritone, soprano and tenor leads. The work contains such beloved numbers as “Caro nome,” Gilda’s coloratura aria; the Duke of Mantua’s famous “La donna è mobile”; and the quartet “Bella figlia dell’amore” from the third act. In this production from the early 1990s from Milan’s La Scala, Roberto Alagna sings the part of the Duke, Renato Bruson the title role and Andrea Rost the role of Gilda. The staging is by Gilbert Deflo, whose vision is supported by the distinguished set designer Ezio Frigerio and costume designer Franca Squarciapino. The aristocrat of conductors, the autocrat of the baton, Riccardo Muti cuts a noble figure at the head of any orchestra, and ennobles every ensemble through his charismatic personality and red-blooded musicality. In many respects, including his unwillingness to compromise over artistic matters, he is reminiscent of Arturo Toscanini, who was also a demanding ruler at the podium. His rise to international fame set in with his guest conductorships at the Salzburg Festival in 1971 and at the head of the Berlin Philharmonic and the Philadelphia Orchestra in 1972. Muti became principal guest conductor of the Philadelphia Orchestra a few years later, and was named its music director in 1980. Always a conductor of both the symphonic and operatic repertoire, Muti advanced to the post of music director of La Scala in Milan in 1986. The 1990s saw Muti consolidating his reputation at the head of this venerable institution, as well as in countless other high-caliber venues around the world. Today he is one of the undisputed giants among the leading conductors of the world.
Thomas Guggeis conducts Smetana
The Prague Spring Festival opens annually with Bedrich Smet ana’s cycle Má vlast (My Fatherland), always on 12 May, the anniversary of the composer’s death. It is one of the national monuments of Czech music: a musical foray through the world of the Czech mythical character Šárka, through the history and landscape of the Bohemian Basin in the heart of Europe and the old Prague castle of Vyšehrad. The most famous movement, “Vltava” describes the river Moldau and its course through the country. It is therefore a special honour to be invited to play the opening concert. Only the best orchestras are asked, but for probably no other orchestra the theme of Má vlast has such significance as for the West-Eastern Divan Orchestra. At the rostrum is Thomas Guggeis, a former assistant of Daniel Barenboim, who has – as many scholars of the great maestro before – made his own career and has been appointed general music director of the Frankfurt Opera.
Prague Sounds – Concert for Europe with Semyon Bychkov & the Czech Philharmonic
For this special concert, the Vltava river in Prague turned into a unique concert venue. Floating stages were built especially for this concert. To celebrate Czech Presidency of the Council of the European Union, the Czech Philharmonic perform some of the most iconic pieces of Czech classical music. The concert opens with the anthem of the European Union, Beethoven’s “Ode to Joy”, and is completed by Smetana’s Vltava (The Moldau), Dvorák’s Carnival Overture and – as the main piece of the evening – Janácek’s monumental Glagolitic Mass, one of the most powerful sacred compositions ever. It is the perfect piece to celebrate Europe: “the ancient classical meets the spontaneously avant-garde in a special and optimal way.” (Lidové noviny) PROGRAM: Beethoven: ”Ode to Joy” Finale of Symphony No. 9, Op. 125; Dvorák: Carnival overture op. 92; Smetana: Vltava, a symphonic poem from the cycle ‘My Country.’ Janácek: Glagolitic Mass
Busch Trio – Antonín Dvorák‘s complete chamber works for piano and strings
Named after the legendary violinist Adolf Busch, this young piano trio has received enthusiastic responses from audiences and critics across Europe. Winners of the 2012 Royal Overseas League Competition and further prizes in international competitions in Italy and Germany, the Trio performs regularly in some of Europe’s leading venues and festivals. They have been recognized for their achievements and playing of “incredible verve” with their recent Wigmore Hall appearance described in The Times as “most impressive was the group’s effortless musicianship and unity of thought and attack. The threesome even seemed to be breathing in synch.”
My life with Bohuslav Martinu
Bohuslav Martinu (1890-1959) was born in a small town in Bohemia and spent his life in France, USA, Switzerland, and Italy. As one of the few composers of his time, he experienced great success and fame during his life. The film contains shots of authentic remembrances – newspaper critics, programme books, pictures, buildings, places where Martinu lived, his autographs, archive film shots of the places where he composed. The baseline of the movie is formed by a stream of sorted thoughts of Martinu’s French wife Charlotte. The music sounds like a soundtrack and corresponds to the chronologically narrated content.
Messiah
n the middle of the historic baroque garden in Ceský Krumlov, a UNESCO World Heritage Site located in the South Bohemian Region of the Czech Republic, Messiah comes alive in a magical atmosphere of light and dark. The production, which subtly links the biblical story of Jesus Christ with the life of Josef Adam, born in 1722, Duke of Krumlov and Prince of Schwarzenberg, is effec-tively staged as a baroque feast, with top-class early music soloists and one hundred and fifty choristers performing in replicas of baroque costumes. The performances take place at a unique spot: The theatre with revolving auditorium in Ceský Krumlov is one of only two theatres of this type in Europe. Located in front of the
rococo Bellarie Palace in the Baroque garden of the chateau, it was first put into operation in 1958 and, after several reconstructions, currently holds almost 650 spectators. With 56,000 tickets sold, the performances are the most attended summer cultural event in the entire Czech Republic and are thus the focus of interest among domestic and foreign spectators.
Prague Spring Opening Concert: Petrenko conducts Smetana
What better occasion for chief conductor Kirill Petrenko to give his Czech debut than to open the Prague Spring Festival with the festival’s signature work? The Berliner hilharmoniker perform Smetana’s Má vlast on the 140th anniversary of the composer’s death in the magnificent Smetana Hall. The combination of one of the best orchestras in the world with their chief conductor and the masterpiece of the Czech “national composer” is an exceptional experience: “The depth of understanding Petrenko showed, the crisp
performance of the players…conferred a new level of prestige and fitting anniversary honors on the Czech Republic’s most beloved composer” (Bachtrack).
Egon Schiele – Self Portrait
No place inspired Egon Schiele more than Ceský Krumlov, a stunning architectural gem and one of Europe’s most beautiful historic towns. Familiar with the town from childhood holidays, Schiele moved there after leaving the Vienna Academy to develop his distinctive style. Staged in the exceptional revolving theatre in the baroque gardens of Ceský Krumlov, this performance by choreographer Jan Kodet honours the life and work of the great painter. Choreography, set and costume design take inspiration from the themes and colours of Schiele’s paintings, to great effect. Glimpses of Schiele’s life flash before the audience as the auditorium revolves around the action.