Il Ritorno d’Ulisse in Patria

In a rare display of unanimous praise, international music critics rated this cycle one of the greatest operatic events of its time. Although Monteverdi played a truly important role in the development of opera, only few major opera houses have ventured to present these three Baroque masterpieces. Years of intensive study by conductor Nikolaus Harnoncourt, not only of the transmitted scores but also of the instruments used in Monteverdi’s time, were necessary to provide a basis for the exceptionally high standard of the Zurich productions. Just how meticulously Harnoncourt and the celebrated stage director Jean-Pierre Ponnelle prepared themselves is made partly clear by the fact that the orchestra exclusively played original 17th-century instruments and specially-made copies for these productions. This in turn meant that each of the 39 members of the -awaited expansion of the standard opera repertoire had successfully been realized. What makes the Monteverdi cycle a unique project is the certainty that it can never again be repeated with quite the same quality and feeling.

Bruckner, Symphony No.8 in C minor (1887 Version)

For his recording of Bruckner’s Eighth Symphony, Herbert von Karajan chose the version of 1887, one of the earliest of several revisions. The performance with the Vienna Philharmonic was recorded live in the spring of 1979 at the monastery church of St. Florian near Linz, where Bruckner spent many years as a student and teacher in his youth.

L’Incoronazione di Poppea

In a rare display of unanimous praise, international music critics rated this cycle one of the greatest operatic events of its time. Although Monteverdi played a truly important role in the development of opera, only few major opera houses have ventured to present these three Baroque masterpieces. Years of intensive study by conductor Nikolaus Harnoncourt, not only of the transmitted scores but also of the instruments used in Monteverdi’s time, were necessary to provide a basis for the exceptionally high standard of the Zurich productions. Just how meticulously Harnoncourt and the celebrated stage director Jean-Pierre Ponnelle prepared themselves is made partly clear by the fact that the orchestra exclusively played original 17th-century instruments and specially-made copies for these productions. This in turn meant that each of the 39 members of the orchestra needed the qualifications of a soloist. It was not by accident that the recordings of all three productions won top international awards. This was simply further proof that a long-awaited expansion of the standard opera repertoire had successfully been realized. What makes the Monteverdi cycle a unique project is the certainty that it can never again be repeated with quite the same quality and feeling.

Händels Auferstehung (Handel’s Resurrection)

Stefan Zweig (1881-1942), one of the most brilliant European writers, essayists and biographers, describes in his book “Sternstunden der Menschheit” decisive moments in the lives of great men and women of all times. “Handel’s Resurrection” is a story taken from this book. In freely adapted sequences, the film combines a great literary work and a classical musical composition. Based on motifs from Stefan Zweig’s story, the film describes a caesura in Handel’s creative life. It was a period in his life when he was almost on the brink of complete despair but finally regained new and unbounded creative power, which led to the composition of his “Messiah.” This work marks a turning point in the musical life of his time: a new form of musical composition, the oratorio, takes the place of the baroque opera of predominantly Italian influence, while at the same time competing with another operatic novelty, “The Beggar’s Opera,” an early forerunner of “The Three-Penny Opera.” Director Klaus Lindemann, who has developed a new dramatic approach for TV productions of musical works, resorts to the elements of drama to give emphasis to the ups and downs in the life of this great musician. Karl Richter conducts the Munich Bach Orchestra and Munich Bach Choir. Among the soloists is the celebrated Gundula Janowitz.

Vivaldi, Concerto per la Solennità di San Lorenzo in C major, RV 556 (Carinthian Summer 1979)

Recorded live at the Carinthian Summer Festival on 27 August 1979, this concert features soloists from the orchestra of Milan’s Teatro alla Scala under the direction of Claudio Abbado. One of the leading conductors of our time, Abbado was music director and artistic director of the Scala until 1986 before shifting his focus to Vienna (music director of the Vienna State Opera from 1986-1991) and, later, Berlin. Since 1969, the Carinthian Summer in Ossiach, Austria, has been presenting internationally acclaimed soloists and ensembles in splendid Alpine settings. A particularly opulent venue is the Baroque monastery church of Ossiach, where this concert was filmed.

Vivaldi, Concerto per l’Orchestra di Dresda in G minor, RV 577 (Carinthian Summer 1979)

Recorded live at the Carinthian Summer Festival on 27 August 1979, this concert features soloists from the orchestra of Milan’s Teatro alla Scala under the direction of Claudio Abbado. One of the leading conductors of our time, Abbado was music director and artistic director of the Scala until 1986 before shifting his focus to Vienna (music director of the Vienna State Opera from 1986-1991) and, later, Berlin. Since 1969, the Carinthian Summer in Ossiach, Austria, has been presenting internationally acclaimed soloists and ensembles in splendid Alpine settings. A particularly opulent venue is the Baroque monastery church of Ossiach, where this concert was filmed.

Pergolesi, Stabat Mater (Carinthian Summer 1979)

Recorded live at the Carinthian Summer Festival on 27 August 1979, this concert features soloists from the orchestra of Milan’s Teatro alla Scala under the direction of Claudio Abbado. One of the leading conductors of our time, Abbado was music director and artistic director of the Scala until 1986 before shifting his focus to Vienna (music director of the Vienna State Opera from 1986-1991) and, later, Berlin. Since 1969, the Carinthian Summer in Ossiach, Austria, has been presenting internationally acclaimed soloists and ensembles in splendid Alpine settings. A particularly opulent venue is the Baroque monastery church of Ossiach, where this concert was filmed.