David Pountney’s landmark English National Opera staging of Dvorák’s haunting fairy tale opera left critics and audiences spellbound. The production is set in a Victorian nursery where an adolescent girl, on the brink of sensual awakening, dreams of first love. Her story is that of Rusalka the wood nymph who, like Hans Christian Andersen’s Little Mermaid, sacrifices all for a love destined to be betrayed. High above the stage Rusalka dreamily swings as the picturesque gives way to the surreal. Influenced by Jung and Freud, Magritte and Delvaux and magically realised in the designs of Stefanos Lazaridis, Pountney’s Rusalka succeeds in creating a fairy tale to enchant the most hardened modern audience.
David Pountney states that Rusalka is about “a typical initiation into social and sexual experience” – the evolution from a child to young woman. He conjures up an enchanted world of repression and surreal fantasy. The set is spacious, gleaming white and full of archetypal symbols including a rocking horse, wardrobe, furniture which slides about, dolls that dance, floorboards that open to reveal a pool with a swing high above it. The effect produces a dreamworld which teeters on the edge of a nightmare. Sung in English.
Luciano Pavarotti heads an exceptional cast in this spectacular live recording from La Scala, Milan, with Ghena Dimitrova, Maria Chiara, Nicolai Ghiaurov and Juan Pons, all in peak form. Luca Ronconi’s magnificent production of Verdi’s much-loved masterpiece was a triumphant success, with Mauro Pagano’s monumental settings capturing perfectly the imposing grandeur of the land of the Pharaohs and the ochre hues of the desert. Lorin Maazel conducts.
This live recording features a concert performance of Berlioz’s Roméo et Juliette, a dramatic symphony, with solo and choral voices, in the original French language version.
Sir Colin Davis conducts the Bavarian Radio Symphony Chorus and Orchestra with soloists Philip Langridge (tenor), Hanna Schwarz (alto) and Peter Meven (bass).
Roméo et Juliette is the greatest and most satisfying of all Shakespearean works and inspired Berlioz to one of his best and successful dramatic symphonies. Intended for the concert hall, ist musical core is purely orchestral, while the outer movements are choral and vocal, their function being narrative and more theatrical. Yet the whole piece coheres magically and no other work of Berlioz more perfectly demonstrates both his poetic and the individuality of his genius.
From the Teatro alla Scala, Milan 1986 Japanese producer Keita Asari cast two of the Far East’s leading singers in Puccini’s coveted female roles, and collaborated with Japanese designers to create this exquisitely oriental staging of Puccini’s much-loved opera, which was hailed as a triumph by the Italian press and public alike. (Sung in Italian)
Stravinsky used a text by Cocteau, translated into Latin, for this opera-oratorio which he made deliberately statuesque in effect, its music a whole anthology of neo-classic styles, from Bach and Handel to Gluck. The masked and costumed singers barely move and a narrator explains the action. In this powerful production, recorded live from Amsterdam’s Carré Theatre, Bernard Haitink conducts the NOS Men’s Choir and the Concertgebouw Orchestra, with Neil Rosenshein and Felicity Palmer in the leading roles. The narration is available in English (Alan Howard), French (Jean Rochefort) and German (Mathieu Carrière).
The corks pop and the champagne flows in this sparkling production of Johann Strauss’s world-famous operetta with the ensemble of the Bavarian State Opera. Carlos Kleiber conducts Strauss’s music with a temperament, vigor and sensuality that bring to mind contemporary reports on Johann Strauss’s own conducting style: “His whole body was conducting – the hands, head, eyes, torso and feet of the master”. But Kleiber can also invoke another inspired model and predecessor for his interpretation: in 1894, Gustav Mahler conducted the work at the Hamburg Stadttheater, lavishing his usual care and precision on it and paving its way into the repertoire of all major opera houses.
Franz Schubert’s Mass in E flat major D. 950 is an uncontested masterpiece of Viennese sacred music. Composed in 1828, the year of Schubert’s death, it reaches a depth and a grandeur equaled in his sacred works perhaps only by the A flat major Mass. Did premonitions of his fatal illness and death stir him to pour his soul into this work? In any event, it breaks away from the rather perfunctory quality of his earlier masses. The tragic tones, austere contrapuntal textures and expressive, dramatic choral writing are nothing less than profoundly gripping. The unusually large wind section without flutes recalls Mozart’s Requiem, which was the last composition written by Mozart before his death. The Vienna State Opera Chorus’s All Saints’ Day concert has become an institution in Vienna. Although the superbly homogeneous and subtly shading chorus plays the most important role throughout this concert, the orchestra also unfolds its warm and colorful and, at times, forceful personality. The concert in which this work was recorded took place on All Saints’ Day 1986 under the musical direction of Claudio Abbado.
Internationally acclaimed, the leading lyrical baritone is noted for his skill not only as a singer, but also for his acting. In this programme, Allen takes a masterclass with trainees from the National Opera Studio, looking at scenes from Mozart’s Le nozze di Figaro and Britten’s Billy Budd. He also talks in interview about his career and his approach to opera.
One of the world’s greatest violinists, Itzhak Perlman is also known for his wit and good humour. This film was shot on location in New York, where Perlman talks about his career and how he copes with the effects of the childhood polio which left him crippled. He talks in depth about the art of playing the violin and demonstrates his skill, tackling pieces by Paganini and Bach.
This programme with Peter Shaffer, one of the world’s most successful contemporary playwrights, looks at his concerns as a writer, his skill as a story-teller and his mastery of theatrical spectacle. He is seen at work on his play, Yonadab, in the weeks leading up to its opening night. Specially-staged extracts from Amadeus, Equus and The Royal Hunt of the Sun provide the basis for a discussion of his work.
