Macbeth

From the Deutsche Oper Berlin 1987: This live recording stars the great baritone Renato Bruson and soprano Mara Zampieri as the murderous couple in Verdi’s opera, based on Shakespeare’s tragedy. Luca Ronconi’s production won huge critical acclaim at the Deutsche Oper in Berlin, in particular for the conductor, Giuseppe Sinopoli, whose individual virtuosity brought fresh colour to the dramatic score. The cast also features David Griffith as Malcolm, James Morris as Banquo and Dennis O’Neill as Macduff. (Sung in Italian)

Giselle

The acclaimed Swedish choreographer and dancer, Mats Ek, made dance history in the early eighties with his bizarrely unromantic and radically drastic new interpretation of the ballet classic. He interpreted the content and the style of the second act in a contemporary way for the Swedish Cullberg Ballet – one of the most famous modern dance formations in the world. Mats Ek keeps the music of Adolphe Adam: he uses a 1969 recording of the Monte Carlo Opera Orchestra conducted by Richard Bonynge that we also hear in this studio recording. The premiere cast of characters, Ana Laguna (Giselle), Luc Bouy (Albrecht), Yvan Auzely (Hilarion), Vanessa McIntosh (Bathilde) and Lena Wennergren (Myrtha), turn the accompanying recording into a first class ballet documentation.

“My version of Giselle is an attempt at retelling the story. For me Giselle – and this applies to the old ballet as well – is about love. Love, which in the old version conquers death. That differs in mine. But love remains the main thing.” Mats Ek”

La clemenza di Tito

From the Drottningholm Court Theatre 1987: For his last opera, written for the coronation of Leopold II as King of Bohemia in 1791, Mozart used a formal opera seria libretto by Metastasio, but at ist heart are intimate scenes of intense emotional conflict. This recording shows the producer “Järvefelt at his best… the whole evening – authentic but bristling with theatrical life – was a shining example of everything Drottningholm stands for” (Financial Times). (Sung in Italian)

La Bohème

One of the world’s most beloved operas, “La Bohème” is, along with Puccini’s “Tosca” and “Madama Butterfly”, one of the pillars of the Italian repertory. Premiered in Turin on 1 February 1896, it was dismissed as “a momentary error”. It wasn’t until its first performance in Palermo that year that the opera scored a definitive success. Film director Luigi Comencini (“La Storia”) transposed the story to the early 20th century and made a few minor changes in the storyline as well. Mimi, for instance, dies in her own room. Although the sound track features the voice of José Carreras as Rodolfo, his illness prevented him from playing the role in the film; he was substituted by Luca Canonici. As Mimi, Barbara Hendricks gives a splendid performance, which was unanimously praised in all reviews.

Via Crucis – The Fourteen Stations of the Cross

This performance by the Dutch Chamber Choir, conducted from the piano by Reinbert de Leeuw, presents a rare opporunity to hear Liszt’s moving late work. The recording was made at the Church of St. Peter in Utrecht and is rich in visual imagery, using costumed singers positioned in striking tableaux to enhance the music. Inspired by a series of paintings depicting the Stations of the Cross, Liszt’s piety expresses itself in a composition of unadorned simplicity.

Richard Strauss – Romanticism and Resignation

At the end of his life, Richard Strauss (1864-1949) occupied an ambiguous role in the Third Reich – a successful public figure, but one whose cultural ideals clashed with those enforced by Hitler’s regime. This film explores the compromises of his old age, telling the story of the doyen of the late-Romantic style as he became increasingly embittered with his political masters. It includes rare footage from his family’s archive and extracts from a film about him made in 1949.

Confidencen – The Ulriksdal Theatre

Built in 1753, the Ulriksdal Theatre, also known as Confidencen, is the oldest preserved palace theatre in Sweden. The empty theatre provides a setting for a charming musical harlequinade, set to pieces by Gluck, in which a band of commedia dell’arte actors takes over Ulriksdal and banishes the malevolent spirits and demons who have allowed the theatre to fall into decay.