The original version of PULCINELLA was choreographed by Massine with designs by Picasso in 1920. Like the original, Richard Alston’s greatly-admired version of the complicated love-story has a Neapolitan setting and is based on traditional Commedia dell’Arte characters.
La Bohème
From the San Francisco Opera 1988: Luciano Pavarotti and Mirella Freni’s incomparable partnership as Rodolfo and Mimi, the tragic lovers in Puccini’s much-loved bittersweet opera, is captured for posterity in this live recording from the San Francisco opera. Francesca Zambello’s production boasts a superlative cast with Gino Quilico as Marcello, Nicolai Ghiaurov as Colline, Stephen Dickson as Schaunard and Sandra Pacetti as Musetta. The Italian conductor Tiziano Severini drew critical acclaim for his passionate and spontaneous reading of the score.
La Cenerentola
From the Salzburg Festival 1988 Rossini’s version of the Cinderella story – an exciting mixture of comedy, pathos, coloratura fireworks and masquerade – features bel canto specialists Dame Ann Murray (Angelina) and Francisco Araiza (the Prince). The effervescent and noble score is conducted by Riccardo Chailly, whose masterly display of the Rossini style is visually matched by the ravishing sets of Mauro Pagano and the stylish direction of Michael Hampe. This is a performance of exceptional theatrical surprise and phenomenal vocal agility. (Sung in Italian)
Swan Lake
Natalia Makarova, one of the most important interpreters of the classical ballet repertoire in the twentieth century, has also had great success as a producer. Her staging of Swan Lake is based on the original choreography by Petipa and Ivanov, with additional choreography by the late Sir Frederick Ashton. Evelyn Hart and Peter Schaufuss dance the main roles in this studio recording. Makarova’s innovative interpretation presents the work as a story of perfect and eternal love. The main focus is on Siegfried’s love for Odette, her love for him, his unfaithfulness, for which she ultimately forgives him, and her self-sacrifice in going to her death with him in order to break the power of an evil curse. The production is succinct and well paced. The stage design by Günther Schneider-Siemssen does not use scenery to communicate changes of place and mood but back projections, which are extremely effective for creating a mysterious, magical atmosphere.
Requiem Op.89
Václav Neumann conducts the Czech Philharmonic Orchestra and the Prague Philharmonic choir in this performance of Dvorák’s Requiem Op. 89, recorded live from the magnificent St. Veit’s Cathedral in Prague.
Cinderella
Specially staged in studio for this recording, Maguy Marin’s reworking of the Cinderella story is astonishingly original and magical. “This is not Prokofiev’s Cinderella but Marin’s version – a brilliantly conceived one at that” (Anna Kisselgoff, New York Times). Montserrat Casanova’s designs transform the dancers into doll characters, using masks and paddedvcostumes, and her doll’s house set, with ist compartmentalised rooms, is equally inventive, Prokofiev’s wistful music has been cut, and additional sound effects added, to enhance Marin’s vision.
Idomeneo
From the Drottningholm Court Theatre 1991 Conductor Arnold Östman worked with producer Michael Hampe on this production of Idomeneo. The opera boasts a series of superbly expressive pieces and was described by Einstein as “one of those works that even a genius of the highest rank, like Mozart, could write only once in his life”. It is set in Crete in the aftermath of the Trojan Wars. (Sung in Italian)
La gazza ladra
This Cologne Opera production, one of Rossini’s most brilliant compositions, was directed by Michael Hampe and boasts a star-studded cast with Ileana Cotrubas, Carlos Feller, David Kuebler and Alberto Rinaldi.
Rossini’s opera is a perennial favourite and tells the story of a servant girl, accused of stealing a silver spoon. She is brought to trial by the Justice of the Peace, whose advances she has repulsed, and is condemned to death. Tragedy turns to comedy when, just before the execution is due to take place, it is discovered that the real thief is a magpie.
Bruno Bartoletti conducts this lively and colourful production, designed by o Pagano.
Mozart, Symphony No.25 in G minor, K. 183
The “little” G minor Symphony K. 183 (as opposed to the “Great” G minor K. 550) of 1773 is regarded as Mozart’s first symphonic masterpiece. New is the minor mode. New are also the passionate spirit, the abrupt changes of mood, the depth of the drama and the strong dynamic contrasts. Even the idyllic wind episode in the Trio of the Menuett cannot weaken the impression of implacability. The symphony is the brilliant stroke of a 17-year-old genius who is in the act of developing his own symphonic idiom and discovering new expressive domains in so doing. Leonard Bernstein leads the Vienna Philharmonic Orchestra in this performance recorded in 1988, two years before the maestro’s death.
Così fan Tutte
Jean-Pierre Ponnelle (1932-1988) was one of the most eminent opera directors of the second half of the 20th century. His productions not only graced the repertoires of opera houses in Salzburg, Milan and New York, but also enhanced television programming with original, classical opera films produced exclusively by Unitel. Ponnelle always bestowed particular love and care on Mozart’s operas, whether popular works such as “Die Zauberflöte” and “Figaro,” or less known works such as “La clemenza di Tito,” “Idomeneo” and “Mitridate.” Ponnelle’s last film project was the Unitel production of “Così fan tutte” with the Vienna Philharmonic Orchestra conducted by Nikolaus Harnoncourt, and featuring the internationally acclaimed singers Edita Gruberova, Teresa Stratas, Delores Ziegler, Ferruccio Furlanetto, Luis Lima and Paolo Montarsolo. “I prefer to produce ‘Così fan tutte’, a work of great artificiality, in a film studio, since I have a greater range of possibilities there than on stage: for me, the camera becomes another means of expression, which supplements the score.” (Jean-Pierre Ponnelle) “Così fan tutte” contains some of Mozart’s loveliest arias and the greatest number of ensembles in any of his operas. Although its libretto is often said to be frivolous, it is a foil for Mozart’s lucid and utterly non- Romantic view of the sexes.