Deep in the German forest, dark forces stir. Weber’s masterpiece Der Freischütz opened a new and spine-tingling chapter in 19th-century opera, and with its hunting choruses and gothic atmosphere, this tale of a young huntsman ensnared by demonic forces remains one of the great operatic thrillers. It’s natural territory for a conductor with Nikolaus Harnoncourt’s sense of history (and of colour), and Ruth Berghaus’s powerful modernist re-imagining was one of the highlights of his long creative relationship with Opernhaus Zürich. Swedish soprano Inga Nielsen (Agathe) and the great German tenor Peter Seiffert (Max) head a world-beating cast in this performance from 1999.
Orphée et Eurydice
The power of music, the pain of loss, and the price we pay for love: the characters in Orphée et Eurydice might be ancient, but the themes of the drama are eternal – and in his most celebrated opera, Gluck express them with a directness and an inspiration that feels as fresh today as it did in the composer’s own era. In Paris, in 2000, director Robert Wilson and conductor John Eliot Gardiner revived Berlioz’s adaptation of this groundbreaking score, coupling a pared-back minimalist setting with all the colours of the period-instrument Orchestre Révolutionnaire et Romantique. Magdalena Kožená brings all her youthful brilliance to the role of Orpheus.
Alceste
Gluck’s Alceste was the opera that launched a revolution. Urgent, direct and pulsing with emotion, it stripped away baroque conventions to create a new kind of opera, and more than two centuries later, this tragedy of a woman prepared to give her life for love still strikes straight to the heart. Anne Sofie von Otter is formidable in the title role of this powerful production, created by director Robert Wilson in 2000 for the Theatre du Châtelet in Paris. Paul Groves and Ludovic Tézier also star, with John Eliot Gardiner conducting the period instrument forcers of the English Baroque Soloists.
Der Freischütz
German conductor Ingo Metzmacher was appointed General Music Director of the Hamburg Opera in 1997, where he conducted a series of internationally acclaimed productions, many of them in collaboration with Stage Director Peter Konwitschny, over eight seasons. “Der Freischütz” was one of the highlights of their collaboration. The German opera magazine “Opernwelt” voted the Hamburg Opera House “Opera House of the year 2005”.
The Nutcracker
Tschaikovsky’s perhaps best-loved and most famous work in an amazing production from the Berlin State Opera featuring Vladimir Malakhov, who is recognized worldwide as one of the greatest dancers of his generation.
Die Meistersinger von Nürnberg
Wolfgang Wagner’s Bayreuth Festival production of “Die Meistersinger von Nürnberg” was recorded in HDTV 1250 and Betacam Digital 16:9. A boisterous, colorful interpretation, this “Meistersinger” follows the original stage instructions and respects the historical framework of the piece. Beneath a stylized globe symbolizing the universal validity of the artist’s search for his role in society, the action unfolds in an intricately choreographed interplay of solo scenes and ensembles. Daniel Barenboim’s musical direction was unanimously acclaimed by the press. Le Monde, for example, wrote that he “fully possesses its spirit: poetic, fluid, very slender, his instrumental discourse is irresistible”. Among the vocal soloists, Peter Seiffert (as Walther von Stolzing) and Robert Holl (as Hans Sachs) have been consistently singled out for their superb interpretations in the past years. Emily Magee confers a subtle, youthful grace upon the coveted young daughter of the goldsmith Veit Pogner, sung by Matthias Hölle. The cast also includes Endrik Wottrich as David, Birgitta Svendén as Magdalene, Andreas Schmidt as Beckmesser, Bernhard Schneider, Roman Trekel, Hans-Joachim Ketelsen, Torsten Kerl, Peter Maus, Helmut Pampuch, Sándor Sólyom-Nagy, Alfred Reiter, Jyrki Korhonen as the Mastersingers and Kwangchul Youn as the night watchman. Prepared by Norbert Balatsch, the chorus of the Bayreuth Festival once again masters the exceptionally demanding choral part of this opera, which reaches a climax of intricacy at the end of the second act and culminates in the grand finale of Act III.
In Rehearsal: John Eliot Gardiner
Through his particular combination of scholarship and inspired musicianship, John Eliot Gardiner has won international acclaim as a key figure in the revival of early music. His concert performances and recordings with the ensembles he has founded – the Monteverdi Choir, the English Baroque Soloists and the Orchestra Révolutionnaire et Romantique – are unmistakable, not just for their zest and technical mastery, but as highly personal readings of music from Monteverdi to Verdi and beyond.
This present film of the rehearsal of Bach’s Canata BWV 63 is intercut with comments from the singers and an interview with John Eliot Gardiner which reveals not only the depth of his knowledge of Bach’s music but also his profound love of the composer’s work. He talks incisively about Bach’s music as a whole, the place of the cantatas in the composer’s oeuvre, the particular structure and brilliance of “Christen, ätzet diesen Tag”, and explains something of his reasons for championing authentic rendition.
Masterclass: Christa Ludwig
Christa Ludwig is acknowledged as one of the twentieth century’s most explorative and complete vocal artists. Her professional singing career spanned five decades. Two public masterclasses, recorded at the Volkstheater in Vienna, show her working with young singers set on finding success on the operatic stage. Candid, humorous and encouraging, she focuses on the dramatic truth expressed in the arias of their choice and helps them to communicate this in their interpretations.
Valery Gergiev & Le sacre du printemps
This programme records the meeting of two Russian musical giants, as Valéry Gergiev, the most charismatic and dynamic conductor of our day, rehearses, performs and discusses Stravinsky’s masterpiece. Innovative, inspiring and exhilarating, the Sacre du printemps is close to the maestro’s heart. Among a wide range of archive material used in the programme is a rare clip of Igor Stravinsky conducting the Sacre, as well as footage of him talking about his composition.
Edvard Grieg – What Price Immortality?
Thomas Olofsson’s 1999 biopic of the composer Edvard Grieg (1843–1907), entitled What Price Immortality?, was greeted with great interest and international acclaim. The film, which was written by Olofsson himself, along with Ture Rangström und Johanna Olofsson, attempts to give a picture of Edvard Grieg, both as a man and a composer, a figure who still receives less attention outside Scandinavia than he deserves.
The pianist Staffan Scheja plays the role of Edvard Grieg as both performer and composer, playing works such as the piano ballad in G minor, op. 24. The internationally renowned Auryn Quartet plays the initial string quartet in G minor, op. 27.