Daniel Barenboim – conductor, pianist, all-round musician – has been exploiting the impact of cyclical performances of composers’ works for several years now, with cycles of Beethoven’s symphonies and piano concertos, Wagner’s operas, Schoenberg’s orchestral works and, in conjunction with Pierre Boulez, Mahler’s symphonies. With the performance of Bruckner’s Symphony No. 1 at the Philharmonie de Paris, he completes his Bruckner Cycle with the Staatskapelle Berlin. Bruckner’s symphonies have
“rarely been performed so passionately” (Altamusica). As part of the performance of Bruckner’s Symphony No. 1, the maestro also conducted violinist Wolfram Brandl and
violist Yulia Deyneka in Mozart’s Sinfonia Concertante, available as separate programme in the catalogue A01550081 (30 mins)
Daniel Barenboim – conductor, pianist, all-round musician – has been exploiting the impact of cyclical performances of composers’ works for several years now, with cycles of Beethoven’s symphonies and piano concertos, Wagner’s operas, Schoenberg’s orchestral works and, in conjunction with Pierre Boulez, Mahler’s symphonies. With the performance of Bruckner’s Symphony No. 2 at the Philharmonie de Paris, he completes his Bruckner Cycle with the Staatskapelle Berlin. Bruckner’s symphonies have
“rarely been performed so passionately” (Altamusica).
The Théâtre d’Arras unearthed a hidden treasure of opera history, Giovanni Maria Pagliardi’s Baroque “melodrama” Caligula, and breathed new life into it: Mimmo Cuticchio’s and Alexandra Rübner’s spectacular staging uses magnificent marionettes to tell a captivating tale of the mad Roman emperor, accompanied by Vincent Dumestre and his ensemble Le Poème Harmonique. The “excellent musicians” (Le Monde), specialized in vocal and instrumental music of the 17th and early 18th century, could not be better suited for the versatile score with ist overflowing energy. They support six singers, “each one as exquisite as the next” (Mouvement), who are positioned on either side of the stage to voice the marionettes. “Want to travel in time and space? This Caligula is made for you!” (Télérama) “A show for young and old, not to be missed under any circumstances!” (Mouvement)
“The Dream of Gerontius”, Edward Elgar’s striking musical meditation on life after death, showcases superb choral writing and Wagnerian inflections. Daniel Harding leads the Orchestre de Paris. Mezzo-soprano Magdalena Kožená performs as Guardian Angel alongside Andrew Staples and John Relyea in the Grand Salle Pierre Boulez. Created in 1900, this great oratorio, often called the “English Parsifal”, is considered a national gem. While it has been the subject of unconditional admiration for more than a century in England, it was rarely performed outside England’s borders. Even if George Bernard Shaw had no doubt that Elgar’s music was to be immortal, it took some time to prove that he was right. The powerful work, which keeps in tradition with greats like Beethoven, is now revered throughout the world and in this case receives a stellar staging in the beautiful Philharmonie de Paris.
A unique and extravagant spectacle at the crossroads of opera, ballet and artistry, captured on film for the very first time: Conductor Sébastien Daucé recreates the Sun King’s opulent Ballet royal de la nuit and evokes the splendour of the 17th century’s French court at the Théâtre de Caen. To recreate this total work of art, which brings together music and imagery, lavish decorations and opulent costumes, Daucé enlists the help of 20 singers, twelve acrobats and three jugglers as well as dancer Sean Patrick Mombruno and the musicians of Ensemble Correspondance, distinguished specialists in the music of the French Grand Siècle. And when Ballet royal de la nuit culminates in the rise of the radiating Sun, there’s nothing left but “unreserved admiration” (Le Monde) for this “exquisite Gesamtkunstwerk” (Welt.de). “A king-like, no, a veritable Sun-King-like delight!” (br.de)
Gioachino Rossini’s Otello returns to the place of ist premiere 200 years ago in the inspired staging of director Amos Gitai at the Teatro San Carlo in Naples. The stellar vocal cast is led by John Osborn, who shines in the highly difficult title role, and Nino Machaidze as outstanding Desdemona. Gabriele Ferro conducts the flawless orchestra and chorus of the Teatro San Carlo. An Otello that “evokes modern dramas” (Formiche) with “standing ovations for Machaidze and Osborn!” (Corriere del mezzogiorno)
Punished for stealing the fire from the gods to bring the light of science and art to men, Prometheus has to endure darkness. In Luigi Nono’s “tragedy of listening” Prometeo the hero’s fate and his inner conflicts are transformed into a deeply impressive listening experience with the help of a fascinating spatial sound concept. It comes into its own in a rare staging at the spectacular Baroque cultural monument Teatro Farnese, conducted by Marco Angius. “A fascinating journey through sound!” (Gazzetta di Parma)
“Music is my life. Singing, playing, listening – breathing!” Based on this passionate statement, the documentary Saimir Pirgu – My Truth in Music follows the key moments of Albanian-Italian tenor Saimir Pirgu’s flourishing musical career. It is a journey to the world’s most renowned opera houses – from Salzburg and Vienna to London, Moscow and New York – and at the same time gives insight into the hidden chambers of the art of singing. What really happens in the inner mind of an artist? How is great talent discovered and nurtured? The storyline follows Saimir Pirgu’s personal reminiscences, replenished with live performances and intimate backstage moments. It depicts his work with grand maestros like Abbado, Harnoncourt, Muti and Jansons, and features interviews with top names of the contemporary music world: James Conlon, Paolo Gavazzeni, Dominique Meyer, Ferzan Ozpetek and Nicoletta Pavarotti.
For Verdi lovers, the Festival Verdi in Parma is the place to be, especially for rare Verdi stagings such as “Jérusalem”. The opulent staging by Hugo de Ana, also responsible for the grandiose set design and gorgeous costumes, is “overwhelming with its phenomenal illusionist effects and breathtaking desert scenes” (klassik-begeistert.de). Star tenor Ramón Vargas sings Gaston and Annick Massis his lover Hélène. Pablo Galvez impresses as Count of Toulouse, whose brother Roger is excellently sung by Michele Pertusi. Under the baton of Daniele Calligari, the Chorus of the Teatro Regio di Parma gives an outstanding performance.
