Glyndebourne

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Berlioz: Béatrice et Bénédict

Berlioz: Béatrice et Bénédict


Stéphanie d’Oustrac (Béatrice), Paul Appleby (Bénédict), Philippe Sly (Claudio), Sophie Karthäuser (Hero), Lionel Lhote (Somarone), Frédéric Caton (Don Pedro) & Katarina Bradić (Ursule)

London Philharmonic Orchestra & The Glyndebourne Chorus, Antonello Manacorda, Laurent Pelly (director)

Through the eye of French director Laurent Pelly this expression of Berlioz’s undying admiration for the Bard — his adaptation of Much Ado about Nothing as an opéra comique — becomes ‘an elegant treatise on love and music designed in shades of grey with 50s-era costumes’ (Sunday Express ????). Housed by designer Barbara de Limburg in a series of oversized boxes, it’s ‘terribly chic, terribly pretty’ (The Spectator). Soaring over the ‘warmly graceful playing of the London Philharmonic’, Paul Appleby sings ‘attractively’ as Bénédict and Stéphanie d’Oustrac ‘makes a marvellously wiry and fiery Béatrice, singing with charm and acting with gusto’ (The Telegraph).

Subtitles: EN/FR/DE/JP/KO

Running time: 129 minutes

Sound format: LPCM & DTS 5.1 (DVD)

“I loved everything about Laurent Pelly’s elegantly monochrome production of Berlioz’s rom-com treatment of Much Ado About Nothing when I saw it in the cinema broadcast from Glyndebourne last summer, and it works just as beautifully on the small screen. Stephanie d’Oustrac’s chic, gamine Béatrice and Paul Appleby’s golden-toned Bénédict exude charm, and the drunken revels which open Act Two are a slapstick delight.” Katherine Cooper, Presto Classical, June 2017

“This is Pellyland, a deeply satisfying comic world with its own style conjured up for Glyndebourne by one of the most assured opera directors at work today...The LPO rise magnificently to the challenge of Berlioz's vibrant orchestration and daring harmonies...d'Oustrac is a perfect Béatrice, a comic actress with impeccable timing who relishes every word...Appleby's Bénédict is much more than the bluff soldier.” BBC Music Magazine, September 2017 *****

BBC Music Magazine

Opera Choice - September 2017

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Berlioz: Béatrice et Bénédict

Berlioz: Béatrice et Bénédict


Stéphanie d’Oustrac (Béatrice), Paul Appleby (Bénédict), Philippe Sly (Claudio), Sophie Karthäuser (Hero), Lionel Lhote (Somarone), Frédéric Caton (Don Pedro) & Katarina Bradić (Ursule)

London Philharmonic Orchestra & The Glyndebourne Chorus, Antonello Manacorda, Laurent Pelly (director)

Through the eye of French director Laurent Pelly this expression of Berlioz’s undying admiration for the Bard — his adaptation of Much Ado about Nothing as an opéra comique — becomes ‘an elegant treatise on love and music designed in shades of grey with 50s-era costumes’ (Sunday Express ????). Housed by designer Barbara de Limburg in a series of oversized boxes, it’s ‘terribly chic, terribly pretty’ (The Spectator). Soaring over the ‘warmly graceful playing of the London Philharmonic’, Paul Appleby sings ‘attractively’ as Bénédict and Stéphanie d’Oustrac ‘makes a marvellously wiry and fiery Béatrice, singing with charm and acting with gusto’ (The Telegraph).

Subtitles: EN/FR/DE/JP/KO

Running time: 129 minutes

Sound format: DTS HD Master Audio (Blu-ray)

“This is Pellyland, a deeply satisfying comic world with its own style conjured up for Glyndebourne by one of the most assured opera directors at work today...The LPO rise magnificently to the challenge of Berlioz's vibrant orchestration and daring harmonies...d'Oustac is a perfect Béatrice, a comic actress with impeccable timing who relishes every word...Appleby's Bénédict is much more than the bluff soldier.” BBC Music Magazine, September 2017 *****

“I loved everything about Laurent Pelly’s elegantly monochrome production of Berlioz’s rom-com treatment of Much Ado About Nothing when I saw it in the cinema broadcast from Glyndebourne last summer, and it works just as beautifully on the small screen. Stephanie d’Oustrac’s chic, gamine Béatrice and Paul Appleby’s golden-toned Bénédict exude charm, and the drunken revels which open Act Two are a slapstick delight.” Katherine Cooper, Presto Classical, June 2017

BBC Music Magazine

Opera Choice - September 2017

Released or re-released in last 6 months

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Rossini: Il barbiere di Siviglia

Rossini: Il barbiere di Siviglia


Danielle de Niese (Rosina), Alessandro Corbelli (Dr Bartolo), Björn Bürger (Figaro), Taylor Stayton (Count Almaviva), Christophoros Stamboglis (Basilio) & Janis Kelly (Berta)

London Philharmonic Orchestra & The Glyndebourne Chorus, Enrique Mazzola (conductor) & Annabel Arden (director)

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius’, featuring de Niese’s ‘powerfully sung’ Rosina, Bürger’s ‘gale-force’ Figaro and Stayton’s ‘pure and mellifluous’ Almaviva – a leading trio ‘musically and dramatically beyond compare’ (The Independent ★★★★★). Contributing to the ‘ensemble precision’, the rest of the cast includes a ‘scene-stealing’ Berta in Kelly, a ‘suavely unctuous’ Basilio from Stamboglis and Corbelli’s Bartolo, ‘an object lesson in comic understatement’ (The Guardian). With Enrique Mazzola at the helm of the London Philharmonic Orchestra, ‘the score bubbles along on a Puckish current of merry mischief’ (The Telegraph).

Subtitles: EN/FR/DE/JP/KO

Running time: 172 minutes

Sound format: Dolby Stereo, Dolby Surround (DVD)

“High-flying American tenor Taylor Stayton proves vocally agile and dramatically vital as Count Almaviva, with Danielle de Niese an entrancing Rosina…as for Alessandro Corbelli’s Bartolo, his seriousness of comic approach and sheer expertise as a buffo performer place him in the very top league. Björn Bürger is quite rightly at the centre of the action as Figaro and his splendid baritone a major asset” BBC Music Magazine, September 2017 ****

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Rossini: Il barbiere di Siviglia

Rossini: Il barbiere di Siviglia


Danielle de Niese (Rosina), Alessandro Corbelli (Dr Bartolo), Björn Bürger (Figaro), Taylor Stayton (Count Almaviva), Christophoros Stamboglis (Basilio) & Janis Kelly (Berta)

London Philharmonic Orchestra & The Glyndebourne Chorus, Enrique Mazzola (conductor) & Annabel Arden (director)

The ‘sheer visual sophistication’ of Annabel Arden’s Barbiere serves ‘a triumphant celebration of Rossini’s musical genius’, featuring de Niese’s ‘powerfully sung’ Rosina, Bürger’s ‘gale-force’ Figaro and Stayton’s ‘pure and mellifluous’ Almaviva – a leading trio ‘musically and dramatically beyond compare’ (The Independent ★★★★★). Contributing to the ‘ensemble precision’, the rest of the cast includes a ‘scene-stealing’ Berta in Kelly, a ‘suavely unctuous’ Basilio from Stamboglis and Corbelli’s Bartolo, ‘an object lesson in comic understatement’ (The Guardian). With Enrique Mazzola at the helm of the London Philharmonic Orchestra, ‘the score bubbles along on a Puckish current of merry mischief’ (The Telegraph).

Subtitles: EN/FR/DE/JP/KO

Running time: 172 minutes

Sound format: LPCM & DTS HD Master Audio (Blu-ray)

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Handel: Saul

Handel: Saul

Recorded live at Glyndebourne Opera House, Lewes, October 2015.


Christopher Purves (Saul), Iestyn Davies (David), Lucy Crowe (Merab), Sophie Bevan (Michal), Paul Appleby (Jonathan), Benjamin Hulett (High Priest) & John Graham-Hall (Witch of Endor)

The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, Ivor Bolton (conductor) & Barrie Kosky (director)

Read our exclusive interview with Christopher Purves here.

Glyndebourne’s Saul stole the summer and had critics raving. The Guardian (****) applauded ‘virtuoso stagecraft’ from director Barrie Kosky in his debut production there, calling the show ‘a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing’. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was ‘no praise too high’ for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag’s ‘exuberant costumes’ (The Times ****) set the Old Testament story in Handel’s time, with a witty twinge of the contemporary.

Running time: 185 minutes

Subtitles: EN/FR/DE/KO

Sound format: 2.0LPCM + 5.1(5.0) DTS

Extra Features: A Descent Into Madness and a Cast Gallery.

“Pivotal is Christopher Purves’s Saul – surely the father-in-law from hell should the Goliath-slaying David choose his daughter Michal (or son Jonathan – tenderly sung by Paul Appleby). Purves has always done rage and menace to the manner born, but his slide into ever-deepening madness is terrifying…his is a tour de force to rival the diametrically opposed inscrutable calm that is Iestyn Davies’s David…taut musical direction from Ivor Bolton consolidates a Glyndebourne bullseye” BBC Music Magazine, September 2016 ****

“energetic, highly coloured entertainment” Financial Times, June 2016

“Christopher Purves is utterly consumed by his role as Saul...Iestyn Davies is vocally outstanding as David, with his customary melting melismas.” Opera, January 2017

“A recording that picks up just about as much glamour and nuance as is it is possible to convey using the comparatively limited focus of cameras.” MusicWeb International, 4th January 2017

Presto Discs of 2016

Finalist

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Opus Arte Glyndebourne - OA1216D

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Handel: Saul

Handel: Saul

Recorded live at Glyndebourne Opera House, Lewes, October 2015.


Christopher Purves (Saul), Iestyn Davies (David), Lucy Crowe (Merab), Sophie Bevan (Michal), Paul Appleby (Jonathan), Benjamin Hulett (High Priest) & John Graham-Hall (Witch of Endor)

The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, Ivor Bolton (conductor) & Barrie Kosky (director)

Read our exclusive interview with Christopher Purves here.

Glyndebourne’s Saul stole the summer and had critics raving. The Guardian (****) applauded ‘virtuoso stagecraft’ from director Barrie Kosky in his debut production there, calling the show ‘a theatrical and musical feast of energetic choruses, surreal choreography and gorgeous singing’. For The Independent, which ranked it amongst five top classical and opera performances of 2015, there was ‘no praise too high’ for the cast. The Orchestra of the Age of Enlightenment under Ivor Bolton sparkles from the pit with period panache, and designer Katrin Lea Tag’s ‘exuberant costumes’ (The Times ****) set the Old Testament story in Handel’s time, with a witty twinge of the contemporary.

Running time: 185 minutes

Subtitles: EN/FR/DE/KO

Sound format: 2.0LPCM + 5.1(5.0) DTS

Extra Features: A Descent Into Madness, Colour and Texture - An Musical Insight and a Cast Gallery.

“Pivotal is Christopher Purves’s Saul – surely the father-in-law from hell should the Goliath-slaying David choose his daughter Michal (or son Jonathan – tenderly sung by Paul Appleby). Purves has always done rage and menace to the manner born, but his slide into ever-deepening madness is terrifying…his is a tour de force to rival the diametrically opposed inscrutable calm that is Iestyn Davies’s David…taut musical direction from Ivor Bolton consolidates a Glyndebourne bullseye” BBC Music Magazine, September 2016 ****

“energetic, highly coloured entertainment” Financial Times, June 2016

“Christopher Purves is utterly consumed by his role as Saul...Iestyn Davies is vocally outstanding as David, with his customary melting melismas.” Opera, January 2017

Presto Discs of 2016

Finalist

Blu-ray Disc

Region: all

Up to 70% off Opus Arte

Opus Arte Glyndebourne - OABD7205D

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Mozart: Die Entführung aus dem Serail, K384

Mozart: Die Entführung aus dem Serail, K384

Recorded live at Glyndebourne Opera House, Lewes, October 2015.


Sally Matthews (Konstanze), Edgaras Montvidas (Belmonte), Tobias Kehrer (Osmin), Mari Eriksmoen (Blonde), Brenden Gunnell (Pedrillo) & Franck Saurel (Pasha Selim)

The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, Robin Ticciati (conductor) & David McVicar (director)

Director David McVicar’s original-period vision for this Mozartian gem allows its genius to speak for itself, offering a ‘mesmerising, sensitive … outstanding’ portrayal of Enlightenment-era fascination with the East that is both ‘exquisitely acted and sung’, featuring a Konstanze and a Belmonte sung with ‘finesse and bravura’ and a ‘sensationally voiced’ Osmin (The Guardian *****). Comic relief in Glyndebourne’s ‘brilliant production’ is provided by ‘beautifully sung live-wire performances’ of Pedrillo and Blonde, and Robin Ticciati leads the Orchestra of the Age of Enlightenment through a restored, authentic rendition of the critical score with ‘lovely fizz’ and ‘poignant gravitas’ (The Independent). Filmed in High Definition and recorded in true Surround Sound.

Extra Features: Concept, Craft & Collaboration: The Visual Story and a cast gallery.

Running time: 168 minutes

Subtitles: EN/FR/DE/JP/KO

Sound format: 2.0LPCM + 5.1(5.0) DTS

“This [is] the most convincing dramaturgical presentation of the opera in recent times…Kehrer is magnificent as Osmin, Gunnell is lyrical and alert as Pedrillo, and Eriksmoen steers a delicate path between the amusing and the musically ravishing…the real star is the conductor, Robin Ticciati, whose mercurial energy gives us the most exciting orchestral reading since Solti’s 1987 version” BBC Music Magazine, September 2016 ****

“The visual aspect is gorgeous, Vicki Mortimer’s set, with its many scene changes, evoking a romantic view of the Orient…in the pit, Robin Ticciati conducts the heroes of the OAE in a fleet account of the score…[Montvidas’s] Belmonte is ardent, impatient and, at the end, utterly chastened…Sally Matthews sings superbly…the servant couple are very well characterised…[Tobias Kehrer] sings so wonderfully…a delight.” Gramophone Magazine, August 2016

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Mozart: Le nozze di Figaro, K492

Mozart: Le nozze di Figaro, K492


Gerald Finley (Figaro), Alison Hagley (Susanna), Andreas Schmidt (Count Almaviva), Renée Fleming (Countess Almaviva), Marie-Ange Todorovitch (Cherubino), Manfred Röhrl (Bartolo), Wendy Hillhouse (Marcellina), Robert Tear (Don Basilio), Donald Adams (Antonio), John Graham-Hall (Don Curzio), Susan Gritton (Barbarina)

Glyndebourne Festival Opera & London Philharmonic Orchestra, Bernard Haitink (conductor) & Stephen Medcalf (director)

Stephen Metcalf’s production of The Marriage of Figaro opened the new Glyndebourne Theatre in 1994. It is a story of the young engaged couple Figaro and Susanna, and the comedy of romantic fiascos involving the Count and Countess Almaviva, Dr Bartolo and his housekeeper Marcellina, the page Cherubino, and the gardener’s daughter, Barbarina.

SUBTITLED IN ENGLISH, FRENCH, GERMAN, SPANISH

189 MINS • ALL REGIONS • NTSC 4:3 • COLOUR • L-PCM STEREO

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Handel: Theodora, HWV 68

Handel: Theodora, HWV 68

Recorded live at Glyndebourne Festival Opera in June 1996


Frode Olsen (Valens), David Daniels (Didymus), Richard Croft (Septimius), Dawn Upshaw (Theodora), Lorraine Hunt Lieberson (Irene), Michael Hart-Davis (Messenger)

Orchestra of the Age of Enlightenment & The Glyndebourne Chorus, William Christie (conductor) & Peter Sellars (director)

For his 1996 Glyndebourne staging, radical American director Peter Sellars takes George Frideric Handel’s penultimate English oratorio – a tale of self-sacrificial love between a Christian virgin and a Roman imperial bodyguard in fourth-century, enemy-occupied Antioch – and, by resetting it in modern-day America, transforms it into a timeless parable of spiritual resistance to tyranny and persecution.

SUBTITLED IN ENGLISH, FRENCH, GERMAN

207 MINS • ALL REGIONS • NTSC 4:3 • COLOUR • L-PCM STEREO

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Mozart: Le nozze di Figaro, K492

Mozart: Le nozze di Figaro, K492

Recorded live at Glyndebourne Festival, June 2012


Sally Matthews (Countess Almaviva), Vito Priante (Figaro), Audun Iversen (Count Almaviva), Lydia Teuscher (Susanna), Isabel Leonard (Cherubino), Andrew Shore (Bartolo), Ann Murray (Marcellina), Alan Oke (Don Basilio), Nicholas Folwell (Antonio), Colin Judson (Don Curzio), Sarah Shafer (Barbarina), Ellie Laugharne (First Bridesmaid) & Katie Bray (Second Bridesmaid)

The Glyndebourne Chorus & Orchestra of the Age of Enlightenment, Robin Ticciati (conductor) & Michael Grandage (director)

Perhaps no opera is closely and affectionately associated with a single house as Le nozze di Figaro is with Glyndebourne. Effortlessly witty yet shot through with pain and sadness, this deeply ambivalent life in the day of masters and servants as they scheme and outwit one another was Glyndebourne’s opening production in 1934. Michael Grandage’s staging is the seventh, set in a louche Sixties ambience. Marshalled by the ‘ideal pacing’ of Robin Ticciati, a youthful cast of principals has ‘no weak link’ and ‘looks gorgeous’ (The Sunday Times) in a production that continues Glyndebourne’s rewarding history of engagement with Mozart’s and da Ponte’s ‘day of madness’.

Glyndebourne's "signature" work, Le nozze di Figaro was the opening production when the theatre re-opened in 1994.

The production is set the 1960s/70s.

Extra features include: ‘The Greatest Opera Ever Written’ and ‘From page to stage’.

Running time: 180 minutes

Subtitles: EN/FR/DE/JP/KR

Sound format: 2.0LPCM + 5.1(5.0) DTS

“Grandage's 2011 Glyndebourne production excels where it matters: in the truthfulness and warmth of these very human characters' interrelationships...Priante is simply the best [Figaro] I've seen...Ticciati, drawing a non-stop vivacity from the OAE, with horns splendidily vivid, gives his singers space when they need it.” BBC Music Magazine, September 2013 ****

“Ticciati paces almost everything superbly, with good, flowing speeds for the letter duet and 'Deh Vieni'. There are no weak links in the predominantly young cast...Matthews as the Countess is outstanding.” Gramophone Magazine, August 2013

“The absolutely natural stage action eschews slapstick and vulgarity and the singers seem more than happy to adapt...[Priante's] stage presence and singing are extraordinary...Teuscher's Susanna is a rich-voiced, non-soubrette, observant Countess-in-the-making...Leonard's Cherubino is perfect - boyish and sassy and nimble.” International Record Review, June 2013

“Priante is a superb Figaro, perfectly focused of voice and with great stage presence...Teuscher provides a perfectly idiomatic, light-voiced but intensely human Susanna...The OAE is on blistering form throughout...It is fitting that Glyndebourne's most recent Figaro has been captured so effectively, and in the pristine medium of Blu-Ray.” MusicWeb International, 12th March 2014

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