Bo Skovhus

Baritone

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Berg: Lulu

Berg: Lulu


Marlis Petersen (Lulu), Daniela Sindram (Gräfin Geschwitz), Rachael Wilson (Eine Theater-Garderobiere/Ein Gymnasiast/Ein Groom), Rainer Trost (Der Maler/Ein Neger), Bo Skovhus (Dr. Schön/Jack the Ripper), Matthias Klink (Alwa), Martin Winkler (Ein Tierbändiger/Ein Athlet), Wolfgang Ablinger-Sperrhacke (Der Prinz/Der Kammerdiener/Der Marquis), Elsa Benoit (Eine Fünfzehnjährige), Christian Rieger (Der Medizinalrat/Der Bankier/Der Professor), Pavlo Hunka (Schigolch), Christoph Stephinger (Der Theaterdirektor)

Bayerisches Staatsorchester, Kirill Petrenko (conductor), Dmitri Tcherniakov (director)

Lulu, Alban Berg’s hauntingly mysterious opera in a new production by Dmitri Tcherniakov, has been one of the major events of the 2015 Bayerische Staatsoper season : an ideal setting for conductor Kirill Petrenko first-ever DVD recording ! A sensuous and impenetrable opera, Berg’s masterpiece depicts the burning and sometimes bestial intensity of human relationships through the figure of Lulu, the true femme fatale, bearer of an enigma that haunts us way beyond the end of the opera. Venenous, sibylline, deathly for who approaches her, the dangerous Lulu destroys the established and bourgeois order she evolves in, carrying away with her all certainty, just like the audacious and demanding musical language Berg invented to give form to this unreachable character. Frank Wedekind’s work proved indeed to be an extremely fertile ground for the dodecaphonic composer’s imagination, and gave birth to one of the most singular and ambitious work of art of the twentieth century. With the privilege of a dream cast, gathering Berg’s best interprets, this new production of Lulu is conducted by Kirill Petrenko, and staged by Dmitri Tcherniakov. A visionary genius considered as the contemporary stage ‘enfant terrible’, it is with a shattering realism that he directs those characters, hostages to their own passions and darkest fantasies, and reveals the complexity of this great human and social tragedy. Marlis Petersen is Lulu, a role she was then singing for the ninth time, and which awarded her, for this production, the title of ‘singer of the year’ by German magazine Opernwelt

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Krenek: Orpheus und Eurydike

Krenek: Orpheus und Eurydike

Live recording, Salzburg Festival, 23 August 1990


Ronald Hamilton (Orpheus), Dunja Vejzovic (Eurydice), Celina Lindsley (Psyche), Cornelia Kallisch (First Fury), Gabriele Schreckenbach (Second Fury), Jutta Geister (Third Fury), Hans Franzen (A Drunk), Wilfried Gahmlich (A Sailor) & Bo Skovhus (Fool)

RSO Wien & ORF-Chor, Pinchas Steinberg

At a time in which the umpteenth new recording of classical works often seems less than essential, credit is all the more due to the Festival for programming “new music” that is already over a century old. One of this year’s new releases is Krenek’s Orpheus und Eurydike, a work that is several things rolled into one: “classical” subject matter in the sense of a further reworking – in this case, of the creation myth of opera itself, not just since Monteverdi (1607), but since the primal “big bang” of the operatic cosmos with Caccini/Peri (1600); one of the timeless tales of human existence linking love, longing for the past and their transcendence in art; a bang-up-to-date work of art that nevertheless remains a work of its time, the era in which the Festival was founded; and above all a festal tribute to honour the 90th birthday of a major 20th-century composer. Krenek himself attended the 1990 Festival performance documented here. Kokoschka’s stormily Expressionist narrative was put to paper between 1915 and 1917 in the aftermath of a passionate love affair with Alma Mahler, and set to music in headstrong mixed style by Schoenberg’s highly independent pupil between then and 1923. Given the literary standing of the librettist (and of the composer), ORFEO is additionally printing the libretto (from which the title of our text is taken), also bearing in mind that this recording is the first and only one ever to be released.

“The score’s big moments are well in hand under Pinchas Steinberg, though voices and orchestra maintain an aural distance…this recording is a mixed blessing, but without it we might never know this opera exists” Gramophone Magazine, January 2017

“A wholehearted and enjoyable performance of a relatively early Krenek work.” MusicWeb International, 26th January 2017

“the best of Krenek’s angular, expressionist score, mostly atonal though harking back to romantic tonality, is strikingly effective. This concert performance...seems to have been a real labour of love...[Euridice[ gets the most memorable music, which the fine mezzo Dunja Vejzović makes the most of...A really worthwhile rarity.” The Guardian, 30th November 2016 ****

Orfeo - Orfeo d'Or - Salzburger Festspieldokumente - C923162I

(CD - 2 discs)

$22.50

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Rasmussen, S: Symphony No. 2 'The Earth Anew'

Rasmussen, S: Symphony No. 2 'The Earth Anew'


Cyndia Sieden (soprano), Bo Skovhus (soprano)

Akademiska Sångföreningen, Muntra Musikanter, Helsinki Philharmonic Orchestra, John Storgårds

The second symphony of the prize-winning Faroese composer Sunleif Rasmussen (b. 1961) is composed as a life cycle based on the Old Norse myth of the tree of life, Yggdrasil, and carries the title ‘The Earth Anew’. Inspired by natural phenomena and Faroese melodies, Rasmussen is a great believer in a shared Nordic identity, and this world premiere recording bears witness to his strong artistic partnership with Finnish conductor John Storgårds and the Helsinki Philharmonic Orchestra.

“New music of a very, very high quality in a thrilling performance- and we have Storgards to thank for both.” Gramophone Magazine, January 2017

“The symphony’s unsentimental, gently optimistic close is marvellous. Highly recommended, abetted by full-throated singing from the Akademiska Sångföreningen and Muntra Musikanter choirs. Superb recording, too.” The Arts Desk

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Dacapo - 8226175

(CD)

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Special: $12.00

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Tchaikovsky: Eugene Onegin

Tchaikovsky: Eugene Onegin

Recorded live at De Nederlandse Opera, June & July, 2011


Olga Savova (Madame Larina), Krassimira Stoyanova (Tatjana), Elena Maximova (Olga), Nina Romanova (Filipjevna), Bo Skovhus (Jevgeni Onjegin), Andrej Dunaev (Vladimir Ljenski), Mikhail Petrenko (Vorst Gremin), Peter Arink (Petrovitsj), Roger Smeets (Zaretski), Guy de Mey (Monsieur Triquet) & Richard Prada (Zapevalo)

The Royal Concertgebouw Orchestra, Mariss Jansons (conductor) & Stefan Herheim (stage director)

Described by Tchaikovsky as ‘lyric scenes’, Eugene Onegin receives a spectacular reinterpretation from the Norwegian director Stefan Herheim. His productions create controversy and excitement around Europe, and here he takes Pushkin’s story of illusion, disaffection and frustrated love, and places the protagonists – world-weary Onegin and naïve, passionate Tatyana – in a triple temporal perspective, referencing the theatrical present, the period of the work’s composition, and the pageant of Russia’s history. Mariss Jansons, renowned for his mastery of Tchaikovsky’s symphonies, conducts this performance from Amsterdam’s Muziektheater.

‘Put too much steam into Tchaikovsky’s score and it wilts. Be too shy and retiring, on the other hand, and the tragic momentum evaporates. Jansons sets us on a simmer and gradually turns the heat to boiling. It is magisterially paced, stunningly played and, seemingly effortlessly, Jansons captures every aching nuance. […] Herheim’s innovations are often throbbingly acute (and sometimes wickedly funny).’ The Times

Extra features:

Cast gallery

30-Minute Documentary Film

Running time 151mins

Region Code All regions

Picture format 16:9 Anamorphic

Sound format 2.0LPCM + 5.1(5.0) DTS

Menu languages EN

Subtitles EN/FR/DE/IT/ES

“Forget any sense of intimacy in Tchaikovsky's lyrical scenes in this Eugene Onegin; director Stefan Herheim's approach is one of kaleidoscopic excess...No doubt about it, though, this is musically world-class. Mariss Janson's conducting, very imposing in the big moments...accords with the broad brushstrokes of Herheim's production. But the singers are vocally near ideal. Krassimira Stoyanova's Tatyana is thrillingly secure as well as vulnerable” BBC Music Magazine, May 2012 ***

“Herheim sees the opera as a representation of memories...I suspect that this would be impossible to follow if you didn't know the opera beforehand...it's hard not to get caught up in the sheer chutzpah of the production...[Stoyanova] sails through the Letter Scene with plenty of fire...Star of the evening is the conductor Mariss Jansons. It's clear from the documentary that he loves the work..and he plays it with a rhythmic vitality” International Record Review, May 2012

“Characters not only invade each other's memories but appear in fantasy form...Still, this isn't a Regie-Theater free for all...Herheim directs so many keen moments of character interactions that there's no danger of the opera lapsing into simplistic cliches...what a treat to hear an appealing, soft-grained version of [Skovhus's] voice in the title-role...what linguistic authority and depth of soul [Stoyanova] brings to the character!” Gramophone Magazine, July 2012

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Opus Arte - OABD7100D

(Blu-ray)

$35.25

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Mozart: Così fan tutte, K588

Mozart: Così fan tutte, K588

Recorded at the Haus für Mozart during the 2009 Salzburg Festival


Miah Persson (Fiordiligi), Isabel Leonard (Dorabella), Topi Lehtipuu (Ferrando), Florian Boesch (Guglielmo), Bo Skovhus (Don Alfonso), Patricia Petibon (Despina)

Wiener Philharmoniker, Adam Fischer

Claus Guth - staging

Director Claus Guth’s production of Mozart’s Da Ponte trilogy for the Salzburg Festival reaches its sensational conclusion with his elegant, stylish production of Così fan tutte from the “Haus für Mozart”. Guth bolsters the unity of the cycle by making ingenious reference to his stagings of the first two works, Le nozze di Figaro and Don Giovanni.

His widely acclaimed production of the trilogy consolidates Guth’s international reputation as one of the most sought-afterstage directors of our time. Among his other major successes are Der fliegende Holländer in Bayreuth and Luisa Miller at the Bavarian State Opera.

Guth assembles a superb ensemble of young singers who toy with love and trust under the cynical gaze of ringmaster Bo Skovhus’ Don Alfonso and his foxy, temperamental sidekick Despina, played by fiery young soprano Patricia Petibon. Baritone Florian Boesch and tenor Topi Lehtipuu ideally complement their frisky partners Miah Persson and Isabel Leonard.

Conductor Adam Fischer keeps the tempi brisk and the Wiener Philharmoniker on their toes in his layered reading of the score.

Picture format BD: 1080i Full HD - 16:9

Sounds formats BD: PCM 2.0, PCM 5.1

Region code: All

Booklet notes: English, German, French

Subtitles: Italiano, English, Deutsch, Français, Español, 日本語

Running time: 191 mins

Audience: all

FSK: 0

“superbly cast, with not a weak link. Bo Skovhus, as a central Mephistophelian operator de nos jours, plays a savage dance-driven double-act with Patricia Petibon's red-haired biker of a Despina...Within a single, minimalist duplex apartment interior, illusion and disillusion constantly shift.” BBC Music Magazine, December 2010 ****

“Guth is deft at choreographing the pain and the embarrassment of "wrong" couples getting together...this is already a mighty contribution to the otherwise rather naturalistic Così filmography. Its musical performances are solid...its acting ones much more than that.” Gramophone Magazine, March 2011

“Guth has drawn marvellously natural acting from this cast (the hammy Despina excepted)...this opera's sisters have never been more gorgeous to behold...The ultra-suave Skovhus's Don Alfonso is a very cool customer indeed, full of cynicism and self-satisfaction...Playing with extreme beauty and technical mastery but not without incisiveness, the Vienna Philharmonic responds aptly to every dramatic nuance.” International Record Review, November 2010

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EuroArts - 2072534

(Blu-ray)

$35.25

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Lehár: Die Lustige Witwe

Lehár: Die Lustige Witwe

Recorded live at the War Memorial Opera House, San Francisco on 8 December 2001

Sung in English


Yvonne Kenny (Anna Glawari), Bo Skovhus (Danilo), Angelika Kirchschlager (Valencienne), Gregory Turay (Camille)

San Francisco Opera Orchestra & San Francisco Opera Chorus and Ballet, Erich Kunzel (conductor) & Lotfi Mansouri (stage director)

Lotfi Mansouri’s spectacular last production as General Director of San Francisco Opera with Yvonne Kenny making her debut in the title role, new dialogue specially commissioned from Pulitzer Prize-winning playwright, Wendy Wasserstein, and an original ballet to set the scene ‘Chez Maxim’s’, bringing fresh insight into Lehár’s classic operetta.

‘…this is about as lavish a production of Franz Lehár’s adorable operetta as you are ever likely to see…soprano Yvonne Kenny is perfectly cast in the title role.’ Classic FM Magazine

Extra features

Illustrated synopsis & cast gallery.

Impressions: Lotfi Mansouri, Yvonne Kenny, Bo Skovhus, Angelika Kirchschlager and Gregory Turay discuss The Merry Widow.

Running time 189 mins

Region code All regions

Video codec: AVC/MPEG-4

Disc size: BD50

Picture format 1080i High Definition / 16:9

Sound format 2.0 & 4.0 DTS-HD Master Audio

Menu language EN

Subtitles FR/DE/ES

“Gregory Turay is a fluent, quite serious Camille, Bo Skovhus a superb Danilo and Angelika Kirchschlager an absolute dream of a Valencienne.” Gramophone Magazine, July 2010

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Opus Arte - OABD7055D

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$35.25

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Wagner: Tristan und Isolde

Wagner: Tristan und Isolde

Recorded live at Glyndebourne, Lewes, Sussex on 1st August and 6th August 2007.


Robert Gambill (Tristan), Nina Stemme (Isolde), Katarina Karnéus (Brangäne), Bo Skovhus (Kurwenal), René Pape (König Marke), Stephen Gadd (Melot), Timothy Robinson (Hirt/Junger Seemann), Richard Mosley-Evans (Steuermann)

The Glyndebourne Chorus & London Philharmonic Orchestra, Jiří Bělohlávek (conductor) & Nikolaus Lehnhoff (stage director)

Note: This Blu-ray Disc (BD) is not compatible with standard DVD players

Glyndebourne’s celebrated production of Nikolaus Lehnhoff’s Tristan und Isolde is a supremely intelligent achievement; gravely beautiful, haunting and meditative, it is deeply reflective rather than visceral, fortified by Roland Aeschlimann's stunningly effective set, a womb-like space through which the protagonists move like gods. Conductor Jirí Belohlávek mirrors Lehnhoff's approach in his sophisticated plumbing of the score's depths, with every shift in texture carefully laid bare by an inspired London Philharmonic Orchestra. Nina Stemme's Isolde and Robert Gambill's Tristan, both gloriously lyrical, are matched by superb performances from René Pape as the betrayed and vulnerable King Marke and Bo Skovhus as Kurwenal, deeply touching in his helpless devotion to Tristan. This High Definition recording of a production of uncommon intimacy reveals the opera's music and drama in a new light.

Picture: 1080i High Definition / 16:9

Sound: 2.0 & 5.0 Dolby TrueHD

Video codec: AVC/MPEG-4

Disc size: 2 x BD50

Subtitles: EN/FR/DE/ES/IT Menu language: EN

Region code: All regions

Running time: Approx 358 mins

Bonus material:

Illustrated synopsis & cast gallery

Do I hear the light? - a film by Reiner E. Moritz

Artist biographies.

‘On the set’ - a slide show of the set being built.

‘Trimborn on Tristan’ – a talk by Richard Trimborn

‘I don’t think that I have ever witnessed a more perfect realisation of a Wagner opera than this superb Tristan und Isolde. …[Jirí Belohlávek] is scrupulous with the score, and takes his time over it: the pauses and silences are immense and there is no factitious attempt to whip up excitement by speeding. …a great and unforgettable occasion’ The Daily Telegraph

“A performance realised to Glyndebourne's highest standards - the chorus and stage brass are Bayreuth-level, the casting immaculate (they can all really sing these parts) and Belohlávek's conducting balanced with a Goodall-like attention to the filigree detail of Wagner's new-wave scoring” Gramophone Magazine, August 2008

“Stemme's fiery Irish princess is even finer than on the Domingo CD… Gambill's burly Tristan projects a darker, more resigned intensity… Pape's black-voiced Marke rightly dominates the stage… Karneus is a passionate, lusciously sung Brangäne. Lehnhoff's Glyndebourne production doesn't outclass Daniel Barenboim's magnificent video... But those looking for a Tristan with warmth and immediacy will find it certainly shares Barenboim's benchmark recommendation.” BBC Music Magazine, March 2008 *****

“I don’t think that I have ever witnessed a more perfect realisation of a Wagner opera than this superb Tristan und Isolde. …[Jirí Belohlávek] is scrupulous with the score, and takes his time over it: the pauses and silences are immense and there is no factitious attempt to whip up excitement by speeding. …a great and unforgettable occasion” The Telegraph

“a performance realised to Glyndebourne's highest standards – the chorus and stage brass are Bayreuthlevel, the casting immaculate (they can all really sing these parts), and Belohlávek's conducting balanced with a Goodall-like attention to the filigree detail of Wagner's new-wave scoring. Old-style analyses of the music used to talk about the 'glance' motif. Lehnhoff's staging deploys a series of heartbreaking glances: Stemme's Isolde when Karnéus's Brangäne tells her she's taken the love draught, Stemme again when Tristan arrives in Act 2, Pape's Marke as he sees the lovers together and, at BrokebackMountain-level, Skovhus's Kurwenal as he cradles Gambill's Tristan then breaks away, half in fear of his lord's death, half in fear of his feelings for him. In fact, has a Tristan ever been so deeply loved by his lady and squire as here, or felt so wretched at betraying his king? And is Skovhus actually the greatest Kurwenal yet recorded? Roland Aeschlimann provides a geometrically attractive whorl of a standing set, concentric wooden circles telescoping towards a constantly varied horizon: a ship, a spaceship, everywhere, nowhere – perfect. The lighting (Robin Carter and Aeschlimann) has a genuine physical presence and seems to reinvent the colour blue. At the point of Isolde's almost belated arrival in Act 3, a surreal, Ingmar Bergman-like atmosphere permeates events: she arrives from behind on high as a figure of death and wraps him in a black cloak, while Skovhus's poignant Kurwenal gets a non-realistic, Brechtian centre-stage for his fights and death” Gramophone Classical Music Guide, 2010

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Mozart: Le nozze di Figaro, K492

Mozart: Le nozze di Figaro, K492

Live from the Salzburg Festival 2006


Ildebrando D'Arcangelo (Figaro), Anna Netrebko (Susanna), Bo Skovhus (Count), Dorothea Röschmann (Countess), Christine Schäfer (Cherubino), Marie McLaughlin (Marcellina), Franz-Josef Selig (Bartolo), Patrick Henckens (Basilio), Oliver Ringelhahn (Curzio), Florian Boesch (Antonio), Eva Liebau (Barbarina)

Konzertvereinigung Wiener Staatsopernchor & Wiener Philharmoniker, Nikolaus Harnoncourt (conductor) & Claus Guth (director)

“…a fully rounded musical performance...By and large the opera could hardly be more strongly cast. Anna Netrebko is a dreamy, vulnerable and beautifully sung Susanna, and Ildebrando D'Arcangelo's smouldering Figaro is a really macho rival to the Count.” Gramophone Magazine, October 2007

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DG Mozart 22 Unitel - 0734492

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Schubert: Winterreise D911

Schubert: Winterreise D911


Bo Skovhus (baritone) & Stefan Vladar (piano)

20 years ago, at the beginning of his career, the young baritone Bo Skovhus made his first recording of Schubert’s “Schöne Müllerin”. Now, as a famous opera and Lied interpreter he presents a new production of all 3 Schubert Cycles: “I’m very thankful to do this again. As a young men you do not reflect so much what happen. Now, when I’m older, I understand much more about. Especially for this cycle it’s important to have another point of view.” (Bo Skovhus)

Stefan Vladar, the famous Viennese pianist and his partner on the piano, shows us the virtuosity of the piano part in a new different light.

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Capriccio - C5291

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$15.00

Scheduled for release on 13 October 2017. Order it now and we will deliver it as soon as it is available.

Berg: Lulu

Berg: Lulu


Marlis Petersen (Lulu), Daniela Sindram (Gräfin Geschwitz), Rachael Wilson (Eine Theater-Garderobiere/Ein Gymnasiast/Ein Groom), Rainer Trost (Der Maler/Ein Neger), Bo Skovhus (Dr. Schön/Jack the Ripper), Matthias Klink (Alwa), Martin Winkler (Ein Tierbändiger/Ein Athlet), Wolfgang Ablinger-Sperrhacke (Der Prinz/Der Kammerdiener/Der Marquis), Elsa Benoit (Eine Fünfzehnjährige), Christian Rieger (Der Medizinalrat/Der Bankier/Der Professor), Pavlo Hunka (Schigolch), Christoph Stephinger (Der Theaterdirektor)

Bayerisches Staatsorchester, Kirill Petrenko (conductor), Dmitri Tcherniakov (director)

Lulu, Alban Berg’s hauntingly mysterious opera in a new production by Dmitri Tcherniakov, has been one of the major events of the 2015 Bayerische Staatsoper season : an ideal setting for conductor Kirill Petrenko first-ever DVD recording ! A sensuous and impenetrable opera, Berg’s masterpiece depicts the burning and sometimes bestial intensity of human relationships through the figure of Lulu, the true femme fatale, bearer of an enigma that haunts us way beyond the end of the opera. Venenous, sibylline, deathly for who approaches her, the dangerous Lulu destroys the established and bourgeois order she evolves in, carrying away with her all certainty, just like the audacious and demanding musical language Berg invented to give form to this unreachable character. Frank Wedekind’s work proved indeed to be an extremely fertile ground for the dodecaphonic composer’s imagination, and gave birth to one of the most singular and ambitious work of art of the twentieth century. With the privilege of a dream cast, gathering Berg’s best interprets, this new production of Lulu is conducted by Kirill Petrenko, and staged by Dmitri Tcherniakov. A visionary genius considered as the contemporary stage ‘enfant terrible’, it is with a shattering realism that he directs those characters, hostages to their own passions and darkest fantasies, and reveals the complexity of this great human and social tragedy. Marlis Petersen is Lulu, a role she was then singing for the ninth time, and which awarded her, for this production, the title of ‘singer of the year’ by German magazine Opernwelt

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Bel Air Classiques - BAC129

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