Daniel Barenboim

Conductor

Daniel Barenboim

Daniel Barenboim (born November 15, 1942) is an Argentinean-Israeli pianist and conductor. He was born in Buenos Aires, Argentina; his parents were Russian Jews. He holds both Israeli and Spanish citizenship.

Barenboim first came to fame as a pianist but now is as well-known as a conductor, and for his work with mixed orchestras of Arabs and Jews, and for his collaboration with Palestinian activist Edward Said.

In 2001, Barenboim sparked a controversy in Israel by conducting the music of Wagner.

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Elgar: The Dream of Gerontius, Op. 38

Elgar: The Dream of Gerontius, Op. 38


Catherine Wyn-Rogers (Angel), Andrew Staples (Gerontius), Thomas Hampson (Priest/Angel of the Agony)

Staatskapelle Berlin, Staatsopernchor, RIAS Kammerchor, Daniel Barenboim

Read Presto's complete review of this disc here.

‘Barenboim's long association with, and love for, Elgar has effectively made it part of his musical DNA’ Gramophone

‘Barenboim made this a Gerontius of transcendental splendour’ Financial Times concert review

‘If anyone can make a case for Elgar outside Britain, and without special pleading, it's Daniel Barenboim, returning to conduct this British composer's works’ New York Times

“Staples is a young-sounding and affecting Gerontius…he uses his vulnerability to good effect…Wyn-Rogers sings with great feeling and intensity and an always vivid response to text…Hampson is hugely authoritative in his priestly exhortations…Barenboim’s Berlin choirs are both sensitive and impressive, and refreshingly true in intonation…So plenty to savour…I know I shall be returning to if often and with great pleasure.” Gramophone Magazine, August 2017

“A Gerontius of staggering power and terrible beauty...Barenboim’s reading plays up the work’s affinity to Parsifal, and even to the fire-and-brimstone sound-world of Verdi’s Requiem - the apocalyptic vision of God is the most terrifying and transcendent I’ve ever experienced...The sweetness of Staples' timbre doesn't preclude the strength needed for the work’s climactic moments.” Presto Classical, 14th July 2017

“The best parts of this recording are exactly those passages when this superb orchestra gives the impression of floating into celestial regions...Even when his pacing is unconvincing, there’s a gripping integrity and intensity to Barenboim’s approach...Barenboim’s account will takes its place alongside Elder’s (Hallé) and Britten’s (Decca) on my shelf marked “essential deathbed listening”.” The Times, 21st July 2017 ****

Presto Disc of the Week

14th July 2017

Released or re-released in last 6 months

Decca - 4831585

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Hommage à Boulez

Hommage à Boulez


Boulez:

Dérive II

Live BBC Proms recording

Daniel Barenboim

Dialogue de L'Ombre Double

Live BBC Proms recording

Daniel Barenboim

Mémoriale

Live BBC Proms recording

Daniel Barenboim

Le Marteau sans maître

Live 85th birthday recording

Pierre Boulez

Anthèmes 2

Live 85th birthday recording

Daniel Barenboim

Messagesquisse

Live 85th birthday recording

Daniel Barenboim


Hommage à Boulez celebrates Daniel Barenboim’s and Pierre Boulez’ association, starting in June 1964, that for length and multifariousness, has few parallels in the history of music. Boulez became the first musician that Barenboim invited to share in conducting the West-Eastern Divan Orchestra (in 2007, at the Salzburg Festival). Features a selection of Boulez’ most iconic works out of live recordings from the BBC Proms Beethoven-Boulez cycle of concerts (London, Royal Albert Hall, July 2012), and Boulez’s 85th birthday concert (Berlin, Staatsoper Unter den Linden, 4 April 2010), all performed by members of the West Eastern Divan orchestra. Boulez conducts members of the WEDO and Hilary Summers in his own work Le Marteau sans maître.

“A superb tribute comprising live recordings of solo and chamber pieces…Le Marteau sans maître [is] conducted with age-defying vigour by Boulez himself and exquisitely sung by Hilary Summers…Dérive 2 is simply breathtaking: in compositional scope and its precise yet fluid performance by the 11 virtuosos soloists under Barenboim’s taut direction” BBC Music Magazine, July 2017 *****

“By my reckoning, this is Boulez’s fifth recording of [Le Marteau Sans Maître] that defines his own music better than any other; it’s perhaps more expressively flexible than earlier ones, but just as precise, and Summers makes a compelling soloist.” The Guardian, 16th March 2017 ****

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Mahler: Symphony No. 9

Mahler: Symphony No. 9

Berlin Philharmonie, 2010


Gustav Mahler’s colossal Ninth Symphony, the culmination of the Austrian composer’s achievements, in a landmark live performance from the Berliner Philharmonie. This concert formed part of The Mahler Project: Daniel Barenboim and Pierre Boulez, two friends and very different world-class conductors, tackling all nine completed symphonies of Mahler with the Staatskapelle Berlin. Before embarking on this journey Barenboim and Boulez entered into a long period of reflection and discussion. For the accompanying documentary, director Christoph Engel compiled a rich selection of statements, conversations and musical excerpts by both conductors that provides a guide to the world of Mahler’s towering symphonies.

BONUS: THE MAHLER PROJECT - Daniel Barenboim and Pierre Boulez working on the symphonies of Gustav Mahler.

Running Time Total: 101 mins

Concert: 79 mins / Bonus: 22 mins

Picture 16:9, HD

Sound DVD: DTS 5.1, PCM Stereo

Subtitles Bonus: English, German

“An impulsive first movement with forensic attention to the grim reapers of the wind section…and a series of scarifying climaxes, the last and biggest of which is truly a ride to the abyss…[this] reading is the more radical for its ‘life is too short’ urgency. The playing is predictably superb” Gramophone Magazine, Awards Issue 2016

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Haydn & Boccherini: Cello Concertos

Haydn & Boccherini: Cello Concertos

Stereo · Recorded In 1967


Boccherini:

Cello Concerto No. 9 in B flat major, G 482

London Symphony Orchestra, Sir John Barbirolli

Haydn:

Cello Concerto No. 1 in C major, Hob. VIIb:1

English Chamber Orchestra, Daniel Barenboim

Cello Concerto No. 2 in D major, Hob. VIIb:2 (Op. 101)

English Chamber Orchestra, Daniel Barenboim


Jacqueline du Pré, performing with the two conductors most closely associated with her career, brings characteristic exuberance, passion and colour to three cello concertos rooted in the 18th century. In his memoir A Life In Music, Daniel Barenboim wrote: “I have never encountered anyone for whom music was such a natural form of expression as it was for Jacqueline … She had a capacity to imagine sound such as I never met in any other musician.”

Warner Classics Original Jacket Reissues - 2564640415

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Elgar: Symphony No. 1 in A flat major, Op. 55

Elgar: Symphony No. 1 in A flat major, Op. 55


Daniel Barenboim continues his acclaimed Elgar series with the landmark First Symphony. These new issues mark the first time that indefatigable maestro Barenboim has returned to recording Elgar’s symphonic works since the 1970s.

This recording is the latest step in maestro Barenboim’s Elgarian journey with the Berlin Staatskapelle, following on from well-received performances of Elgar’s Dream of Gerontius, the Cello Concerto (recorded live with Alisa Weilerstein for Decca), and Elgar’s Second Symphony – about which the Guardian wrote: “The surging, unquenchable energy of this account is obvious from the opening bars, which are borne on an irresistible flood of sound from the Berlin Staatskapelle…”

This album was recorded live at Berlin’s renowned Philharmonie, with the Berlin Staatskapelle and leading Elgarian record producer Andrew Keener.

Barenboim is a passionate Elgarian, counting The Dream of Gerontius as one of his favourite works. As a young man he worked regularly with Sir John Barbirolli, one of the greatest of all Elgar conductors and who was Jacqueline du Pré’s partner in the classic EMI recording of the Cello Concerto.

Barenboim’s latest Decca release follows his hugely successful Beethoven project of 2012, 2013’s Verdi Requiem, and Elgar’s Second Symphony in 2014.

“In its voicings and especially in its gradations of string tone, the performance seems to fix Elgar’s orchestral writing even more firmly into the context of post-Wagnerian romanticism than before... while the slow movements sometimes acquire a Brucknerian spaciousness.” The Guardian, 23rd March 2016 *****

“Barenboim’s long association with, and love for, Elgar has effectively made it part of his musical DNA...And because he is a master he has somehow communicated all of that, both in practical and spiritual terms, to an orchestra for whom it is relatively unfamiliar. That is the really startling achievement here and it manifests itself in playing that is as exciting as it is nuanced.” Gramophone Magazine, May 2016

“Barenboim sets subtly different tempos for passages that often run directly on from each other, but he also pushes round corners at which other conductors linger…the Staatskapelle Berlin sustain it convincingly. The detail is always audible, even through the flowing full orchestra…Barenboim has certainly made this symphony his own” BBC Music Magazine, July 2016 *****

GGramophone Awards 2016

Finalist - Orchestral

GGramophone Magazine

Disc of the Month - May 2016

Decca - 4789353

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Wagner: Tristan und Isolde

Wagner: Tristan und Isolde

Live from Il Teatro alla Scala di Milano – December 2007.


Waltraud Meier (Isolde), Ian Storey (Tristan), Michelle DeYoung (Brangaene), Gerd Grochowski (Kurwenal), Matti Salminen (Konig Marke), Willy Hartmann II (Melot), Ryland Davies (Hirt), Ernesto Panariello (Steuermann), Alfredo Nigro (Stimme eines jungen Seemanns)

Coro e Orchestra del Teatro alla Scala di Milano, Daniel Barenboim (conductor) & Patrice Chéreau (stage director)

“The gaudiest event of the opera season in Europe, La Scala’s opener on Dec. 7 was a sublime new version of Tristan und Isolde directed by Patrice Chéreau under the baton of the house’s new principal guest conductor, Daniel Barenboim. ….. Mr. Barenboim, who knows this opera as well as anyone, drew rich, densely textured, multilayered sounds from his players.’ New York Times

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Mahler: Symphony No. 9

Mahler: Symphony No. 9

recorded live at Teatro La Scala in November 2014


Decca - 4811530

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Verdi: Il Trovatore

Verdi: Il Trovatore


Anna Netrebko (Leonora), Gaston Rivero (Manrico), Plácido Domingo (Il Conte di Luna), Marina Prudenskaya (Azucena), Adrian Sampetrean (Ferrando), Anna Lapkovskaja (Ines)

Staatskapelle Berlin, Daniel Barenboim

Filmed live in Berlin, Anna Netrebko and Plácido Domingo star in one of Verdi’s greatest operas, under the baton of Daniel Barenboim.

Il Trovatore is without question one of Verdi’s most dramatic masterpieces – as well as one of his most melodic and including the irresistible ‘Anvil Chorus’ and the tenor showstopper ‘Di quella pira’.

Anna Netrebko makes her debut as Leonora, triumphing in a uniquely demanding role for a Verdi soprano and one she will sing again at the 2014 Salzburg Festival.

Adored for his legendary performances in the title role, Plácido Domingo here sings the baritone role of the troubador’s arch-rival, the aristocratic Count di Luna.

Celebrated film-maker Philipp Stölzl, well-known for his groundbreaking video collaborations with Rammstein and Madonna, directs his first Verdi opera, creating an extraordinarily powerful visual and visceral theatrical experience, unlike any other production of the opera.

The roles of the troubadour and the gypsy Azucena are taken by Uruguayan tenor Gaston Rivero and Russian mezzo-soprano Marina Prudenskaya.

STEREO: PCM / SURROUND: DTS 5.1

Picture Format: 16:9 / NTSC

Filmed live in High Definition

Subtitles: Italian, English/German/French/Spanish/Chinese/Korean

“Netrebko gives a completely authoritative performance. Although her shaping of Verdi's vocal lines is not especially individual, she has voice to spare and nothing sounds beyond her...[Domingo] sounds rather tired at the start but his still majestic tenor-baritone, boosted by an undimmed ability to command the stage, comes good by the end.” Gramophone Magazine, November 2014

“Netrebko’s intense Leonora, Marina Prudenskaya as a fabulous, freaked-out Azucena and a sturdy and stylish Manrico from Gaston Rivero generate really throat-gripping drama and eventually unbearable pathos. Any Trovatore staging simply needs to frame and enable the music, and this one does that.” Opera Now ****

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Verdi: Il Trovatore

Verdi: Il Trovatore


Anna Netrebko (Leonora), Gaston Rivero (Manrico), Plácido Domingo (Il Conte di Luna), Marina Prudenskaya (Azucena), Adrian Sampetrean (Ferrando), Anna Lapkovskaja (Ines)

Staatskapelle Berlin, Daniel Barenboim

Filmed live in Berlin, Anna Netrebko and Plácido Domingo star in one of Verdi’s greatest operas, under the baton of Daniel Barenboim.

Il Trovatore is without question one of Verdi’s most dramatic masterpieces – as well as one of his most melodic and including the irresistible ‘Anvil Chorus’ and the tenor showstopper ‘Di quella pira’.

Anna Netrebko makes her debut as Leonora, triumphing in a uniquely demanding role for a Verdi soprano and one she will sing again at the 2014 Salzburg Festival.

Adored for his legendary performances in the title role, Plácido Domingo here sings the baritone role of the troubador’s arch-rival, the aristocratic Count di Luna.

Celebrated film-maker Philipp Stölzl, well-known for his groundbreaking video collaborations with Rammstein and Madonna, directs his first Verdi opera, creating an extraordinarily powerful visual and visceral theatrical experience, unlike any other production of the opera.

The roles of the troubadour and the gypsy Azucena are taken by Uruguayan tenor Gaston Rivero and Russian mezzo-soprano Marina Prudenskaya.

STEREO: PCM / SURROUND: DTS-HD Master Audio 5.1

Picture Format: 1080i/60i High Definition / 16:9

Filmed live in High Definition

Subtitles: Italian, English/German/French/Spanish/Chinese/Korean

“Netrebko gives a completely authoritative performance. Although her shaping of Verdi's vocal lines is not especially individual, she has voice to spare and nothing sounds beyond her...[Domingo] sounds rather tired at the start but his still majestic tenor-baritone, boosted by an undimmed ability to command the stage, comes good by the end.” Gramophone Magazine, November 2014

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Summer Opera Sale

DG Unitel - 0735133

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Elgar: Symphony No. 2 in E flat major, Op. 63

Elgar: Symphony No. 2 in E flat major, Op. 63


Following his critically-acclaimed Elgar Cello Concerto recording with Alisa Weilerstein, Barenboim turns to the symphonies. The Second Symphony is released first, in a 2013 recording with the Staatskapelle Berlin. The First Symphony will follow in 2015.

“To hear an orchestra with such a distinctive central European sound playing Elgar, and relating his music so securely to the wider late-romantic tradition, is one of the disc’s great pleasures.” Andrew Clements, The Guardian (of the Cello Concerto recording)

“Barenboim and the musicians plunge into the Second’s ardours and wistful ways as if to the manner born. We quickly realise we’re not listening to a British orchestra: the timbre of the horns alone transports us far from Elgar’s Malvern hills. Yet the central European sounds only help to link the symphony with the European traditions that nurtured Elgar’s art.” The Times, 9th May 2014 ****

“This is a superb, in fact I feel justified in calling it a great, Elgar Two. It's difficult to know where to start in listings its excellences...But one must start and finish with Barenboim's interpretation...this is a marvellously full-blooded reading of the Symphony, full of drama and passion...This must be one of the finest performances currently on offer.” BBC Music Magazine, June 2014 *****

“The surging, unquenchable energy of this account is obvious from the opening bars, which are borne on an irresistible flood of sound from the Berlin Staatskapelle...Every department of this fabulous orchestra seems to make a telling contribution to this performance at some point or other, and it's as much a triumph for the Staatskapelle as it is for its conductor” The Guardian, 22nd May 2014 *****

“The gorgeous, silken string playing is something exceptional for Elgarians, but there is also plenty of Edwardian swagger in the brilliant rondo and majestic finale. A glorious disc” Sunday Times, 29th June 2014

Building a Library

First Choice - March 2015

Decca - 4786677

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