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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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.

“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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Tchaikovsky & Sibelius Violin Concertos

Tchaikovsky & Sibelius Violin Concertos


Sibelius:

Violin Concerto in D minor, Op. 47

Tchaikovsky:

Violin Concerto in D major, Op. 35


Read Presto's complete review of this disc here, and Katherine's interview with Lisa Batiashvili here.

Lisa Batiashvili and Staatskapelle Berlin under Daniel Barenboim’s baton present an unforgettable version of Tchaikovsky’ and Sibelius’ violin concertos, two of the most beloved, passionate and demanding pieces for violin and orchestra

This album celebrates a happy and consolidated collaboration of one of the finest violinists of our times with one of the best orchestras of the world and the legendary pianist and conductor Daniel Barenboim

Ten years ago Daniel Barenboim initiated Berlin's open-air "State Opera for All" concert on the historic Bebelplatz. With more than 40,000 spectators each year, it attracts a larger audience than any other classical concert in Germany. In each of the last four years the guest soloist has been Lisa Batiashvili, who on each occasion has performed one of the world's great violin concertos: Beethoven, Brahms, Tchaikovsky in 2015 and in this year Sibelius

"I absolutely love Sibelius' violin concerto. I have the feeling it's really a part of my life and of my musical story, because so many things happened around this concerto in my life. The first most important was the final of the Sibelius Competition in 1995 where I performed this concerto for the first time with the orchestra." – Lisa Batiashvili

As the youngest-ever participant of the Sibelius Competition, Lisa immediately managed to win the second prize – a jump-start to a lightning career

As Lisa recalls, her musical partnership with Daniel Barenboim started over the phone: "Barenboim heard me for the first time during a television broadcast of the Sibelius Concerto with the Finnish Radio Symphony Orchestra. Shortly afterwards he rang me up to congratulate me and ask me if we could perform the piece together."

"I feel that this time with Barenboim and Staatskapelle Berlin, we brought a lot of new insights to it in some ways, even though the ground feeling for me for the piece will always stay the same." – Lisa Batiashvili This version of the Sibelius Concerto brings back a fresh approach to the famous score, by being as true and faithful to the score as possible, and by avoiding all the known and repeated traditional playing conventions and habits.

This album is the first ever recording of Tchaikovsky's famous and romantic violin concerto for both, Lisa Batiashvili and Daniel Barenboim. "It was a big surprise to me to hear that he had never recorded Tchaikovsky and it makes it even more special for me. I have the feeling that we really worked on it very closely, because that was my strongest experience with that piece – just to work it with him…"

The Guardian stated about Lisa's performance with Daniel Barenboim and Staatskapelle Berlin at the Royal Festival Hall in 2015: "Lisa Batiashvili was the ferocious soloist in Tchaikovsky's Violin Concerto, intense in the first movement, luminous and heartfelt in the second, scintillating in the quickfire finale. It was a faultless performance, enthralling and electrifying."

“These are both unbelievably impressive accounts of two cornerstones of the repertoire, and it's been a delight to listen to them. In a video interview talking about these pieces and this recording, Barenboim describes how Batiashvili's playing is full of emotion whilst avoiding sentimentality, and speaks straight to the heart: I couldn't agree more.” James Longstaffe, Presto Classical, 18th November 2016

“Everything feels ‘in the moment’, a quality of improvisation like music created in the playing of it. Her musicality always comes with an element of surprise...This is concerto-playing of the very highest order...Every familiar phrase somehow manages to sound both authoritative and newly discovered...a delight from start to finish.” Gramophone Magazine, January 2017

Presto Disc of the Week

18th November 2016

Presto Discs of 2016

Winner

GGramophone Magazine

Disc of the Month - January 2017

BBC Music Magazine

Concerto Choice - April 2017

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Wagner: Parsifal

Wagner: Parsifal


Andreas Schager (Parsifal), Anja Kampe (Kundry), Wolfgang Koch (Amfortas), René Pape (Gurnemanz), Tomas Tómasson (Klingsor), Matthias Hölle (Titurel)

Staatskapelle Berlin, Staatsopernchor, Konzertchor der Staatsoper, Daniel Barenboim & Dmitri Tcherniakov (director)

Wagner’s final opera is a medieval epic story marked by Christian, Buddhist and esoteric references. It is about redemption and renewal, but this new production by Russian director Dmitri Tcherniakov adds a jarring note: revenge.

“Musically it’s first-class…the casting is pretty much ideal and all deliver superbly. Kampe proves with her gleaming high notes that this role needs a soprano…[Schager] has both weight and lyricism. Pape now colours more committedly than in previous recordings of the role; Koch and Tómasson also do very well” Gramophone Magazine, October 2016

“A fresh take on the opera that will challenge and provoke you.” MusicWeb International, October 2016

“Tcherniakov has established himself as one of our most important directors of opera, and this foray into Wagner shows why, with its mix of respect for the drama and its traditions, and its innovative ideas...A must for anyone with Wagnerian inclinations.” New York Times, 24th November 2016

“Daniel Barenboim’s conducting - patient, serious and drawing beautiful playing from the Staatskapelle - is a good match for Tcherniakov’s concentrated, melancholy vision of the work. It’s beautifully shot, too.” Opera, February 2017

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Chaya Czernowin: The Quiet

Chaya Czernowin: The Quiet

Works for Orchestra


Czernowin:

The quiet

Zohar iver (Blind radiance)

Esh

White wind waiting

At the fringe of our gaze


In The Quiet (2010) and Zohar Iver (2011) Chaya Czernowin reached a turning point: a new orientation which continued in works such as Esh (2012), At the fringe of our gaze (2012/2013), and White Wind Waiting (2013). “As I was writing ‘The Quiet’, I was conscious that I had already been wishing for this change for ten years. In retrospect, I see all these orchestral works as a kind of corridor through which I arrived at a new path.” This “new path” marked Chaya Czernowin’s shift toward a musical language in which space and gesture became the focus of compositional interest, as did the discovery of processes for musical movement and an accompanying change in perspective.

The Quiet, Zohar Iver, and Esh [the Hebrew word for “fire”] form a group of works which Chaya Czernowin calls The Crescendo Trilogy, because in all three pieces different kinds of crescendos play a central role: in The Quiet, an exponential increase in volume ends the piece, while in Zohar Iver, the crescendo is interrupted with the entrance of the pedal point before the end.

At the fringe of our gaze, for orchestra and a concertino group, was written in response to a commission from Daniel Barenboim’s West-Eastern Divan Orchestra. It is music consisting of highly differentiated layers of sound, which rise from the depths and ascend to the highest heights. The work – with which Chaya Czernowin wanted to introduce her music to the orchestra’s young musicians – is intended to focus on border areas of perception.

As diverse as Chaya Czernowin’s individual creative phases are, there has always been in her musical language a distinctive way of working with the characteristics of individual sounds, developed with the most refined rhythmic, coloristic, and sound nuances; there is also a deliberate search for emotional extremes, which always give the pieces a physical and existential power.

“Less is more, as the saying goes. It’s a paradox that Chaya Czernowin pushes to the hilt here, crafting orchestral soundscapes that manage – somehow – to be monumentally minuscule, enormously small…impressive, and the instrumental filigree is precisely rendered by the five different orchestras” Gramophone Magazine, November 2016

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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.”

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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

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Mozart: Le nozze di Figaro, K492

Mozart: Le nozze di Figaro, K492

Recorded live at the Staatsoper Unter den Linden, Berlin, 1999


René Pape (Figaro), Dorothea Röschmann (Susanna), Emily Magee (Countess Almaviva), Roman Trekel (Count Almaviva) & Peter Schreier (Basilio)

Staatskapelle Berlin & Staatsopernchor, Daniel Barenboim (conductor) & Thomas Langhoff (stage director)

Special new release of the first official Arthaus Musik Production from the original HD material.

This memorable recording from the Staatsoper Unter den Linden in Berlin was Arthaus Musik’s first official release in 2000. It features one of the most popular Mozart operas, Le Nozze di Figaro (the Marriage of Figaro), a witty satire on the authority of the reigning noble class and infidelity in love relationships. Starring a great cast of singers with Dorothea Röschmann, René Pape, Emily Magee and Peter Schreier – to name but a few – this performance is conducted by Daniel Barenboim, chief conductor of the Berlin State Orchestra since 1992, named conductor for life by the orchestra in 2000.

The specialized press and the public cheered this production of Le Nozze di Figaro at the Mozart Festival of the Staatsoper Unter den Linden in Berlin as a veritable “festival of voices“ and a “complete success”.

Sound Format: PCM Stereo, dts-HD Master Audio 5.1

Picture Format: 16:9

Subtitles: IT (Original Language), GB, DE, FR, ES, JP, Korean

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Resolution: 1080i High Definition (Upscale)

Running Time: 191 mins

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Mozart: Don Giovanni, K527

Mozart: Don Giovanni, K527


Peter Mattei (Don Giovanni), Bryn Terfel (Leporello), Anna Netrebko (Donna Anna), Barbara Frittoli (Donna Elvira), Kwangchoul Yun (Il Commendatore), Giuseppe Filianoti (Don Ottavio), Anna Prohaska (Zerlina), Stefan Kocan (Masetto)

Orchestra & Chorus of Teatro alla Scala, Daniel Barenboim, Robert Carsen (dir.)

An all-star cast featuring Deutsche Grammophon artist Anna Netrebko, Bryn Terfel and Anna Prohaska, delivers a sensational new recording of Mozart’s Don Giovanni, conducted by Daniel Barenboim at the start of his inaugural season as Music Director of La Scala.

Recorded live at the opening of the 2011-12 La Scala season, Don Giovanni is now set to be released in time for Bryn Terfel’s 50th birthday on 9 November 2015. It also ties in with the traditional opening of the new season at La Scala – 7 December, the feast-day of St Ambrose, patron saint of Milan.

It features stunning performances from Anna Netrebko as Donna Anna in her La Scala debut, Peter Mattei as a swaggering Don Giovanni, Bryn Terfel as his sidekick Leporello and Anna Prohaska as Zerlina. Anna Netrebko made her international breakthrough at the 2002 Salzburg Festival as Donna Anna, among the most powerful and moving of all soprano roles. “Netrebko’s Donna Anna was thrilling in her nobility and ease of execution,” noted the Observer (London) following her La Scala debut. “She is on grand form.” The New York Times, meanwhile, hailed her “compelling portrayal”. Director Robert Carsen’s staging of Don Giovanni opens by turning a distorting mirror on the performers, the audience and the theatre itself, in what the Observer called “a fabulous visual coup”.

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Wagner: Tristan und Isolde

Wagner: Tristan und Isolde

Sung in German. 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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