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Spira Mirabilis

Spira Mirabilis


Schumann:

Symphony No. 1 in B flat major, Op. 38 'Spring'


Spira Mirabilis

Directed by Gérald Caillat and Pierre-Martin Juban

Spira Mirabilis is an extraordinary new project drawing together some of Europe’s finest young players.

It offers a radical new approach to classical music. Mostly in their 20s and 30s they study, practice and perform together symphonic repertoire without the guide of a conductor.

This Blu-ray disc includes the documentary “La Spira” which portraits the musicians and their intense work sessions and scenes from collective life and documents their way of creating a special attitude and breaking down the traditional barriers between performer and audience.

Extra: Schumann’s Symphony No. 1 Spring performed by the musicians of Spira Mirabilis filmed by Pierre-Martin Juban and Gérald Caillat at the Teatro Luciano Pavarotti in Modena on December 7, 2010

Picture format Blu-ray Disc:1080i Full HD, 16 :9

Sound formats Blu-ray Disc: PCM Stereo

Region code: All (worldwide)

Subtitles: English, French, German, Italian

Booklet notes: English, French, German, Italian

Runnning time: 88 mins documentary, 43 mins concert

German FSK: 0

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Twin Spirits

Twin Spirits

Portraying the love of Robert & Clara Schumann in words & music


Robert Schumann (in words) STING, Robert Schumann (in song) SIMON KEENLYSIDE, Violin SERGEJ KRYLOV, Piano IAIN BURNSIDE, Clara Wieck (in words) TRUDIE STYLER, Clara Wieck (in song) REBECCA EVANS, Cello NATALIE CLEIN, Piano NATASHA PAREMSKI & Narrator DEREK JACOBI

Devised and directed for the stage by John Caird.

Recorded at the Royal Opera House, London, December 2007

Twin Spirits is a unique and intimate, live theatrical performance by a chamber ensemble of actors, singers and musicians, portraying the deep and ultimately tragic love between the composer Robert Schumann and his pianist wife Clara Wieck. In this intensely moving performance of words, song and music, the Schumanns’ long separation, so formative an influence on their lives, is reflected in the division of the ensemble into male and female groups. Robert’s letters to Clara are read by Sting and his songs sung by Simon Keenlyside, with accompaniments and instrumental music played by Iain Burnside and Sergej Krylov. Clara’s letters to Robert are read by Trudie Styler and her songs sung by Rebecca Evans, with accompaniments and instrumental music played by Natalie Clein and Natasha Paremski. The narrator, Derek Jacobi, links together the letters and lyrics to complete the essential outline of the story. Conceived and directed by John Caird, Twin Spirits was first performed in June 2005 at the Royal Opera House, Covent Garden, London and has since been experienced only at private performances for charity by small audiences of all ages and interests, leaving them deeply touched and inspired.

Picture 1080i High Definition / 16:9 Sound 2.0 & 5.0 PCM

Video codec AVC/MPEG-4 Disc size BD50 Subtitles EN/FR/DE/ES/IT + EN (songs only) Menu language EN

Region code All regions Running time 206 mins Dimensions W135 H170 D12 (mm)

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Fellini, Jazz & Co.

Fellini, Jazz & Co.

Recorded live at Waldbühne, Berlin, 2011


Lincke:

Berliner Luft March

Respighi:

Fountains of Rome

Pines of Rome

Belkis, Queen of Sheba: orchestral suite

Rota:

La Strada Ballet Suite

Shostakovich:

Jazz Suite No. 2

Lady Macbeth of Mtsensk: Symphonic Suite, Op. 29a


Berliner Philharmoniker, Riccado Chailly

The Waldbühne in Berlin is one of Europe’s ideal outdoor amphitheatres. It is home to the Berlin Philharmonic’s summer concerts, which are among the most popular classical events in the world, attracting audiences of 20,000 or more people.

In July 2011 the orchestra, under the ebullient direction of Riccardo Chailly, presented this concert of effervescent works by Dmitri Shostakovich, Nino Rota and Ottorino Respighi.

All three composers possessed an unerring instinct for composing music that is guaranteed to please the ear of the listener. In their own individual ways, each of them powerfully demonstrates a phenomenal handling of tone colour. Their music sparkles with light one moment and lurks in the shadows the next.

Riccardo Chailly is famous for having one of the broadest repertoires in the business, ranging from the orchestral highways of Beethoven, Brahms and Bruckner through to the 20th century byways via Bach, the core operatic repertoire and almost anything else - he is an omnivore, with the brilliance to match.

Picture format BD: NTSC (1080i Full HD)

Sounds formats BD: PCM Stereo, DD 5.1, DTS 5.1

Region code: 0

Booklet notes: English, German, French

Running time: 105 mins

“Respighi's Pines and Fountains of Rome sound absolutely ravishing here - one can only sit in awe at such fine-tuned (in every way) virtuosity...Bravo!” International Record Review, June 2012

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Nobel Prize Concert 2009

Nobel Prize Concert 2009

Recorded at the Stockholm Concert Hall, 8 December 2009


Prokofiev:

Romeo and Juliet - Suite No. 1, Op. 64a

Romeo and Juliet - Suite No. 2, Op. 64b

Ravel:

Piano Concerto in G major

Martha Argerich (piano)

Shostakovich:

Festive Overture, Op. 96


As part of the official Nobel Week, the world’s most renowned artists are gathering each year to pay tribute to the Nobel Laureates. An event of world class stature and performances of highest international standard. Members of the Swedish Royal Family as well as guests of the Nobel Foundation are attending the highly acclaimed event, which gathers internationally renowned artists and conductors each year.

Very special highlight was this year’s soloist Martha Argerich, one of the very charismatic and brilliant pianists, performing Ravel’s Piano Concerto in G Major under Yuri Temirkanov leading the Royal Stockholm Philharmonic Orchestra. The program also includes Prokofiev’s Suite from Romeo and Juliet.

Born in Buenos Aires in 1941, Martha Argerich had her performing debut at the age of eight. Her breakthrough came in 1965, when she won the prestigious Chopin Competition in Warsaw. Working with most of the world’s leading conductors Argerich is passionate about supporting young talents. In 1999 the first International Martha Argerich Piano Contest was held in Buenos Aires, a competition that she founded and of which she is now the chief judge.

Picture format: 1080i Full HD - 16:9

Sound format: PCM Stereo, DTS-HD Master Audio

Region code: All

Booklet notes: English, German, French

Running time: 80 mins

German FSK: 0

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Nobuyuki Tsujii at White Nights

Nobuyuki Tsujii at White Nights


Shostakovich:

Symphony No. 14 in G minor, Op. 135

Olga Sergeyeva (soprano) & Yuri Vorobiev (bass)

Mariinksy Theatre Orchestra, Valery Gergiev

Tchaikovsky:

Piano Concerto No. 1 in B flat minor, Op. 23

Nobuyuki Tsujii (piano)

Mariinksy Theatre Orchestra, Valery Gergiev

Tsujii:

Elegy for the Victims of the Earthquake and the Tsunami of March 11, 2011

Nobuyuki Tsujii (piano)


The blind up-and-coming Japanese pianist Nobuyuki Tsujii - an astonishing virtuoso on his instrument – performs with the Russian conductor Valery Gergiev at the Mariinsky Theatre in Saint Petersburg. In 2009 he hit the Top Ten of the Japanese Charts with his first album “début”. He also won the Van Cliburn International Piano Competition in 2009.

At the White Nights Festival he played works by the Russian composers Tchaikovsky, Rachmaninov and Shostakovich. Here he plays Tchaikovsky’s famous Piano Concerto No. 1.

As a bonus Nobuyuki Tsujii performs his own Elegy for the Victims of the Tsunami of March 2011, a stirring and moving piece dedicated to his home country Japan.

This performance also includes Shostakovich Symphony No. 14.

Live recording from the Concert Hall of the Mariinsky Theatre, St. Petersburg, 8 July 2012.

Picture format Blu-ray: 1080i Full HD 16:9

Sound format Blu-ray: Dolby Digital 5.1, PCM Stereo

Region code: All

Booklet notes: English, German, French

Running time: 110 mins

“The camera lingers revealingly on close-ups of his neat hands, showing how flat the fingers are, and how relaxed their action, and underscoring the fact that through his finely-judged rubato he exercises total authority over tempo. The cadenza has lovely delicacy...But the principal memory one comes away with is his engagingly child-like presence.” BBC Music Magazine, April 2013 ****

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Shostakovich: Lady Macbeth of Mtsensk

Shostakovich: Lady Macbeth of Mtsensk

Recorded live in Het Muziektheater, Amsterdam, on 25th & 28th June 2006.


Eva-Maria Westbroek (Katerina Izmailova), Christopher Ventris (Sergey), Carole Wilson (Aksinya), Vladimir Vaneev (Boris), Lani Poulson (Sonyetka), Ludovít Ludha (Zinovi), Alexandre Kravets (Shabby Peasant)

Chorus of De Nederlandse Opera & Royal Concertgebouw Orchestra, Mariss Jansons (musical director) & Martin Kušej (stage director)

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

Shostakovich’s musically brilliant and ingeniously panoramic opera about love, lust, power and oppression is fabulously performed by the Concertgebouw Orchestra under Mariss Jansons in this authoritative production. Stage director Martin Kušej builds on formidable musical strengths to forge a relentless drama that explores with emotional conviction the shadowy, layered boundaries between victims and perpetrators. First-rate protagonist Eva-Maria Westbroek is phenomenal in her gripping interpretation of Katarina, compelling the entire cast, including the choir, to almost unbearable realism in their portrayal of timeless human weaknesses.

‘With one of the finest orchestras in the world conducted by an eminent Shostakovich conductor, supported by superb soloists and a very tasteful stage setting… [Eva-Maria Westbroek’s] portrayal of the heroine is absolutely superb…the passions and emotions raised by the composer are superbly realised… The soloists and chorus are all superb.’ Music Web International

Bonus material:

Illustrated synopsis & cast gallery.

Lady Macbeth of Mtsensk - The Tragedy of Katerina Ismailova - A documentary film by Reiner E. Moritz, including interviews with Martin Kušej, Mariss Jansons and leading members of the cast.

PICTURE FORMAT: 1080i
LENGTH: Approx 236 Mins
SOUND: 2.0 & 5.0 PCM
SUBTITLES: EN/FR/DE/ES/IT/NL

“a first-rate protagonist in Eva-Maria Westbroek, a Katerina of Jean Harlow-like allure, who had all the vocal power and stamina that the role demands”” The Times

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Shostakovich: Lady Macbeth of Mtsensk

Shostakovich: Lady Macbeth of Mtsensk

Live Recording from The Teatro Comunale Firenze, 2008


Jeanne-Michèle Charbonnet (Katerina Izmailova), Vladimir Vaneev (Boris Izmailov), Vsevolod Grivnov (Zinoviy Izmailov), Sergej Kunaev (Sergei), Nanà Miriani (Aksinya), Natascha Petrinsky (Sonetka)

Orchestra and Chorus of Maggio Musicale Fiorentino, James Conlon (conductor) & Lev Dodin (director)

Set and Costume Design by David Borovsky.

At first glance, the title of Shostakovich’s opera seems to speak for itself: Katherina, neglected and unhappy in her marriage, commits the most heinous crime just like the Shakespearian Lady Macbeth. But Nikolai Leskov’s short novel, which portrays Katherina as a monster, was only the starting point for Shostakovich to elicit understanding for an oppressed woman whose pursuit for self-determination is suppressed by society. Through combining satiric, grotesque and tragic elements in his music, Shostakovich succeeds in striking the balance between repulsion at Katherina’s immoral acts and sympathy for her. Violence, eroticism and the paralysing boredom of Russian society in the 19th century are the founding elements of this composition.

The choir and orchestra of the Maggio Musicale Fiorentino conducted by James Conlon accompany tremendous soloists such as Jeanne-Michèle Charbonnet, Vladimir Vaneyev and Vsevolod Grivnov in the original language in this live recording.

“James Conlon… has conducted Shostakovich's masterpiece on both continents… There is plenty of passion in the pit. …New Orleans-raised Jeanne-Michèle Charbonnet proves a powerful if one-dimensional actress in the title-role. The other key protagonists are authentically Russian. The most distinguished singing comes from Vladimir Vaneev... The main attraction of ArtHaus's DVDs ought to be the production of Lev Dodin, long-term director of St Petersburg's Maly Drama Theatre. ...his Lady Macbeth is conceived wholly in terms of realism... Exceptionally, the episode where the shabby peasant discovers Zinoviy's corpse is staged as a group tableau. Mostly straightforward, the cinematography switches to blurry black-and-white for the appearance of Boris's ghost” Gramophone Magazine, January 2010

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Shostakovich: Symphony No.  5 in D minor, Op. 47

Shostakovich: Symphony No. 5 in D minor, Op. 47


Following the success of the enlightening first series of Keeping Score, MTT and SFS return with three further programmes that combine one-hour documentaries with live concert performances. The new programmes explore the music and stories behind the music.

Each of the three DVDs in Keeping Score Series 2 features a documentary episode - with MTT guiding us through the composers’ perspectives and influences - coupled with a live concert performance of each work. The programmes are designed to engage and entertain viewers of all levels of musical background. With outstanding production values, they are released on DVD and Blu-Ray HD formats, making SFS the first orchestra to distribute its product on Blu-Ray disc.

In 1937 Russia, at the height of Stalin’s purges, the Communist Party strongly denounced Dmitri Shostakovich’s most recent works. Fearing for his life, the young composer wrote a symphony ending with a rousing march. But to many, the triumph rang hollow. Even today, people wonder just what Shostakovich was trying to say. Was the symphony meant to celebrate Stalin’s regime? Or did it contain hidden messages protesting the very system it seemed to support?

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Mission

Mission

Blu-ray


Steffani:

Schiere invitte, non tardate (from Alarico il Baltha)

Ogni core può sperar (from Servio Tullio)

Ove son? Chi m'aita? In mezzo all'ombre...Dal mio petto (from Niobe)

Più non v'ascondo (from Tassilone)

Amami, e vederai (from Niobe)

T'abbraccio, mia Diva...Ti stringo, mio Nume (from Niobe)

Philippe Jaroussky (countertenor)

Mie fide schiere, all'armi!...Suoni, tuoni, il suolo scuota (from I trionfi del fato)

Sposa, mancar mi sento...Deh non far colle tue lagrime (from Tassilone)

Non prendo consiglio (from La superbia d'Alessandro)

Si, si, riposa, o caro...Palpitanti sfere belle (from Alarico il Baltha)

Notte amica al cieco Dio (from La libertà contenta)

Combatton quest'alma (from I trionfi del fato)

Philippe Jaroussky (countertenor)

A facile vittoria (from Tassilone)

Tra le guerre e le vittorie (from La superbia d'Alessandro)

Foschi crepuscoli (from La libertà contenta)

Dell'alma stanca a raddolcir le tempre...Sfere amiche, or date al labbro (from Niobe)

La cerasta più terribile (from La lotta d'Hercole con Acheloo)

Serena, o mio bel sole...Mia fiamma/Mio ardore (from Niobe)

Philippe Jaroussky (countertenor)

Dal tuo labbro amor m'invita (from Tassilone)

Deh stancati, o sorte (from La libertà contenta)

Svenati, struggiti, combatti, suda (from La libertà contenta)

Padre, s'è colpa in lui (from Tassilone)

Timori, ruine (from Le rivali concordi)

Morirò fra strazi e scempi (from Henrico Leone)

Non si parli che di fede (from Marco Aurelio)


Autumn 2012 marks the release of Mission, a sensational new album from the world’s best-selling classical artist, Cecilia Bartoli, and a project with international politics, religious conflict, diplomatic secrecy, spying and sensational music at its heart.

The album showcases the music of a little-known Italian composer and will include solo arias of various moods and styles, several duets, solo numbers with chorus - all sung in Italian - and instrumental interludes that create an organic transition from one piece to the next and an arc that reaches from the beginning to the end of the album.

Such was the appeal of the project that longtime Bartoli admirer and global best-selling author Donna Leon decided to write a mystery novel - Jewels of Paradise - to accompany Cecilia’s album, which uses the mystery surrounding the composer’s story as the centre of its plot. Jewels of Paradise will be released simultaneously with Cecilia Bartoli’s album in English (UK and USA), German, French, Dutch, Spanish and Catalan.

Among the distinguished names appearing on Mission is star French counter-tenor Philippe Jaroussky who features in a first-time collaboration with Cecilia on a selection of duets, alongside the Coro della Radiotelevisione Svizzera, the period orchestra I Barocchisti from Lugano, Switzerland, and conductor Diego Fasolis.

A cinematographic vision of the album directed by Olivier Simonnet and filmed in the historic Galerie des Glaces (Hall of Mirrors) and in the gardens of the Chateau de Versailles

“Steffani’s art is elegantly expressive, Italianate with French dressing...Several brazen display arias are here...Bartoli leaps around the vocal ladder with customary gusto and a rather too vigorous vibrato. The pleasures are subtler when the music is simpler and the voice quieter...Notte amica, say, from La Libertà contenta, or the silky caress of Sfere amiche...These two tracks were definitely worth Bartoli shaving her head.” The Times, 21st September 2012 ***

“Bartoli’s programming instincts are immaculate in terms of musical and emotional variety; she is compelling in pearly arioso and slow numbers, less so in bravura ones.” Sunday Times, 14th October 2012

“she sweeps through 25 numbers flexing her well-rehearsed vocabulary of flighty fioritura, expressive mannerism and tender vocalità. The melting duets with countertenor Philippe Jaroussky are worth hearing” Financial Times, 20th October 2012

“Bartoli's vocal mannerisms vex and delight – sometimes simultaneously. But for those seduced by the 2010 Royal Opera House production of Niobe, Regina di Tebe, this selection will be irresistible.” The Independent on Sunday, 18th November 2012

“Bartoli's plummy mezzo soars, smoulders and seduces, milking the music's vocal and expressive scope to dramatic effect. It's hard to resist her sparkling personality and infectious passion for this repertoire...the animated playing of I Barocchisti enhance the sheer theatre and scale of Steffani's talent...this is truly a revelatory disc.” BBC Music Magazine, Christmas 2012 *****

“Among the opera arias Ms. Bartoli dug up in the archives are some treasures, hypnotic, slow numbers in which voice and accompanying strings circle each other like spinning planets and jubilant vehicles for her rapid-fire coloratura singing. Mr. Fasolis stokes the fire with an impetuous period-instrument ensemble.” New York Times, 23rd November 2012

“Bartoli is to be both congratulated and thanked for this project...Her dazzlingly virtuoso and urgently expressive performances betoken nothing less than total commitment, with every single aria delivered with as much dramatic intensity and focus as if it had been lifted straight from a fully staged production...it is hard to know what more one could ask for” Gramophone Magazine, December 2012

“I can't think of another singer who brings such variety of colour, nuance and pathos to slow numbers...Bartoli's performance of the more bravura numbers...is more questionable...Vocal fireworks have always been essential weapons in the Bartoli armoury, but they are now sounding rusty...I don't want to end on a negative note, as there is much to admire and even love here...'Mission' is in every sense a collector's item.” International Record Review, December 2012

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Daniel Barenboim - New Year’s Concert 2009

Daniel Barenboim - New Year’s Concert 2009


Haydn:

Symphony No. 45 in F sharp minor 'Farewell': 4th movement

first performance at a New Year’s Concert

Hellmesberger:

Valse espagnole

first performance at a New Year’s Concert

Strauss, J, I:

Zampa-Galopp, Op. 62a

first performance at a New Year’s Concert

Radetsky March, Op. 228

Encore

Strauss, J, II:

Eine Nacht in Venedig Overture

first performance at a New Year’s Concert

Märchen aus dem Orient. Walzer, Op. 444

Annen-Polka, Op. 117

Saat und Ernte Schnell-Polka, Op. 159

first performance at a New Year’s Concert

Rosen aus dem Süden, Op. 388

Freikugeln-Polka, Op. 326

Der Zigeunerbaron Overture

Der Zigeunerbaron: Einzugsmarsch

Schatz-Walzer, Op. 418

Alexandrine-Polka francaise, Op. 198

first performance at a New Year’s Concert

Unter Donner und Blitz, Op. 324

Eljen a Magyar Schnell-Polka, Op. 332

So ängstlich sind wir nicht! - Polka, Op. 413

Encore

An der schönen, blauen Donau, Op. 314

Encore

So ängstlich sind wir nicht! - Polka, Op. 413

Ballet Extra

Unter Donner und Blitz, Op. 324

Ballet Extra

Strauss, Josef:

Sphärenklänge, Op. 235

Sphärenklänge, Op. 235

Ballet Extra


The New Year's Concert in Vienna has been a glorious tradition for over six decades. A best-selling classical event year on year, the concert has unique global appeal. It is broadcast on TV and radio to over 50 countries, and is viewed by tens of millions of people all over the world.

The 2009 New Year's Day Concert will be conducted by the Argentinean-Israeli pianist and conductor Daniel Barenboim for the first time. From 1991-2006 Barenboim was the principal conductor of the Chicago Symphony Orchestra and since 1992 has been the General Music Director of the State Opera Unter den Linden in Berlin. Barenboim's debut with the Vienna Philharmonic took place in 1989, and he has since been a regular guest.

In 1999, Barenboim and the late Palestinian academic Edward Säid founded the West-Eastern Divan Orchestra, in which young musicians from the Middle East and Israel perform together. Among the many awards Barenboim has received, was the Ernst von Siemens Music Prize in Vienna in 2006. In September 2007 Barenboim was named as United Nations Peace Envoy.

The concert programme for 1st January 2009 will be the customary collection of Viennese delights, with six first time performances.

The first part of the concert is inspired by the conductor’s biography. For example, the waltz Märchen aus dem Orient (Tales from the Orient), alludes to a modern “fairy tale” – the founding of the West-Eastern Divan Orchestra, a symbol of inter-cultural tolerance. Other first performances in the first half include J. Strauss II’s Schnellpost-Polka (Express Mail Polka) and J. Hellmesberger’s Valse Espagnole (Spanish Waltz).

The second part of the concert makes constant allusions to the life and work of Joseph Haydn, culminating with the final movement of Haydn’s Symphony No.45 - 'Farewell Symphony'. This is the first time a work by Haydn has featured in the New Year’s Concert programme, and it will launch a year of events marking the bicentenary of the death of this great Austrian composerwho died in Vienna in May 1809. Other first appearances in the second half of the concert include J. Strauss I's Zampa-Galopp and J. Strauss II’s Alexandrine's Polka.

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