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Cage: Works for Percussion Vol. 4

Cage: Works for Percussion Vol. 4


Cage:

Music for Two

The Wonderful Widow of Eighteen Springs

Connecting Egypt to Madison through Columbus Ohio, Cage, and the History of the American Labor Movement

(Incorporating Music for Marcel Duchamp & Variations 2)

A Flower

51'15.657"

(Realization of 45' for a Speaker & 27'10.554" for a Percussionist)

Extras: Interview with Whiting and producer Alan Otte, 73 minutes


Bonnie Whiting (percussion)

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Mode - DVDBRMODE296

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Poulenc: Dialogues des Carmélites

Poulenc: Dialogues des Carmélites

Filmed in HD at the Bayerische Staatsoper (Munich), 03/2010


Alain Vernhes (Marquis de la Force), Susan Gritton (Blanche de la Force), Bernard Richter (Chevalier de la Force), Sylvie Brunet (Madame de Croissy), Soile Isokoski (Madame Lidoine), Susanne Resmark (Mère Marie), Hélène Guilmette (Soeur Constance), Heike Grötzinger (Mère Jeanne) & Anaïk Morel (Soeur Mathilde)

Bayerisches Staatsorchester & Chor der Bayerischen Staatsoper, Kent Nagano

Stage direction and set design: Dmitri Tcherniakov

Costumes Elena Zaytseva, Lighting Gleb Filshtinsky

A passionate lover of the human voice, Francis Poulenc composed the Dialogues des Carmélites in 1953, using a libretto he himself had written from a screenplay by Georges Bernanos. The first ever performances in Munich, this production was entrusted to Dmitri Tcherniakov, whose worldwide reputation is underpinned by productions like Eugene Onegin and Macbeth at the Paris Opera and Don Giovanni at Aixen-Provence.

The superb international cast includes a fine Blanche de la Force in Susan Gritton and an excellent Madame de Croissy by Sylvie Brunet, who was favourably compared to Rita Gorr in the press. They are superbly backed up by Soile Isokoski, Susanne Resmark, Hélène Guilmette, Alain Vernhes and the fabulous Bernard Richter.

Kent Nagano with the Dialogues literally at his fingertips – he recorded a landmark version some years ago – is at the helm of the Bavarian State Opera Orchestra and Chorus.

Subtitles : Fr, Eng, Ger, Spa

Colour 1080i HD, 16/9

PCM Stereo, DTS HD Master Audio

“[the production is] set in a soulless authoritarian state but filmed in a way that underlines individual dilemmas and common humanity. It is worth watching for Sylvie Brunet’s doughty Madame de Croissy, Soile Isokoski’s gracious Madame Lidoine and Susan Gritton’s winning Blanche.” Financial Times, 4th June 2011 ***

“Tcherniakov's production is probably the most physically active Dialogues ever staged. Everyone is seemingly in constant motion...Sylvie Brunet is a memorably formidable and pitiable Croissy...Helen Guilmette's Constance, lively but never cloying or cute, is immeasurably enhanced by heavenly floated pianissimi...Isokoski, suitably dignified in her role, is in ravishing voice.” International Record Review, July/August 2011

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Bel Air Classiques - BAC461

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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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Bel Air Classiques - BAC429

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Verdi: I Due Foscari

Verdi: I Due Foscari


Plácido Domingo (Francesco Foscari), Francesco Meli (Jacopo Foscari), Anna Pirozzi (Lucrezia Contarini), Chiara Isotton (Pisana), Andrea Concetti (Jacopo Loredano), Edoardo Milletti (Barbarigo)

Coro e Orchestra del Teatro alla Scala, Michele Mariotti, Alvis Hermanis (dir.)

In his ‘new life’ as a baritone Plácido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role in La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi’s darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with Die Soldaten and Il trovatore. Domingo is joined by two of Italy’s most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role ‘sublime’.

BONUS Ioan Holender interviews Plácido Domingo on the occasion of I Due Foscari at La Scala in Milan

SUBTITLES: Italian (original language), German, English, French, Spanish, Korean, Japanese BONUS: English, German BOOKLET: English, German, French TOTAL RUNNING TIME: 138 mins (Opera 122’/ Bonus 16’)

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C Major - 742104

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William Shakespeare: Cymbeline

William Shakespeare: Cymbeline


Gillian Bevan (Cymbeline), Bethan Cullinane (Innogen), Hiran Abeysekera (Posthumus), Doreene Blackstock (Cornelia), Marcus Griffiths (Cloten), Oliver Johnstone (Iachimo), Kelly Williams (Pisanio), Graham Turner (Belarius), Natalie Simpson (Guideria), James Cooney (Arviragus), Byron Mondahl (Philario), Eke Chukwu (Caius Lucius)

Melly Still (stage director)

Britain is in crisis. Alienated, insular and on the brink of disaster. Can it be saved? An ineffectual Queen Cymbeline rules over a divided dystopian Britain. Consumed with grief at the death of two of her children, Cymbeline’s judgement is clouded. When Innogen, the only living heir, marries her sweetheart Posthumus in secret, an enraged Cymbeline banishes him. Behind the throne, a power-hungry figure plots to seize power by murdering them both. In exile Innogen's husband is tricked into believing she has been unfaithful to him and in an act of impulsive jealousy begins a scheme to have her murdered. Warned of the danger, Innogen runs away from court in disguise and begins a journey fraught with danger that will eventually reunite Cymbeline with a long-lost heir and reconcile the young lovers.

- The Bard meets Brexit! - Ancient story of British resistance to the Roman Empire updated to the near-future - with Brexit undertones

- Extra Features: Interview with Melly Still; Shakespeare’s Ancient Britain; Director’s Commentary; Cast Gallery

Running time: 199 minutes

Subtitles: English

Sound format: LPCM 2.0, dts-HD Master Audio

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Opus Arte Royal Shakespeare Company - OABD7221D

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Kenneth Macmillan's Anastasia

Kenneth Macmillan's Anastasia

Music by Pyotr Ilyich Tchaikovsky & Bohuslav Martinů


 

Anastasia

Tchaikovsky/Martinů


Natalia Osipova (Anastasia/Anna Anderson), Marianela Nuñez (Mathilde Kschessinska), Federico Bonelli (Kschessinska’s Partner), Edward Watson (The husband), Thiago Soares (Rasputin), Christina Arestis (Tsarina Alexandra Feodorovna), Christopher Saunders (Tsar Nicholas Ii)

Orchestra of the Royal Opera House, Simon Hewett

Royal Ballet Principal Natalia Osipova dances the title role in Kenneth MacMillan’s haunting ballet, to atmospheric music by Tchaikovsky and Martinů. Anastasia tells the story of Anna Anderson who, following the Russian Revolution and the murder of the royal family, claimed she was the surviving Grand Duchess Anastasia. Many believed her to be an imposter; others hoped she was Anastasia, a remnant of a lost world. A powerful, psychological challenge for the lead dancer, Anastasia explores one of the great historical mysteries of the 20th century, only recently solved, and the distorting mirror of memory, time and place.

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Opus Arte Royal Opera House Collection - OABD7222D

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Seiji Ozawa at the Matsumoto Festival

Seiji Ozawa at the Matsumoto Festival

Beethoven Symphonies Nos. 2 & 7


Beethoven:

Symphony No. 2 in D major, Op. 36

Symphony No. 7 in A major, Op. 92

Fantasia for Piano, Chorus and Orchestra in C minor, Op. 80

Martha Argerich (piano)


Seiji Ozawa is not only a world-famous Japanese conductor, but also a founder and director of the Saito Kinen Festival Matsumoto, home of the Saito Kinen Orchestra, which in 2015 was renamed the Seiji Ozawa Matsumoto Festival (OMF). In this all-Beethoven program, Ozawa conducts the popular Beethoven Symphonies Nos. 2 & 7, performed with his fellow colleagues of the Saito Kinen Orchestra.

Picture: 1080/60i Full HD – 16:9

Sound: PCM Stereo, DTSH-HD Master Audio 5.1

Language/subtitles: n/a

Region code: All (worldwide)

Running time: 82 mins + 30 mins bonus

Production year: 2016

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EuroArts - 8024264024

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Two Ballet Favourites by Christopher Wheeldon

Two Ballet Favourites by Christopher Wheeldon

Alice's Adventures in Wonderland & Cinderella


Prokofiev:

Cinderella, Op. 87

Anna Tsygankova (Cinderella), Matthew Golding (Prince Guillaume), Larissa Lezhnina (Stepmother Hortensia), Megan Zimny Gray (Stepsister Edwina), Nadia Yanowsky (Stepsister Clementine)

Dutch National Ballet, Ermanno Florio

Talbot, J:

Alice’s Adventures in Wonderland

Lauren Cuthbertson (Alice), Sergei Polunin (Jack/The Knave of Hearts), Edward Watson (Lewis Carroll/The White Rabbit), Zenaida Yanowsky (Mother/The Queen of Hearts), Steven McRae (Mad Hatter)

The Royal Ballet, Barry Wordsworth


Christopher Wheeldon (choreographer)

Here in all their whimsy and vivid charm is a pair of fairy-tale masterpieces from choreographer Christopher Wheeldon. His brilliant adaptation of Lewis Carroll’s surreal Alice’s Adventures in Wonderland, choreographed for The Royal Ballet where he is Artistic Associate, is described by The Times as ‘spectacular family entertainment brought to life with enormous theatrical verve’. His innovative reimagining of Cinderella for Dutch National Ballet, to Prokofiev’s celebrated and colourful score, gives the characters renewed depth and complexity, creating a truly magical experience.

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Opus Arte - OABD7227BD

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Faccio: Hamlet

Faccio: Hamlet

Bregenz Festival, July, 2016


Pavel Cernoch (Amleto), Claudio Sgura (Claudio), Iulia Maria Dan (Ofelia), Eduard Tsanga (Polonio), Dshamilja Kaiser (Gertrude), Sebastien Soules (Orazio), Paul Schweinester (Laerte), Bartosz Urbanowicz (Marcello), Gianluca Buratto (The ghost/A priest)

Prague Philharmonic Choir, Wiener Symphoniker, Paolo Carignani

Staged by Olivier Tambosi

This production ‘offers all an Italian-opera-lover could possibly desire’ wrote the FAZ after the revival of this ‘forgotten gem’ at the Bregenz Festival. The festival continued its rediscovery series with ‘Amleto/Hamlet’, an opera by Verdi contemporaries Franco Faccio and Arrigo Boito, based on Shakespeare’s tragedy Hamlet. Premiered in 1865 in Genoa and restaged in 1871 at Milano’s La Scala, ‘Hamlet’ was only revived in 2014 concertante in the US before its ‘triumphal rebirth’ (Deutschlandradio Kultur) at the Bregenz Festival, where the opera was also recorded for the first time ever. Faccio, who conducted the first performance of Verdi’s Aida in Italy and the world premiere of Otello, and Boito, Verdi’s librettist of Otello and Falstaff, skillfully and effectively challenge the conventions of Italian opera, which they wanted to revitalize by infusing it with the spirit of Shakespeare’s drama. Anticipating the musical language of later Italian verismo composers, the opera combines lovely musical interludes with superb vocal writing. Heading a supreme cast, Pavel Černoch as Amleto delivers superbly, ‘using his colorful tenor skillfully to develop the transformation of the insecure youngling to the ice-cold avenger’ (NZZ) and ‘granting the work large scale’ (Abendzeitung). Under the baton of Paolo Carignani with the Vienna Symphoniker and Prague Philharmonic Choir ‘it carried terrific punch’ (The Telegraph). Olivier Tambosi’s ‘excellent staging served it well, with a clear focus on the high points’ (The Telegraph). ‘There is a lot of exciting music to discover in this opera…What an amazing richness in ideas! This opera is worth to be rediscovered.’ (SZ) ‘Faccio’s opera is the one that should be performed, and if plans are not already afoot to bring it to the land of Shakespeare, they certainly should be.’ (The Telegraph)

SOUND FORMAT: Blu-ray: PCM Stereo, DTS-HD MA 5.1

PICTURE: 16:9, HD

SUBTITLES: Italian (original language), German, English, French, Korean, Japanese

BOOKLET: English, German, French

TOTAL RUNNING TIME: 145 mins

“Cernoch is mesmerising in the title-role, particularly in the great confrontation-scenes with his mother and Ophelia.” Presto Editor's Choice, August 2017

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C Major - 740704

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Mozart: Requiem in D minor, K626

Mozart: Requiem in D minor, K626

Felsenreitschule, Salzburg, January 2017


Genia Kühmeier (soprano), Elisabeth Kulman (mezzo-soprano), Julien Behr (tenor), Charles Dekeyse (bass)

Salzburger Bachchor, Les Musiciens du Louvre, Académie Équestre de Versailles, Bartabas, Marc Minkowski

An absolute highlight of Salzburg’s Mozart Week with ‘highest art of sound and riding’ (Kronenzeitung): the French equine artist and theatrical genius Bartabas presents Wolfgang Amadeus Mozart’s Requiem. Horses and riders from the formidable Académie Équestre de Versailles join forces with the Musiciens du Louvre, conducted by Marc Minkowski, the Salzburger Bachchor and ‘an excellent quartet of soloists’ (Kurier), namely Genia Kühmeier, Elisabeth Kulman, Julien Behr and Charles Dekeyser, to place the Requiem into a new theatrical context. Restoring the Felsenreitschule’s original purpose – a riding school – and at the same time including its impressive architecture of arcades into the musical dramaturgy, the production is a breath-taking synthesis of the arts. By meticulously refining the skillfully regulated interactions between humans, animals and music, Bartabas and his horsemen have created a production which is much more than a great show riding choreography: it’s a moving exploration of the interconnectedness of existence. A piece of art with an “exceptional power of attraction” (Schwäbische Zeitung), “a requiem for all senses“ (Kronenzeitung).

SUBTITLES: Latin (original language), German English, French, Korean, Japanese

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C Major - 741904

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