DVD Videos

“captures the sense of music-making on the wing...rarely has the final coda erupted with such overwhelming joy. The same electrifying concentration informs performances of Schoenberg's Variations and Tchaikovsky's Pathetique Symphony, which find Barenboim so emotionally involved that at times he gently coaxes the sounds from the orchestra rather than directing them imperiously.” International Record Review, January 2012

“The core of this superbly well-balanced reading is as passionately dramatic an account of the 'Song of the Wood Dove' as you could hope to hear, with mezzo Mihoko Fujimura marvellously incisive and engaging...Brian Large's cast experience with tele-filming concerts pays off in that viewers should never feel nudged into noticing things which might better pass them by. At the same time, we're given vivid evidence of the large forces involved” Gramophone Magazine, July 2011

“…let's start by praising the filmed introduction to Pelleas, with its abundance of apt paintings from the period, and the way the film-makers extend playwright Maeterlinck's original idea of colour-coding Pelleas as green, Melisande as blue and jealous husband Golaud as red into the underlining of the leitmotifs during the performance. As an ideally flexible, carefully textured performance, the Schoenberg must surely go straight to the top of all recorded interpretations. Mahler Four has strong competition from Abbado's earlier Vienna and Berlin Philharmonic versions... The Gustav Mahler Youth Orchestra strings may not have quite the same sheen, but the extra degree of chamber-musical interaction and the phrasing of Juliane Banse in the most magical song-finale I've ever witnessed should tip the balance in this performance's favour.” BBC Music Magazine, October 2009 *****

“These concerts, spanning 30 years, show Boulez's consistency in achieving precision, colour and clarity. The Debussy and Schoenberg performances are classics, the Stravinsky too civilised.” BBC Music Magazine, January 2009 ****

“Musically, the performance is first-rate, with Franz Grundheber commanding in the Sprechstimme role of Moses, and Thomas Moser coping valiantly with the Aaron's taxing tenor writing. …with Daniele Gatti at the helm this unremittingly intense opera leaves a strong impression.” BBC Music Magazine, July 2007 ****

“A student recently asked Milton Babbitt what he made of the plot of Moses und Aron. 'Oh I don't know, I'm not really a plot person,' he replied.
'Boy meets Girl, Moses meets Aron…' Of course, there's more than a grain of truth to Babbitt's quip.
The bonus to this appearance of Schoenberg's 'opera fragment' on DVD is a discussion which does not attempt to explain what the piece is 'about' (dread phrase) but throws up some arresting images along the way, not least the suggestion that Moses is a 'Führer des Jüdischen Volks'. It certainly accords with the director Reto Nickler's conception of the work as 'a highly topical psychodrama that represents the thorny path between theory and practice'.
Indeed, Schoenberg's absurdly unrealisable stage directions make the last scene of Les Troyens pale into insignificance.
Nickler takes an effectively practical tack, abstract but straightforward. Three-dimensional video conjures the miracles of the First Act, staff into serpent and so forth, while in Act 2 it becomes the focus of consumer materialism.
Aron dons a natty gold jacket while the chorus wave hankies of the same material, economically symbolising the banality of their demands and theology. The Golden Calf is revealed as a set of letters spelling out ICH BIN GOTT, the counterpart of Moses's tablets of stone.
Such intelligent, dramatic pragmatism lends equal lustre to the musical values. It's good to hear a conductor who is steeped in verismo conveying the underestimated sweep of these Biblical declamations, even if it is inevitably at the expense of many of the notes. Both Grundheber and Moser seize every cue for lyrical expression, and the super-size chorus is every bit the collective hero/anti-hero of the piece. The prologue to Act 2 is typically stark and precise, with harsh lighting and tenebrous murk reflecting the sotto voce polyphony of abandonment as the Jewish people sit motionless. Their grim suitcases, their raised clenched fists and mob behaviour, all allude to fresher horrors in Jewish history, until they whip out gold party-frocks and dinner- jackets for the orgy. The Ephraimites become Scaramangas, murdering the true believers to a backdrop of clicking cameraphones and rolling TV coverage – then Z-list celebs totter on as alter egos of the Four Naked Virgins, copulating with the God-letters while Buñuel-esque images of cruelty dominate the giant TV screens. No wonder the Viennese loved it.” Gramophone Classical Music Guide, 2010

“Nickler takes an effectively practical tack, abstract but straightforward. Three-dimensional video conjures the miracles of the first act, staff into serpent and so fourth, whilst in Act 2 it becomes the focus of consumer materialism. The Golden Calf is revealed as a set of letters spelling out ICH BIN GOTT, the counterpart of Moses's tablets of stone. Such intelligent, dramatic pragmatism lends equal lustre to the musical values. It's good to hear a conductor who is steeped in verismo conveying the underestimated sweep of these Biblical declamations... Both Grundheber and Moser seize every cue for lyrical expression, and the super-size chorus is every bit the collective hero/anti-hero of the piece.” Gramophone Magazine, August 2007

“Despite the flood of brilliant music that evokes God, Moses, Aron, Israelites, an orgy, and everyone and everything else, the music is essentially only a messenger. And that is the radical, reflexive idea here: that even this opera itself is probably inadequate to convey the basic unknowability of a higher power. That Schoenberg even attempted to address all of this -- using a multiplicity of techniques in the same piece -- is a bit formidable. He tackles a project with dimensions and implications that are far beyond what most of us can even conceive.” MusicWeb International

“The series was one of the last intelligent contributions to classical music by British television and, even by 1996, one suspects that only a musician of Rattle's stature and determination could have got it made… The line is unapologetically deterministic, the content confident enough to challenge: no room here for the second-rate or 'shamefully neglected'. The Tristan chord leads to the chromaticism of Elektra and inevitably to 12-tone music.” Gramophone Magazine, December 2005