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The Wagner Edition
Der fliegende Holländer
Juha Uusitalo (Der Hollander), Robert Lloyd (Daland), Catherine Naglestad (Senta), Marco Jentzsch (Erik), Marina Prudenskaja (Mary), Oliver Ringelhahn (Der Steuermann)
Chorus of The Netherlands Opera & Netherlands Philharmonic Orchestra, Harmut Haenchen (conductor) & Martin Kušej (director)
Der Ring des Nibelungen
Das Rheingold: Falk Struckmann (Wotan), Graham Clark (Loge), Günter von Kannen (Alberich), Lioba Braun (Fricka), Kwanchul Youn (Fasolt), Matthias Hölle (Fafner), Elisabete Matos (Freia), Wolfgang Rauch (Donner), Jeffrey Dowd (Froh), Francisco Vas (Mime), Andrea Bönig (Erda), Christina Obregón (Woglinde), Ana Ibarra (Wellgunde), Francisca Beaumont (Flosshilde)
Die Walküre: Richard Berkeley-Steele (Siegmund), Linda Watson (Sieglinde), Eric Halfvarson (Hunding), Helen Traubel (Brünnhilde), Falk Struckmann (Wotan), Lioba Braun (Fricka), Sabine Brohm (Gerhilde), Anneger Stumphius (Ortlinde), Marisa Altmann-Althausen (Waltraute), Andrea Bönig (Schwertleite), Heike Gierhardt (Helmwige), Mireia Pintó (Siegrune), Corinne Romijn (Grimgerde), Francisca Beaumont (Rossweisse)
Siegfried: John Treleaven (Siegfried), Deborah Polaski (Brünnhilde), Graham Clark (Mime), Falk Struckmann (Der Wanderer), Günter von Kannen (Alberich), Eric Halfvarson (Fafner), Andrea Bönig (Erda), Cristina Obregón (Waldvogel)
Götterdämmerung: John Treleaven (Siegfried), Deborah Polaski (Brünnhilde), Matti Salminen (Hagen), Falk Struckmann (Gunther), Günter von Kannen (Alberich), Elisabete Matos (Gutrune), Julia Juon (Waltraute), Cristina Obregón (Woglinde), María Rodríguez (Wellgunde), Francisca Beaumont (Flosshilde), Julia Juon (1. Norn), Leandra Overmann (2. Norn), Elisabete Matos (3. Norn)
Symphony Orchestra of the Gran Teatre del Liceu, Bertrand de Billy (conductor); Harry Kupfer (director)
Die Meistersinger von Nürnberg
Gerald Finley (Hans Sachs), Anna Gabler (Eva), Johannes Martin Kränzle (Sixtus Beckmesser), Marco Jentzsch (Walther von Stolzing), Topi Lehtipuu (David), Michaela Selinger (Magdalene), Alastair Miles (Veit Pogner), Henry Waddington (Fritz Kothner), Mats Almgren (Nightwatchman), Colin Judson (Kunz Vogelgesang), Andrew Slater (Konrad Nachtigall), Alasdair Elliott (Balthasar Zorn), Adrian Thompson (Ulrich Eisslinger), Daniel Norman (Augustin Moser), Robert Poulton (Hermann Ortel), Maxim Mikailov (Hans Schwarz), Graeme Broadbent (Hans Foltz)
London Philharmonic Orchestra, The Glyndebourne Chorus, Vladimir Jurowski (conductor) & David McVicar (stage director)
Klaus Florian Vogt (Lohengrin), Solveig Kringelborn (Elsa), Waltraud Meier (Ortrud), Tom Fox (Telramund), Hans-Peter König (King Heinrich), Roman Trekel (Herald)
EuropaChorAkademie Mainz, Chorus of the Opéra national de Lyon & Deutsches Symphonie-Orchester Berlin, Kent Nagano (conductor) & Nikolaus Lehnhoff (stage director)
Christopher Ventris (Parsifal), Waltraud Meier (Kundry), Matti Salminen (Gurnemanz), Tom Fox (Klingsor), Thomas Hampson (Amfortas), Bjarni Thor Kristinsson (Titurel)
Deutsches Symphonie-Orchester Berlin & Festspielchor Baden-Baden,, Kent Nagano (conductor) & Nikolaus Lehnhoff (stage director)
Stig Andersen (Tannhäuser), Tina Keberg (Elisabeth), Susanne Resmark (Venus), Tommi Hakala (Wolfram), Stephen Milling (Hermann)
Royal Danish Opera, Friedemann Layer (conductor), Kasper Holten (stage director)
Tristan und Isolde
Robert Gambill (Tristan), Nina Stemme (Isolde), Katarina Karnéus (Brangäne), Bo Skovhus (Kurwenal), René Pape (König Marke), Stephen Gadd (Melot), Timothy Robinson (Hirt/Junger Seemann), Richard Mosley-Evans (Steuermann)
London Philharmonic Orchestra, The Glyndebourne Chorus, Jirí Belohlávek (conductor), Nikolaus Lehnhoff (stage director)
This set presents all of Wagner’s mature operas from seven leading European opera houses recorded during the last decade, featuring many of the most acclaimed Wagner singers of our age, in productions which exult in the force of Ezra Pound’s dictum, ‘Great art is news that stays news’. The directors Harry Kupfer, Nikolaus Lehnhoff, David McVicar and others heed Wagner’s own persuasive plea, ‘Children, make it new’, in stagings employing sophisticated modern technology within grand designs which face up to the breadth of Wagner’s dramatic genius and the social and political implications of his work for us today.
Special Wagner anniversary DVD collection presented in luxury packaging.
Released at a highly competitive price.
Running time: 40 hours approx.
Subtitles: Der Fliegende Holländer: EN/FR/DE/ES/NE
Der Ring Des Nibelungen: EN/FR/ DE/ES/CA/IT
Lohengrin: EN/FR/ DE/ES/IT
Tannhäuser: EN/FR/ DE/ES/DA/CH
Parsifal: EN/FR/ DE/ES/IT
Tristan und Isolde – EN/FR/ DE/ES/IT
Sound format: LPCM Stereo & 5.1 DTS (except Der Fliegende Holländer: Dolby Digital 2.0 & 5.1 DTS)
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Stage Director: Nikolaus Lehnhoff
Glyndebourne’s celebrated production of Nikolaus Lehnhoff’s Tristan und Isolde is a supremely intelligent achievement; gravely beautiful, haunting and meditative, it is deeply reflective rather than visceral, fortified by Roland Aeschlimann's stunningly effective set, a womb-like space through which the protagonists move like gods. Conductor Jirí Belohlávek mirrors Lehnhoff's approach in his sophisticated plumbing of the score's depths, with every shift in texture carefully laid bare by an inspired London Philharmonic Orchestra. Nina Stemme's Isolde and Robert Gambill's Tristan, both gloriously lyrical, are matched by superb performances from René Pape as the betrayed and vulnerable King Marke and Bo Skovhus as Kurwenal, deeply touching in his helpless devotion to Tristan. This High Definition recording of a production of uncommon intimacy reveals the opera's music and drama in a new light.
‘On the set’ - a slide show of the set being built.
‘Trimborn on Tristan’ – a talk about the musicological & philosophical backgrounds of Tristan und Isolde.
PICTURE FORMAT: 16:9
LENGTH: approx 350 Mins
SOUND: DTS SURROUND 5.1 / LPCM STEREO
“A performance realised to Glyndebourne's highest standards - the chorus and stage brass are Bayreuth-level, the casting immaculate (they can all really sing these parts) and Belohlávek's conducting balanced with a Goodall-like attention to the filigree detail of Wagner's new-wave scoring.” Gramophone Magazine, August 2008
“Stemme's fiery Irish princess is even finer than on the Domingo CD… Gambill's burly Tristan projects a darker, more resigned intensity… Pape's black-voiced Marke rightly dominates the stage… Karneus is a passionate, lusciously sung Brangäne. Lehnhoff's Glyndebourne production doesn't outclass Daniel Barenboim's magnificent video... But those looking for a Tristan with warmth and immediacy will find it certainly shares Barenboim's benchmark recommendation.” BBC Music Magazine, March 2008 *****
“I don’t think that I have ever witnessed a more perfect realisation of a Wagner opera than this superb Tristan und Isolde. …[Jirí Belohlávek] is scrupulous with the score, and takes his time over it: the pauses and silences are immense and there is no factitious attempt to whip up excitement by speeding. …a great and unforgettable occasion” The Telegraph
“The filming of each act begins annoyingly with a Star Wars storyline pan-in on the words 'Tristan und Isolde', 'Act 2' etc, using up the preludes. After that, however, comes a performance realised to Glyndebourne's highest standards – the chorus and stage brass are Bayreuthlevel, the casting immaculate (they can all really sing these parts), and Belohlávek's conducting balanced with a Goodall-like attention to the filigree detail of Wagner's new-wave scoring.
Old-style analyses of the music used to talk about the 'glance' motif. Lehnhoff's staging deploys a series of heartbreaking glances: Stemme's Isolde when Karnéus's Brangäne tells her she's taken the love draught, Stemme again when Tristan arrives in Act 2, Pape's Marke as he sees the lovers together and, at BrokebackMountain-level, Skovhus's Kurwenal as he cradles Gambill's Tristan then breaks away, half in fear of his lord's death, half in fear of his feelings for him. In fact, has a Tristan ever been so deeply loved by his lady and squire as here, or felt so wretched at betraying his king? And is Skovhus actually the greatest Kurwenal yet recorded? Roland Aeschlimann provides a geometrically attractive whorl of a standing set, concentric wooden circles telescoping towards a constantly varied horizon: a ship, a spaceship, everywhere, nowhere – perfect. The lighting (Robin Carter and Aeschlimann) has a genuine physical presence and seems to reinvent the colour blue. At the point of Isolde's almost belated arrival in Act 3, a surreal, Ingmar Bergman-like atmosphere permeates events: she arrives from behind on high as a figure of death and wraps him in a black cloak, while Skovhus's poignant Kurwenal gets a non-realistic, Brechtian centre-stage for his fights and death.” Gramophone Classical Music Guide, 2010
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Stage Director: Nicolas Joël; Sets: Ezio Frigerio; Lighting: Hans-Rudolf Kunz; Choreography: Stefano Giannetti
“Nicolas Joël's… cleverly circumvents the traditional imagery by setting the action at roughly the time of composition (1870-1), in the… context of the scramble for Africa. The exoticism of Aïda is preserved, yet the characters (costumed by Franca Squarciapino) are brought closer to 'home'. It helps that Zurich's excellent cast play their roles with such dramatic and musical conviction, a rare combination in Aïda. Making her debut in the title role, Nina Stemme... gives a beautiful and touching performance.” BBC Music Magazine, August 2007 *****
“At last an Aida on DVD that can hold its head high and surpass its lesser rivals. Last year's production from the Zürich Opera is a traditional one by Nicolas Joël in veteran Ezio Frigerio's wonderfully evocative, highly coloured sets. Stemme offers a deeply considered, expressive and superbly sung Aida, one for whom the work's vocal perils do not seem to exist. Add to that acting that goes to the heart of the matter, and one is left breathless in admiration... Licitra has done nothing better than his Radames here. He and Stemme make their Act 3 duet the highlight it should be.” Gramophone Magazine, September 2007
“This 2006 production from the Zurich Opera is a traditional one by Nicolas Joël in veteran Ezio Frigerio's wonderfully evocative, highly coloured sets. Then Adám Fischer in the pit leads a remarkably strong yet subtle account of the score, which – when played and sung like this – is once more revealed as one of Verdi's greatest masterpieces.
Four of the principals easily surpass their DVD rivals. Stemme offers a deeply considered, expressive and superbly sung Aida, one for whom the work's vocal perils do not seem to exist. Add to that acting that goes to the heart of the matter, and one is left breathless in admiration after so many sopranos not truly fitted to the part. Licitra has done nothing better than his Radames here. At last fulfilling his potential, he sings the role with an open-hearted sincerity and a heroic voice up to the part's exigent demands.
He and Stemme make their Act 3 duet the highlight it should be.
D'Intino, an experienced Amneris, sings her role with intense feeling allied to a mezzo of generous proportions. The demands of her Act 4 scena are fully met, and she storms off to a well earned burst of applause. Stemme and Licitra give the final scene with the utmost sensibility. Salminen remains a force to be reckoned with, but Pons – as Amonasro – no longer is the baritone he once was, although dramatically he is up to the part.
The showpiece close to Act 2 is the one comparative disappointment, not offering the frisson it ought to. And here Andy Sommer's video direction is uncertain, too often dividing the screen into three for no discernible purpose, but he directs the principals with a deal of senstivity.
So this is the DVD Aida we have long awaited.” Gramophone Classical Music Guide, 2010
BBC Music Magazine
DVD Choice - August 2007
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Staged by David Poutney
“The cast is a dream team” wrote the Financial Times after the premiere of this production of Verdi’s La forza del destino at the Wiener Staatsoper. Topping the list is Nina Stemme, who gives a full-blooded portrayal of Leonora. Passionate forceful readings are also provided by Salvatore Licitra as Alvaro and Carlos Álvarez as Don Carlo. Zubin Mehta leads Staatsoper Orchestra with agility, subtleness and relaxed mastery, and right from the start David Poutney establishes an atmosphere of entrapment by fate. With the aid of a bizarre, unforgettable stage construction, the acclaimed director finds an ideal setting to illustrate the merciless powers of chance and destiny.
Running Time Total: 161 minutes
DVD: DTS 5.1, PCM Stereo
“Pountney's unfussily direct handling of the tragic side of the drama plays to his cast's strengths. Compared to his colleagues here, the late Salvatore Licitra may not have been the stage's most natural actor but...a terrific passion carries all before it....And Nina Stemme's Leonora? A hugely well-acted assumption of the role, with (in the 'Pace! Pace, mio dio' scena) the uncanny presence and vocal fury offered by Price, Barstow or Freni.” Gramophone Magazine, March 2012
“Dramatically convincing, [Alvarez] broods darkly and his burnished baritone, although not ringing out as freely as one would wish, is powerful...Stemme is an involving Leonore, with a lovely rich lower and mid-register tone, but she is strained and variable above the stave...Krasteva throws herself into cowgirl Preziosilla with gusto, although her fruity mezzo noticeably lacks a trill...Mehta conducts effectively.” International Record Review, February 2012
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Live Recording from The Gran Teatre Del Liceu, Barcelona, 2005
Nina Stemme (Jenůfa), Eva Marton (Kostelnička Buryjovka), Victoria Cortez (Stařenka Buryjovka), Jorma Silvasti (Laca Klemeň) & Pär Lindskog (Števa Buryja)
Gran Teatre Del Liceu, Peter Schneider (conductor) & Olivier Tambosi (director)
Set Design & Costumes by Frank Philipp Schlössmann
Arthaus presents a staging of Jenůfa sung in the original Czech language. The production was directed by French-Austrian opera director Olivier Tambosi. For Janáček, opera was a vehicle for describing reality, and he pushed this idea to the point of fashioning a new theory about verismo. Its basis was that the two major strands, music and drama, were to be linked indivisibly in his operas. Olivier Tambosi takes up the challenge in a Jenůfa that is realistic, clear and direct in its exposition of the characters’ feelings. Yet he is also concerned to make key motifs in the work visible through symbolic elements on stage.
The director’s haunting dramaturgy is admirably brought to life by a cast of outstanding singer-actors. The result is a Jenůfa of immediately accessible emotions, with altogether physical characterization, explicit and more brutal than other stagings of the opera.
Sound Format: LPCM Stereo, DD 5.1, DTS 5.1
Picture Format: 16:9
DVD Format: DVD 9, NTSC
Subtitle Languages: DE, GB, FR, ES, IT, Catalan
Running Time: 127 mins
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