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Daniil Trifonov: The Magics Of Music
plus The Castelfranco Veneto Recital
The films offer an intimate view of the artist and his hardly-believable gifts which are currently astonishing the world. Daniil Trifonov started to play the piano at the age of five, not because he wanted to play the piano but because he wanted to compose.
That was unusual enough but it was only the beginning of a musical quest which led to his winning both the Tchaikovsky and Rubinstein competitions at the age of 20 — an astonishing feat.
In these two films Trifonov talks revealingly about his musical concerns but his modesty prevents him from saying anything at all about his extraordinary technique, “I am just playing the piano” he says. “There are people doing even more crazy things”.
The films contain a number of performances shot live on stage with cameras unusually close to the artist which adds consideraby to the power of the images. They also present him in conversations which demonstrate his earnestness, his exceptional modesty and his gloriously high intelligence.
In the portrait film Trifonov plays music by Chopin, Ravel and Trifonov himself: part of his first piano Concerto, filmed at the world premiere performance which took place at the Cleveland Institute, in the United States, in April 2014.
In the performance film he plays music by Chopin, Scriabin, Johann Strauss (arranged Trifonov) and Rachmaninov — a performance of the rarely heard Variations on a Theme of Chopin, in the elegant Teatro Accademico in Castelfranco Veneto, near Venice in Italy.
Region: 0 (all regions)
Picture format: 16:9
Sound: Dolby Digital 2.0 Stereo
Subtitles: French, German, Italian, Japanese, Spanish, Traditional Chinese
Running time: 103 Minutes
Scheduled for release on 1 June 2015. Order it now and we will deliver it as soon as it is available.
Bang on a Can All-Stars: Field Recordings
1. Julia Wolfe: Reeling
2. Florent Ghys: An Open Cage
3. Michael Gordon: Gene Takes a Drink
4. Christian Marclay: Fade to Slide
5. David Lang: unused swan
6. Tyondai Braxton: Casino Trem
7. Jóhann Jóhannsson: Hz
8. Todd Reynolds: Seven Sundays
9. Steve Reich: The Cave of Machpelah
10. Bryce Dessner: Maximus to Gloucester, Letter 27 [withheld]
11. Mira Calix: meeting you seemed easy
12. Anna Clyne: A Wonderful Day
1. Michael Gordon: Gene Takes a Drink
2. Jóhann Jóhannsson: Hz
3. Bryce Dessner: Maximus to Gloucester, Letter 27 [withheld]
4. Mira Calix: meeting you seemed easy
5. Nick Zammuto: Real Beauty Turns
Field Recordings, the new multimedia project from the Bang on a Can All-Stars, is as rooted in mystery and experimentation as it is in the collaborative spirit - in the words of composer David Lang, “It’s
a kind of ghost story. We asked composers from different parts of the music world to find a recording of something that already exists - a voice, a sound, a faded scrap of melody - and then write a new piece around it.”
In the capable hands of the All-Stars, Field Recordings taps into film, found sound and obscure audio-visual archives, bridging the gap between the seen and the unseen, the present and the absent, the past and the future.
Concert performances have featured radical new video projections, several of which appear on the bonus DVD, while the 12-track CD consists of commissioned music by some of the most inquisitive and unconventional composers in any genre, from indie art-rock (Nick Zammuto/The Books, Tyondai Braxton/Battles) to electronica (Mira Calix) to post-classical (Michael Gordon, David Lang, Julia Wolfe) to the art world (Christian Marclay).
(also available to download from $10.00)
Scheduled for release on 1 June 2015. Order it now and we will deliver it as soon as it is available. (Available now to download.)
Les Grandes Répétitions: Stockhausen & Varèse
Films by Luc Ferrari & Gérard Patris
Karlheinz Stockhausen: Momente (1965, 45 minutes)
Martina Arroyo [soprano] Alfons & Aloys Kontarsky [electric organs]
Choir & Orchestra of the Westdeutsche Rundfunk, Karlheinz Stockhausen [conducted]
Hommage à Edgard Varèse (1965, 66 minutes)
Domaine Musicale Orchestra, Bruno Maderna [conductor]
Ensemble Instrumentale de Musique Contemporaine de Paris, Konstantin Simonovic [conductor]
Between 1965-68, the composer Luc Ferrari collaborated with director Gérard Patris on a series of filmed intimate portraits of great musicians, 'Les Grandes Répétitions' (The Great Rehearsals). Created for the ORTF, and encouraged by its director Pierre Schaeffer, these remarkable films were shown on French TV. They are remarkable not only for their exceptional content, but also for the creative camera work, including dynamic hand-held shots and croppings, and the juxtaposition of music and talk.
Mode has selected two of these films, on Karlheinz Stockhausen and Edgard Varèse, for this DVD. It is the first time these films have been released outside of France, and the first time they have been issued with English subtitles — prepared especially for this Mode release.
Karlheinz Stockhausen: 'Momente' is an extraordinary document. Recorded during rehearsals for the premiere of his monumental work 'Momente' (scored for soprano solo, 2 choirs, orchestra and 2 electric organs) in Cologne, Stockhausen discusses the genesis and meaning of this work dedicated to his wife. The film’s rehearsal sequences, with Stockhausen as conductor, are a revelation as he works out details with the soprano Martina Arroyo, the choir and orchestra. The musical sections are intercut with footage of Stockhausen speaking — often as the camera follows him around the studio — capturing his youthful energy and charisma.
'Hommage à Edgard Varèse' (1965, nb, 66 ') is a tribute to Varèse, who unfortunately died a few days before filming began. Iannis Xenakis, Olivier Messiaen, Herman Scherchen, André Jolivet, Pierre Schaeffer, Pierre Boulez, Konstantin Simonovic, Ferdnand Ouellette and Marcel Duchamp speak of the personality and work of this 'musical architect'. Varèse’s voice is also heard. A complete performance of Varèse’s percussion ensemble classic 'Ionisation' is shown (Simonovic conducting), and Bruno Maderna directs a rehearsal of 'Deserts'.
Region 0, NTSC, Aspect Ratio 4:3 Black & White
Duration: 111 minutes, PCM Mono
In French & German with English subtitles
Scheduled for release on 25 May 2015. Order it now and we will deliver it as soon as it is available.
Marion Cotillard (Jeanne d’Arc), Xavier Gallais (Frère Dominique), Yann Beuron (Porcus, Héraut I, Le Clerc), Maria Hinojosa (La Vierge), Aude Extrémo (Catherine), Anna Moreno-Lasalle (La mère aux tonneaux), Eric Martin-Bonnet (Une Voix, Héraut II, Paysan), Carles Romero Vidal (Héraut, L’âne, Bedford, Jean de Luxembourg)
Barcelona Symphony & Catalonia National Orchestra, Marc Soustrot
Jeanne d’Arc au bûcher, written by the Swiss composer Arthur Honegger in 1938, is a fascinating oratorio. The text by Paul Claudel is constructed like a flashback, in which Joan looks back over her life just before she dies.
The actor Marion Cotillard (Inception, The Dark Knight Rises and La Vie en Rose) plays Joan with an overwhelming intensity and sincerity. The last moments of the martyr’s life, illustrated by the evocative and innovative music of Honegger, resound like a heartrending cry.
With an exceptional cast of performers, this live recording offers a gripping new version of one of the masterpieces of twentieth-century music.
Available seperately in two formats – DVD and CD
Usually despatched in 4 - 5 working days.
By Michel Legrand & Jacques Demy. Symphonic Version – World Premiere. Sung in French
Marie Oppert (Geneviève Emery), Natalie Dessay (Madame Emery), Vincent Niclo (Guy Foucher), Laurent Naouri (Roland Cassard), Louise Leterme (Madeleine)
Orchestre national d’Ile-de-France, Michel Legrand (conductor) & Vincent Vittoz (stage director)
Recorded live at Paris’ Châtelet Theatre in Autumn 2014, this is a magical stage adaptation of Jacques Demy’s iconic 1964 film Les Parapluies de Cherbourg (The Umbrellas of Cherbourg). Michel Legrand conducts a 75-piece symphony orchestra in his own hauntingly lyrical score, while the pivotal role of Madame Emery is taken by soprano Natalie Dessay, renewing the collaboration she established with Legrand on the 2013 Erato album Entre elle et lui.
The 1964 film Les Parapluies de Cherbourg (The Umbrellas of Cherbourg) – directed by Jacques Demy, with a score by Michel Legrand and starring a young and luminous Catherine Deneuve – is an international icon of French culture. For millions of people around the world, its haunting love theme – known in English as ‘I Will Wait For You’ – exemplifies Legrand’s musical style.
Before this production at the Châtelet Theatre in Paris in Autumn 2014, staged versions of Les Parapluies de Cherbourg had been mounted in New York and Paris (in 1979) and in London (2011), but this was the first to feature a full-size symphony orchestra – the 75 members of the Orchestre national d'Île-de-France, conducted by Legrand himself.
It was also the first production to feature two singers celebrated for their achievements on the operatic stage: Natalie Dessay, who plays Madame Emery, the proprietor of an umbrella shop in the Normandy port of Cherbourg and mother of 17-year-old Geneviève (the character originally played by Catherine Deneuve), and Laurent Naouri, Natalie Dessay’s real-life husband, as the wealthy Parisian jeweller Roland Cassard, who courts Geneviève, even though she is pregnant by another man – her true love, Guy, who, since the action takes place in 1957, has been drafted to fight in the war in Algeria.
Both Dessay and Naouri captured the spirit and style of Les Parapluies de Cherbourg perfectly. As Michel Legrand himself has said, it occupies a special place between the world of the musical and the world of opera, since all the dialogue is sung rather than spoken. Jacques Demy died in 1990, but the fluidity of his screenplay was captured at the Châtelet by director Vincent Vittoz in an imaginative and witty semi-staged production. Rather than evoking the intensely vivid visual language of the film, the show was unashamedly and brilliantly theatrical, placing the orchestra on stage with the singers and making use of simple, flexible decor of charming cut-outs based on drawings by Jean-Jacques Sempé, famous for his cartoons for magazines such as Paris Match and The New Yorker.
This is not the first time Dessay, Legrand and Naouri have collaborated on a project for Erato: Naouri was one of the guest artists on the best-selling 2013 album Entre elle et lui, on which Dessay and Legrand performed 18 of Legrand’s songs. On the stage at the Châtelet they were joined by Marie Oppert – like her character, Geneviève, a 17-year-old – and, in the role of Guy, the popular light tenor Vincent Niclo. The 82-year-old Legrand, meanwhile, made a surprise entrance at the opening of the show, wearing an elegant raincoat and wielding a yellow umbrella.
Welcoming a “a wonderful evening of nostalgia” Le Figaro had special praise for Natalie Dessay’s “astonishing musical and theatrical intelligence”, while Le Point, describing the production as “a magically refined interpretation” and the score as “marvellous – both sophisticated and heartbreaking”, lauded the entire cast, but singled out young Marie Oppert as “a real revelation”. The US magazine Opera News, meanwhile, wrote that: “The composer [Legrand] conducted his own enriched orchestration with age-defying energy and was rewarded with superb playing from the Orchestre National d’Île-de-France ... There was a standing ovation from the first-night audience; nobody would dare begrudge them this classy piece of nostalgia.”
In stock - usually despatched within 1 working day.
Based on Six Memos for the Next Millennium
Music for the eyes: Lightness, Quickness, Exactitude, Visibility, Multiplicity— a collection of five essays by Italo Calvino forms the thematic basis of the production Grace Note, in which PHACE collaborates with a group of internationally renowned artists: Arturo Fuentes, Austrian choreographer Chris Haring, and Günter Brus. In this interdisciplinary project, the visual, performance art, sound, acoustic instruments and electronics interlock with each other to form a dynamic structure of reaction and interaction, sound and motion. In the manner of a film in which parallel stories and temporal levels come together to form an overall narrative, five scenes are created in which a bodily movement can break a sonic rhythm or a drawn line can touch off a series of new events. PHACE interprets music that is in constant motion, much like a harmonic rain falling fragmentarily onto the bodies present on the stage.
Usually despatched in 2 - 3 working days.
London Welsh Festival of Male Choirs 2008
Usually despatched in 4 - 5 working days.
Barbara Hannigan: Concert & Documentary
She crosses boundaries and loves to explore new territory.
Barbara Hannigan is one of the most fascinating and multifacetted artistic personalities of our time. She sets new standards as a singer, conductor, and performance artist.
The intimate portrait “I’m a creative animal” takes the viewer into the world of an exceptional musician – a world of both passion and discipline. Her performances possess a breathtaking intensity because of her exquisite vocal technique and virtuosity, musical and theatrical expressivity, and uncompromising engagement. In this concert with the Mahler Chamber Orchestra, Hannigan both sings and conducts to effortlessly build bridges linking different musical epochs. With a phenomenal performance of Ligeti’s Mysteries of the Macabre, a work for which she is famous, she once again confirms her reputation as the performer of contemporary music – “The audience went wild.” (Neue Zürcher Zeitung)
DOCUMENTARY I’m a creative animal –Barbara Hannigan
A film by Barbara Seiler
Picture Format DVD: NTSC 16:9
Sound Formats DVD: PCM Stereo, Dolby Digital 5.1, DTS 5.1
Region Code: 0 (worldwide)
Running Time Concert: 71:38 min
Running Time Documentary: 51:17 min
Disc Format: DVD‐9
Subtitles Concert: Original (It./Eng.)
Languages Documentary: English, German, French
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Opéra de Lille, 2014. Sung in Italian
Carlo Allemano (Don Anchise, Podestà), Erin Morley (Sandrina/Violante), Enea Scala (Comte Belfiore), Marie-Adeline Henry (Arminda), Marie-Claude Chappuis (Ramiro), Maria V. Savastano (Serpetta) & Nikolay Borchev (Roberto (Nardo))
Le Concert d'Astrée, Emmanuelle Haïm (conductor) & David Lescot (stage director)
Alwyne de Dardel Set designs
Sylvette Dequest Costume designs
Paul Beaureilles Lighting design
Atsushi Sakaï Assistant to the music director
Philippe Grisvard Chorus master
Jean-Pierre Loisil Movie director
The French conductor Emmanuelle Haïm conducts here her music ensemble Le Concert d'Astrée during this performance of Mozart's La Finta Giardiniera at the Opéra de Lille (France) on March 22nd and 25th 2014. This production, directed by David Lescot, stars a remarkable cast, with Erin Morley and Enea Scala in the roles of the Contino Belfiore and the Marchioness Violante Onesti.
Mozart was just 18 when La finta giardiniera (The pretend gardener-girl) was first seen in early 1775, though he already had a number of operas to his name. It was another six years before the first opera of the composer’s mature canon, Idomeneo, received its premiere.
A comedy (opera buffa) with a plot of extravagant complexity, La finta giardiniera provides early evidence of Mozart’s ability to capture the more serious truths that lurk beneath a farcical surface. It has been rising in popularity in recent years, with productions in such operatic centres as Berlin and Moscow and the Glyndebourne Festival, and it will be staged at the Santa Fe Opera in New Mexico in Summer 2015. Its central character is a young noblewoman, Violante Onesti, who is disguised as a gardener and going under the name of Sandrina. She is recovering from the emotional and physical wounds inflicted on her by her former lover, Count Belfiore, who is now betrothed to the tempestuous Arminda.
In Spring 2014 Emanuelle Haïm conducted her orchestra Le Concert d'Astrée and a carefully-chosen cast in La finta giardiniera, staged by the French director David Lescot, in the cities of Lille and Dijon; the production was described by the French newspaper La Croix as “three hours of pure happiness”. This video recording from Lille joins Haïm’s Erato DVDs of operas by Monteverdi (L’incoronazione di Poppea) Rameau (Hippolyte et Aricie) and Handel (Giulio Cesare). Lescot’s striking staging provides a contemporary take on the 18th century and the designs (by Alwyne de Dardel) evoke a garden by means of plants and shrubs in large pots – notably, Arminda is symbolised by a ferociously oversized Venus Flytrap. Later, as the plot thickens, the stage is spectacularly transformed into a forest. As the French music magazine Diapason wrote: “A director who is skilled at marrying word and music, David Lescot took ownership of the score, sensing its pulse, its respiration, its nuances and its schisms.”
The UK’s Opera magazine praised the production for its “clarity and simplicity”, judging that: “David Lescot’s direction ... demonstrated how these archetypes from opera buffa could be transformed through Mozart’s music into mature characters who had developed self-knowledge ... Emanuelle Haïm’s conducting ... captured the sense of dramatic progression in the extended finales of the first two acts, while also allowing the final act a sense of pace and dignity ... Enea Scala brilliantly conveyed Belfiore’s journey from a foppish, vainglorious figure of fun to a lover genuinely remorseful for his past mistakes, and displayed a secure, focused line in his singing. Erin Morley was an equally appealing Sandrina, with a voice of limpid clarity allied to a fine dramatic sense of her ability to transform Belfiore after their mutual moments of madness. Marie-Adeline Henry was a gloriously fiery Arminda.”
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Dinara Alieva in Moscow
Rising superstar soprano Dinara Alieva – a mainstay at the Bolshoi Opera since 2010 – has been entrancing opera and concert audiences throughout Europe and elsewhere ever since, appearing to consistent acclaim in major roles at many of the world’s top houses.
This exciting and consistently delightful live concert video – following her highly successful prior CD release on Delos, 'Pace mio Dio' (DE3462) – showcases not only her voluptuous voice, interpretive power and stylistic versatility, but also (thanks to the visual element) her stunning glamour and charismatic stage presence.
The varied and highly appealing program encompasses operatic favourites from such composers as Charpentier, Massenet and Cilea – as well as lighter fare from the Spanish Zarzuela and the Viennese operetta traditions, plus several beloved popular standards.
Woven through the vocal program is a series of scintillating orchestral bonbons courtesy of conductor Constantine Orbelian (per Opera News, “…the singer’s dream collaborator) leading the superb Russian National Orchestra and the vaunted Grand Choir, Masters of Choral Singing.
Also includes a Potpourri of Russian songs: 'Homage to Deanna Durbin', from the film 'The Butler’s Sister'.
Delos - DV7007
In stock - usually despatched within 1 working day.