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Michael Volle

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Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Live recording, Aula Paolo VI, Vatikan in Rome, 27.10.2007


Hollow pathos is not his thing. From an artist like Mariss Jansons, Friedrich Schiller’s ode An die Freude has a far deeper significance, which also fully encompasses the doubt and profound hope embodied in this text. And thus, in Jansons’s recording of the Ninth Symphony, the choral finale does not degenerate to a merely superficial jubilation, but rather becomes a delicately balanced, wisely developed drama. On October 27 2007, the Symphonieorchester des Bayerischen Rundfunks played Beethoven’s Ninth in the presence of the Pope in the Vatican. The recording of this memorable concert is now being released by BR-KLASSIK.

Released or re-released in last 6 months

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BR Klassik - 900156

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Mariss Jansons conducts Beethoven Symphony No. 9

Mariss Jansons conducts Beethoven Symphony No. 9


Beethoven:

Symphony No. 9 in D minor, Op. 125 'Choral'

Live recording, Tokio Suntory-Hall 01.12.2012


The Symphonieorchester des Bayerischen Rundfunks has already performed several Beethoven symphony cycles in the concert hall. Its chief conductor Mariss Jansons has now extended and enhanced the cycle concept, with guest performances in Tokyo's Suntory Hall with its excellent acoustics and the publication of live recordings of these outstanding concert events. The live recording of Beethoven's Symphony No. 9 was made in 2012 in Tokyo's Suntory Hall with its spectacularly good acoustics, and was extremely well received by the public and press. Soon after the tour, the Music Pen Club of Japan praised Mariss Jansons for his "new, modern and transparent-sounding Beethoven." Christiane Karg, Mihoko Fujimura, Michael Schade and Michael Volle, all of whom have worked regularly with the Symphonieorchester des Bayerischen Rundfunks, can be heard as the vocal soloists.

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BR Klassik - 900139

(CD)

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Wagner: Das Rheingold

Wagner: Das Rheingold


Michael Volle (Wotan), Tomasz Konieczny (Alberich), Burkhard Ulrich (Loge), Elisabeth Kulman (Fricka), Herwig Pecoraro (Mime), Peter Rose (Fasolt), Eric Halfvarson (Fafner), Annette Dasch (Freia), Janina Baechle (Erda), Christian van Horn (Donner), Benjamin Bruns (Froh), Mirella Hagen (Woglinde), Stefanie Irányi (Wellgunde), Eva Vogel (Flosshilde)

Symphonie-Orchester des Bayerischen Rundfunks, Simon Rattle

The general consensus over the past few years among music critics and the public at large is that everything the conductor Sir Simon Rattle touches "turns to gold". Everything with the exception of the music dramas of Richard Wagner, that is! The oft-repeated assertion here is that Rattle and Wagner do not go together, even though no good reasons have been furnished to support this. The third collaboration between Rattle and the Symphonieorchester des Bayerischen Rundfunks, together with a team of the very best Wagner singers, now conclusively proves the opposite. This concert performance of "Das Rheingold", the first opera in Wagner's mighty tetralogy "The Ring of the Nibelung", was performed live in the Herkulessaal of the Munich Residenz on April 24 and 25, 2015, and has now been brought out by BR KLASSIK on two CDs only a few months after the event.

No question about it: Rattle is a master of the Rheingold score, which is certainly a tricky one due to its closely interwoven ensemble of soloists and to the fact that the orchestra does not accompany events and flow round them in a lofty manner, as in other Wagnerian music dramas, but is also sometimes quite openly rebellious! Rattle has already impressively proven his expertise at handling the music of Wagner on two occasions: in 2004 in London, together with the Orchestra of the Age of Enlightenment, and in 2006 in Berlin with the Berlin Philharmonic. The fact that he is more inclined to conduct this "evil conversation piece, almost a black comedy" (as Robert Braunmüller described "Das Rheingold" in the Munich "Abendzeitung") with light and sometimes even dance-like inflections, and that he has the orchestra play with a great deal of colour and detail, shakes a little of the supercilious Wagnerian dust from this work, without in any way compromising the glittering brilliance of the musical sound. The soloists – all of them very good without exception - blend in completely with Rattle's fine interpretation, which is very much in the spirit of the drama.

Audiences and critics alike were unanimously delighted by the Munich concert performances. Even more than in the small Herkulessaal, which already enabled more intimate insights into the structures of the score and of the aesthetic created by Rattle, this listening experience on CD makes it clear "just how radically the avant-garde artist Richard Wagner composed in every single bar" (Reinhard J. Brembeck, "Sueddeutsche Zeitung").

“His conducting is fast, as Wagner preferred and intensely dynamic but he avoids Boulez's glibness, illuminating the drama of the moment in a mercurial, almost Solti-like fashion...he seems to have encouraged his singers to act - with a vengeance...for sheer dramatic dash and glowing orchestral sound this is remarkable, promising an exciting Ring to come.” BBC Music Magazine, January 2016 *****

GGramophone Awards 2016

Shortlisted - Opera

GGramophone Magazine

Editor's Choice - October 2015

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BR Klassik - 900133

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Michael Volle – A Portrait

Michael Volle – A Portrait


Handel:

Messiah: Thus saith the Lord

Te Deum in D major 'Dettingen', HWV283: Vouchsafe, O Lord

Lehár:

Da geh' ich zu Maxim (from Die Lustige Witwe)

Millöcker:

Dunkelrote Rosen (from Gasparone)

Mozart:

Deh! vieni alla finestra (from Don Giovanni)

Fin ch'han dal vino (from Don Giovanni)

Tutto e disposto...Aprite un po' quegl'occhi (from Le Nozze di Figaro)

Schubert:

An Sylvia, D891

Gruppe aus dem Tartarus, second version, D583 (Schiller)

Erlkönig, D328

Verdi:

Confutatis (from Requiem)

O Carlo, ascolta (from Don Carlo)

É sogno, o realta? (from Falstaff)

Ehi! Paggio! ... L'onore! Ladri! (from Falstaff)

Wagner:

Wie Todesahnung...O du, mein holder Abendstern (from Tannhäuser)

Nein, Lasst ihn unenthüllt (Parsifal)

Wahn! Wahn! Überall Wahn! (from Die Meistersinger von Nürnberg)


BR-Klassik presents the first portrait CD of baritone Michael Volle. Volle is a long-standing member of Bavarian State Opera choral ensemble.

This disc includes works from the Messiah, Don Giovanni and The Marriage of Figaro. Volle also commemorates Wagner and Verdi’s 200th Anniversary by singing arias from Parsifal, Tannhäuser, Don Carlos and Falstaff.

Previous recordings include, St John’s Passion (Harmonia Mundi); Ariadne Auf Naxos (Art Haus) and Zemlinksy: 21st Century Classics (EMI Classics).

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BR Klassik - 900312

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Schoenberg: Gurrelieder

Schoenberg: Gurrelieder

Live Recording: 60th anniversary-concert of the Symhonieorchester des Bayerischen Rundfunks, 22./23.09.2009, Munich Philharmonie


Deborah Voigt (Tove), Mihoko Fujimura (Wood-Dove), Stig Andersen (Waldemar), Herwig Pecoraro (Jester) & Michael Volle (Peasant/Speaker)

NDR Chor, MDR Rundfunkchor Leipzig & Chor-und Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

Schönberg's mammoth opus concurrently proved his greatest public success – the Gurrelieder, premièred in 1913. No less than 150 orchestra musicians, five vocal soloists as well as three great German radio choruses populated the stage of the Munich Philharmonie in the Gasteig in October of 2009. The performance, marking the Symphonieorchester's 60th anniversary and led by Chief Conductor Mariss Jansons, was grandiose, the audience and press response – appropriately exuberant. To this day, the late romantic sound images, which seem not to fit in with the hackneyed cliché of twelve tone composer Schönberg (he first began concerning himself with this technique much later), directly stir every listener, and anyone who loves Strauss and Mahler should definitely not miss out on the Gurrelieder.

Documentation of a concert marking the 60th anniversary of the Symphonieorchester des Bayerischen Rundfunks.

Only available DVD of the Gurrelieder.

Including bonus material (introduction to the work, interviews).

Outstanding soloists: Deborah Voigt, Mihoko Fujimura, Stig Andersen, Herwig Pecoraro and Michael Volle.

2.0 PCM Stereo

5.0 DTS Surround

Region Code 0

Worldwide Available

Booklet: German, English including the libretto

“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

DVD Video

Region: 0

Format: NTSC

BR Klassik - up to 25% off

BR Klassik - 900110

(DVD Video)

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Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'

Live-Recording: Aula Paolo VI, Vatikan (Rome), 27th October 2007


Hollow pathos is not his thing. From an artist like Mariss Jansons Friedrich Schiller’s Ode: “An die Freude” must receive a far deeper significance, which also fully encompasses the doubt and profound hope embodied in this text. And thus, in Jansons’s recording of the Ninth Symphony, the choral finale does not degenerate to mere superficial orgy of jubilation, but rather becomes a delicately balanced, wisely developed drama. On October 27, 2007, the Symphonieorchester des Bayerischen Rundfunks played Beethoven’s Ninth in the presence of the Pope in the Vatican. The recording of this memorable concert is now being released in the highest audiophile recording quality as a multi-channel SACD (hybrid)

Beethoven’s Ninth with a solo ensemble of international star singers.

Up-to-date, audiophile recording from 2007 in high-resolution SACD format.

Mariss Jansons with one of the most significant symphonic works in the classic repertoire.

“Jansons takes a broader view of the Choral Symphony than we're used to these days. His solemn approach is most effective in the first movement, bringing out not only the music's rugged grandeur but also the strain of melancholy that runs through it...Jansons's finale benefits from a strong team of soloists, with Michael Volle particularly fine in the all-important baritone part.” BBC Music Magazine, March 2011 ****

“The key to Jansons's reading is its clarity and understated intensity, the stripping away of all extraneous gesture and, in the finale, of any hint of easy triumphalism...The finale is indeed impressive. Words are clear and pitches secure in which a sense of joy that is at best provisional strongly etched.” Gramophone Magazine, February 2011

“Jansons possesses and harnesses an intense interpretative energy, lending the whole performance an inevitability of direction and giving the symphonic climaxes an utterly natural, visceral force...a fine testament to Jansons’s art and a classic Beethoven “Choral”.” The Telegraph, 21st January 2011 ****

Super Audio CD

Format:

Hybrid Multi-channel

BR Klassik - up to 25% off

BR Klassik - 900108

(SACD)

Normally: $15.00

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Hartmann, K: Simplicius Simplicissimus

Hartmann, K: Simplicius Simplicissimus


Camilla Nylund (Simplicius), Christian Gerhaher (Farm Worker/Narrator), Will Hartmann (Hermit/Governor) & Michael Volle (Farmer/Sergeant)

Münchner Rundfunkorchester, Ulf Schirmer

The absolute highlight of Karl Amadeus Hartmann’s centenary year was the concert performance of his opera Des Simplicius Simplicissimus Jugend in Munich’s Prinzregententheater. It was the first performance of the original version, reconstructed by Wilfried Hiller and Robert Klimesch on commission from Bavarian Broadcasting. Besides the Münchner Rundfunkorchester under Ulf Schirmer, the performance had the good fortune of featuring a first-rate quartet of soloists including Christian Gerhaher, Will Hartmann, Camilla Nylund and Michael Volle. With this release, Simplicius Simplicissimus is now available in an exemplary recorded production both editorially and musically. While Hartmann described his work as an “opera” he avoided “stock operatic gestures” in the shaping of his musical language – it seems more likely to have been based on the style of Stravinsky’s L’histoire du soldat. The style of the work is directly related to the historical context of its composition: the original version was composed in 1934 1936 on the suggestion of Hermann Scherchen, who had lived in Swiss exile since 1933. The plot follows the destiny of a person threatened with the loss of himself and his world in the maelstrom of the Thirty Years War. Hartmann confronts this period with harsh refractions, nameless sorrow and biting satire. He dedicated the overture, composed in 1939, to Sergei Prokofiev, whose music embodied the style of the international avant-garde decried by the Nazis. Hartmann’s feelings when he set to work on the revision (1955/56) following World War II would be hard to describe! Incl. Bonus: Bernhard Neuhoff in conversation with Wilfried Hiller and Ulf Schirmer, with sound documents from Karl Amadeus and Elisabeth Hartmann.

“This edition sounds taut and pungent under Ulf Schirmer's baton. Camilla Nylund sings gleamingly as the idealist Simplicius, and there are incisive yet pliable performances from the three excellent male soloists” BBC Music Magazine, June 2010 ****

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BR Klassik - 403571900301

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