Korngold: Die Tote Stadt, Op. 12

Arthaus Musik: 101656

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Korngold: Die Tote Stadt, Op. 12

Catalogue No:

101656

Discs:

1

Release date:

1st Oct 2012

Barcode:

0807280165692

Medium:

DVD Video

Format:

NTSC

Region:

all

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Korngold: Die Tote Stadt, Op. 12

Live Recording from The Deutsche Oper Berlin, 1983


James King (Paul), Karan Armstrong (Marietta / Marie’s Apparition), William Murray (Frank), Margit Neubauer (Brigitta) & Donald Grobe (Victorin)

Deutsche Oper Berlin, Heinrich Hollreiser (conductor) & Götz Friedrich (stage director)

DVD Video

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Set by ANDREAS REINHARDT

BANNED – FORGOTTEN

Of all the successful composers of opera in the 1920s, it is perhaps Erich Wolfgang Korngold (1897–1957) whose career took the most surprising turn following the banning of his works as “degenerate” in Germany. In 1934 he was invited by Max Reinhardt to Hollywood, where Korngold turned the new genre of fi m music on its head. No composer before or since ever achieved such a prominent position within film production. Instead of the director or producer deciding on a scene’s musical accompaniment, it was Korngold’s score that determined the timings and dramatic sequences of the camera positions.

Even today Korngold is best known as a composer of film scores. Despite the many successful performances of works such as his violin concerto and his chamber music, today only Die tote Stadt has survived as a rarity on the programmes of the world’s major and medium-sized opera houses. Götz Friedrich’s production played no small part in this survival, for not only was it shown in Berlin and Vienna, it was also shipped to Los Angeles and more recently, in 1995, loaned to Ghent, to the theatre which in 1967 was bold enough to stage only the second production of the work after the Second World War.

Sound Format: PCM Stereo

Picture Format: 4:3

DVD Format: DVD 9, NTSC

Subtitles: DE (Original Language), GB, IT, FR, ES

Running Time: 130 mins

FSK: 0

BBC Music Magazine

February 2013

***

“Götz Freidrich's powerful staging of Korngold's fantasy is performed with sumptuousness, led by Armstrong's Marietta (unsteady) and King's Paul (solid).”

Financial Times

24th November 2012

***

“[Götz Friedrich’s] richly atmospheric production...makes a strong case for the piece. James King is a believable Paul, and Friedrich, seated at his office desk, gives a lucid spoken introduction to an opera that permanently hovers on the border between dream and reality.”

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