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Verdi: Messa da Requiem
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Orchestra / Choir
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The Forbidden City Concert: Carmina Burana(en)
A spectacular concert at the site of Beijing’s Forbidden City. The concert features the renowned Shanghai Symphony Orchestra and Maestro Long Yu, who perform Orff’s Carmina Burana with Aida Garifullina, Toby Spence and Ludovic Tézier, before being joined by Daniil Trifonov for Rachmaninov’s Piano Concerto No.2 and Mari Samuelsen for Max Richter’s Violin piece "November". Length 114′ (complete repertoire) / 71′ (Carmina Burana & Jasmine Flower Song) / 43′ (Piano Concert & November)
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Beethoven: The Symphonies(en)
Conductor: Claudio Abbado. Orchestra/Ensemble: Berlin Philharmonic Orchestra. 1.Symphony no 1 in C major, Op. 21 2. Symphony no 2 in D major, Op. 36 3. Symphony no 3 in E flat major, Op. 55 "Eroica" 4. Symphony no 4 in B flat major, Op. 60 5. Symphony no 5 in C minor, Op. 67 6. Symphony no 6 in F major, Op. 68 "Pastoral" 7. Symphony no 7 in A major, Op. 92 8. Symphony no 8 in F major, Op. 93 9. Symphony no 9 in D minor, Op. 125 "Choral"
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Salzburg Festival 2017: Mozart, Requiem in D minor, K. 626(en)
Mozart’s Requiem – his final and unfinished masterpiece – is an extraordinary work. Discover the piece at the Salzburg Festival in the hands of conductor Teodor Currentzis, the ensemble musicAeterna, Anna Prohaska (soprano), Katharina Magiera (contralto), Mauro Peter (tenor), and Tareq Nazmi (bass). Few musical works are as steeped in legend as Mozart’s Requiem in D minor, K. 626. Commissioned anonymously by the eccentric count Franz von Walsegg, the funereal oeuvre would become Mozart’s last: when he died on December 5, 1791, only the Requiem aeternam and Kyrie movements were fully composed and orchestrated. Completed by other composers (Mozart’s student Franz Xaver Süssmayer in particular) using Mozart’s sketches and notes, the resulting work weaves the emotions we associate with death into a timeless musical exploration of every human being’s destiny, and constitutes a powerful final testament to its creator’s genius.
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John Adams conducts John Adams(en)
Like many of John Adams’ operas, Doctor Atomic is based on recent world historical events—here, the effusive Robert Oppenheimer, “father of the atomic bomb,” anxiously awaits the bomb’s first test in Los Alamos, New Mexico. Adams adapted the work into a symphony, comprising its three main acts. In the second half of the program, Adams conducts his 2015 violin concerto, Scheherazade.2, which restages the tale of the One Thousand and One Nights heroine as a strong woman navigating a patriarchial society, incarnated by the solo violin part. The work was composed specifically for Canadian-American virtuoso Leila Josefowicz and co-commissioned by the Royal Concertgebouw Orchestra, who perform it to perfection. The evening then closes out with Tromba Lontana, an orchestral fanfare written to mark the 150th anniversary of Texas’s independence from Mexico in 1836.
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Verdi: La Traviata(ru)
Giuseppe Verdi based his famous opera on the novel “The Lady of the Camellias” by Alexandre Dumas. Robert Wilson’s production of Violetta Valéry’s tragic fate is his first work at the State Theater of Linz, Austria, one of the most modern operatic stages in Europe by architect Terry Pawson. After the run in Linz, the production was transferred to the Opera House in Perm, Russia, where the production was conducted by Teodor Currentzis. In 2017, the work received a “Golden Mask”, the most prestigious Russian theater award, in three categories (Teodor Currentzis, Best Conductor; Nadezhda Pavlova, Best Female Singer; Robert Wilson, Best Lighting Design).
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Waldbühne 2010 | An Evening with Renée Fleming(de)
Repertoire Modest Mussorgsky: Night on Bald Mountain; Antonín Dvořák: Song to the Moon from “Rusalka”, Op. 114; Aram Chatschaturjan: Adagio from “Spartacus”; Richard Strauss: Final Scene from “Capriccio”, Op. 85; Richard Wagner: Overture to “Rienzi, der Letzte der Tribunen”; E. W. Korngold: Mariettas Lied from “Die tote Stadt”; Richard Strauss: Zueignung, Op. 10 No. 1; Sir Edward Elgar: Salut d’amour; Giacomo Puccini: Donde lieta uscì from “La bohème”; Tu che di gel sei cinta from “Turandot”; Ruggero Leoncavallo: Musette svaria sulla bocca viva from “La bohème”; Mimì Pinson, la biondinetta from “La bohème”; Piotr Tchaikovsky: “Romeo and Juliet” (Fantasy Overture)
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Waldbühne 2011: Fellini, Jazz & Co(de)
The Waldbühne in Berlin, one of the most appealing outdoor amphitheatres on the European continent, is the home of the Berliner Philharmoniker’s summer concerts. With audiences of more than 20,000, these are some of the most popular classical music concerts in the world. Riccardo Chailly is famous for having one of the broadest and most eclectic repertoires. Here, under his baton, the orchestra presents perennial favourites by Shostakovich, Rota and Respighi. Live recording from the Waldbühne, Berlin, 23 August 2011, directed by Kasten Henning, produced by Jan Bremme. TV Producer: Dorothea Diekmann, RBB. Repertoire Dmitry Shostakovich: Suite No. 2 for Jazz Orchestra (Suite for Variety Orchestra), Lady Macbeth of Mtsensk Suite – Allegretto; Nino Rota: ‘La Strada’ Ballet Suite; Ottorino Respighi: Fountains of Rome • Pines of Rome • Danza gueresca ‘Belkis’; Paul Lincke: Berliner Luft
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London Symphony Orchestra: The Young Debussy(en)
The evocative music of Claude Debussy has been described as the foundation of modern music. But how did the composer come to develop his unique style? On this video, maestro Francois-Xavier Roth and the London Symphony Orchestra present the UK premiere of a previously lost work by the young Debussy, alongside some of his earliest inspirations. Debussy's newly discovered Premiére Suite gives a rare insight into the mind of a young composer on the cusp of innovation. It's a work filled with Romantic and Eastern influences and glimpses of the unexpected harmonies that came to define Debussy's work. Paired alongside the composer's role models - from Wagner's powerful intertwining motifs, the abundant Spanish influences in Lalo's rarely-heard Cello Concerto performed here by Edgar Moreau, and Massenet's majestic Le Cid - Francois-Xavier Roth gives a fresh perspective on the much-loved composer.
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The Metropolitan Opera Centennial Gala(en)
In celebration of its 100th anniversary in 1983, the Metropolitan Opera hosts a four-hour performance uniting some of the world's most spellbinding opera singers and conductors. The event includes a ballet from Samson et Dalila and boasts incredible classical performances from Kathleen Battle, Plácido Domingo, Jose Carerras, Leonard Bernstein, Marilyn Horne, Leona Mitchell, Luciano Pavarotti and many more.
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Mozart Symphonies Vol. II - Nos. 1,25,31,36,38 and "Eine Kleine Nachtmusik"(en)
In the 1960s Karl Böhm (1894–1981) had made his mark as interpreter of Mozart with the the Berlin Philharmonic. Yet his recordings with the Vienna Symphony demonstrate a mutual sympathy and deep love for this timeless music. The musicians are razor-sharp in attack, harmony, and release. Böhm's style is minimalist: a firm downbeat, a ruffled hand here and there, a slight sway, no mugging. Occasionally, when quite excited, he gives a little hop but immediately pulls himself on a tight leash.
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Lisztomania(en)
In the 19th century, Romantic composer/pianist Franz Liszt tries to end his hedonistic ways but keeps getting sucked back in by his seductive fellow composer Richard Wagner.
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Mahler - Symphonies Nos. 1, 2 & 3(en)
Beginning with the First Symphony, Bernstein reveals Mahler's position at the hinge of modernism, while emphasizing his emotional extremism. The uplifting Second "Resurrection" Symphony, with which Bernstein had an especially long and close association, is recorded here in a historic performance from 1973, set in the Romanesque splendor of Ely Cathedral. In the Third, Bernstein encompasses the symphony's spiritual panorama like no other conductor, with the Vienna Philharmonic players alive to every nuance.
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Mahler - Symphonies Nos. 7 & 8(en)
Leonard Bernstein made these recordings during his wonderfully productive collaboration with the Wiener Philharmoniker in the mid-1970s when he was at the peak of his career. Humphrey Burton's direction is, as always, very fine, giving the viewer/listener both the larger picture and highlighting individual soloists, players or groups of musicians and, of course, the maestro. The video and audio tracks show their age, but are quite acceptable even for today's standards. Bernstein's Seventh is everything one could desire: dark and spooky, highly sensual, but also structurally strong and assertive where needed. Bernstein's reading does not gloss over breakdowns in tonality and the foreshadowing of later musical developments.
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Mahler - Symphonies Nos. 9 & 10 / Das Lied von der Erde(en)
Filmed on tour at Berlin's Philharmonie, this account of the valedictory Ninth Symphony is an intense interpretation, expressing Bernstein's conviction that modern man had at last caught up with the message encoded in Mahler's last completed work. Having made his famous 1966 studio recording of "Das Lied von der Erde" in Vienna, Bernstein re-recorded this in Israel with the same searing subjectivity. René Kollo draws on the voice of a great Wagner tenor, while Christa Ludwig, the greatest exponent of the contralto songs at the time, is unbearably poignant in the final movement's fusion of elation and sadness.
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Brahms: The Symphonies(en)
Karajan conducts these symphonies with eyes closed, often intently enraptured by the music, smiling occasionally when a passage or solo sounds just right to his ear. He conducts Brahms with a greater sense of urgency than does Bernstein: the First symphony is 11 minutes shorter as conducted by Karajan! Nothing is rushed but there is what can only be described as emotional compression, an intensity of expression that sounds quicker than Bernstein's performances.
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Vespro Della Beata Vergine(en)
This large-scale live recording (Gardiner's second) was made in Venice's St Mark's Basilica. It captures the drama as well as the ceremonial aspect of the work, despite sometimes cloudy recorded sound.” Gramophone Classical Music Guide. “Gardiner's second [recording of the Vespers], spectacularly recorded live in St Mark's, has a punchy choral sound, near-operatic solo singing (Bryn Terfel and Alistair Miles are among the basses), emphatic enunciation, big contrasts and deliberate exploitation of the building's spaces. Its outright theatricality sets it apart from other performances.
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Beethoven: Piano Concertos 1-5 - Uchida, Rattle(en)
There is hardly a better way to approach Ludwig van Beethoven than through his piano concertos. Beethoven’s own instrument was the piano, and in his improvisations – which made him the darling of the Viennese salons – he merged virtuosity and unbridled expression. The piano concertos give a clear idea of these performances. At the same time, they are prime examples of Beethoven’s ability to create large orchestral works with seemingly endless arcs of tension. The complete recording of all five works with Mitsuko Uchida and Sir Simon Rattle was one of the most spectacular projects of the Berliner Philharmoniker during the Rattle era – and at the same time the highlight of the collaboration between the orchestra and the pianist, which began in 1984.
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Bernstein Mahler Rehearsal(en)
"Four Ways to Say Farewell" is a personal introduction to Mahler and his Ninth Symphony, during which Leonard Bernstein is seen and heard rehearsing the Vienna Philharmonic Orchestra. Filmed in 1971, this rehearsal was directed by Humphrey Burton,
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Beethoven Piano Concertos 1-5(en)
These recordings, filmed in March and April 1974 for the BBC, occurred at the tail end of the old performance era and the very start of the new. Vladimir Ashkenazy was a graduate of the same Soviet school of piano playing that produced Sviatoslav Richter, Emil Gilels, Lazar Berman and a host of others of that era. There are simularities that unite them, including a broad romanticism, a degree of Lisztian showmanship coupled with periods of introspection, powerful technique that occasionally borders on pounding and an intellectual streak that produces some deeply insightful playing. Ashkenazy was younger than the others, more modern in his playing.
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