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Home , Aida Garifullina, Celso Albelo, Christa Mayer, Daniel Behle, Elsa Dreisig, Enrique Mazzola

CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 CATALOGUE 2018 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de

FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected]

Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany

WORLD SALES CEO: Jan Mojto C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 , Germany Tel.: +49.30.303064-64 · [email protected] Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager All information is not contractual and subject to change without prior notice. [email protected] & Marketing [email protected] All trademarks used herein are the property of their respective owners. [email protected] Date of Print: February 2018 © UNITEL 2018 All rights reserved Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet [email protected] [email protected] ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION

LEONARD BERNSTEIN 1918 – 1990

Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. He was one of the most influential musicians of the last century and inspired an entire generation. An influential teacher, a brilliant conductor, a fine composer and an accomplished pianist – a man who lived five lives and who exuded passion YOUNG PEOPLE’S CONCERTS – 2ND SEASON from every pore. 27 NEW EPISODES AVAILABLE

In addition to his role as conductor, composer, educator and performing Awarded four Emmys and hailed by Variety as “a rare In 27 “new” episodes of this legendary series, Bernstein artist, Bernstein was one of the early pioneers in bringing the arts to moment in the symbiosis of the arts and broadcasting”, presents famous masterpieces like Mussorgsky’s Pictures television. As such, he became one of the most internationally recognized Leonard Bernstein’s Young People’s Concerts left their at an Exhibition, music from , unusual instruments musical personalities in the world. Leonard Bernstein, who died in 1990, mark on television history. Aired on CBS from 1958 and young talented performers such as 16-year-old cellist would have celebrated his 100th birthday on August 25th 2018. to 1972, these 53 one-hour programmes were written Lynn Harrell (later one of the most famous cellists in the and hosted by Leonard Bernstein. With the New York world …). Thanks to the exclusive partnership, Unitel presents today around 200 Philharmonic and guest artists providing the live music, programmes with and about Leonard Bernstein, among them 27 new these programmes brought musical concepts and music Length: 27 x approx. 55' episodes of his world famous TV series Young People’s Concerts and the history to life for generations of viewers. Cat. no. A 035 05124 0000 two Tristan und Isolde, by , and A Quiet Place, by Bernstein himself. The range goes from the legendary recordings of Bernstein’s Mahler and Beethoven Cycles to West Side Story – The Making of a Recording and the historic performance of the Ode to RICHARD WAGNER: TRISTAN UND ISOLDE Freedom following the fall of the Berlin Wall, from Bernstein’s rehearsals in Salzau to the intimate portraits Larger than Life, Reaching for the Note Wagner’s Tristan und Isolde is one of Bernstein’s finest from the Herkulessaal in Munich, Bernstein conducts the and The Gift of Music. recordings and still considered exemplary. It presents the Symphonieorchester des Bayerischen Rundfunks. top Wagner singers of the time: Peter Hofmann and Hildegard Behrens in the title roles as well as Yvonne Minton (Brangäne), (Kurwenal) and Hans Length: approx. 264' Sotin (King Marke). In this semi-staged performance Cat. no. A 050 05284

LEONARD BERNSTEIN: A QUIET PLACE In 1986 Bernstein conducted a refined version of his own The next morning, after breakfast and games in the garden opera A Quiet Place in . It contains singable late – the “quiet place” –, they find that their hostility has romantic melodies as well as Broadway musical sounds, given way to reconciliation. syncopated jazz rhythms and well-tempered modernity and, of course, a masterful instrumentation. Estranged family members recall the history of their Length: 169' relationships with each other and with their dead mother. Cat. no. A 050 05322

Photos: Unitel PLUS SOME EXCITING RECORDINGS & DOCUMENTARIES TO COME IN 2018 CATALOGUE 2018

JOHN CRANKO'S STUTTGART BALLET SPECIAL Of Miracles and Superheroes – Documentary on the Stuttgart Ballet 11 Prokofiev: Romeo and Juliet (Stuttgart Ballet / Cranko) 12 Marcia Haydée – The Seduction of Dance 13 Tchaikovsky: Onegin (Stuttgart Ballet / Cranko) 14 Stuttgart Ballet Talks 15 OPERA Berg: Wozzeck ( / Wiener Philharmoniker / Jurowski / Kentridge) 16 Bizet: (Bregenz Festival / Wiener Symphoniker / Carignani / Holten) 18 Donizetti: (Wiener Staatsoper / Pidò / Brook) 20 Giordano: Andrea Chénier (Bayerische Staatsoper, Munich / Armiliato / Stölzl) 22 Gounod: Roméo et Juliette (Wiener Staatsoper / Domingo / Flimm) 24 Handel: (Händel-Festspiele, Karlsruhe / Armonia Atenea / Petrou / Cencic) 26 Handel: (Händel-Festspiele, Karlsruhe / Deutsche Händel-Solisten / Moulds / Visser) 28 Handel: ( / Carydis / Köhler) 30 Janáček: The Cunning Little Vixen (Wiener Staatsoper / Netopil / Schenk) 32 Monteverdi 450 (Teatro / Monteverdi Choir & English Baroque Soloists / Gardiner) 34 Mozart: (Salzburg Festival / musicAeterna / Currentzis / Sellars) 36 Nono: Prometeo (Teatro Farnese / Ensemble Prometeo & Filarmonica Arturo Toscanini / Angius) 38 Puccini: La Bohème (Royal , / Pappano / Jones) 40 Puccini: Madama Butterfly (, London / Pappano / Leiser & Caurier) 42 Respighi: La bella dormente nel bosco (Teatro Lirico di Cagliari / Renzetti / Muscato) 44 Rossini: Le Comte Ory (Opéra Comique, Paris / Orch. des Champs-Élysées / Langrée / Podalydès) 46 Rossini: Mosè in Egitto (Bregenz Festival / Wiener Symphoniker / Mazzola / de Beer) 48 Rossini: (Teatro di San Carlo, Naples / Ferro / Gitai) 50 Schumann: Szenen aus Goethes Faust (Staatsoper Unter den Linden, Berlin / Barenboim / Flimm) 52 Tchaikovsky: Pique Dame (Oper Stuttgart / Cambreling / Wieler & Morabito) 54 Verdi: Aida (Salzburg Festival / Wiener Philharmoniker / Muti / Neshat) 56 Verdi: (Royal Opera House, London / Farnes / Bösch) 58 Verdi: Otello (Royal Opera House, London / Pappano / Warner) 60 Verdi: (Chorégies d’Orange / Orch. Philharmonique de Radio France / Franck / Roubaud) 62 Wagner: Die Walküre (Salzburg Easter Festival / Staatskapelle Dresden / Thielemann / Nemirova) 64 BALLET Richter: Woolf Works (The Royal Ballet, London / McGregor) 66 Tchaikovsky: The Sleeping Beauty (The Royal Ballet, London / Petipa) 68 Satie/Stravinsky: Parade & Pulcinella (Corps de Ballet of the Teatro dell’Opera di Roma / Massine) 70 Le Ballet Royal de la Nuit (Théâtre de Caen / Ensemble Correspondances / Daucé / Lattuada) 72

Photo: Ralph Larmann

7 CATALOGUE 2018 CATALOGUE 2018

CONCERT Gala Concerts Staatskapelle Dresden – The Inaugural Concert 75 Beethoven, Bach & Bruckner (Schiff / Blomstedt) 98 Hollywood in Vienna – A Tribute to Danny Elfman 77 Bruckner: Symphony No. 1 (Thielemann) 98 & Yusif Eyvazov – The Waldbühne Concert 77 Festive Gala at the Semperoper Dresden – 100 Years UFA Film Classics (Thielemann) 100 Bartabas & The Académie Equestre de Versailles 77 Festive Advent Concert at the Frauenkirche Dresden (Thielemann) 100 BBC Proms Symphonieorchester des Bayerischen Rundfunks First Night of the Proms (BBC Symphony Orchestra / Levit / Gardner) 78 The Odeonsplatz Concert – Martin Grubinger & Manfred Honeck 102 City of Birmingham Symphony Orchestra, Leila Josefowicz, Allan Clayton & Mirga Gražinytė-Tyla 79 Sommer, Mahler & Rachmaninoff (Romberger / Jansons) 102 Schoenberg: Gurrelieder (London Symphony Orchestra / Rattle) 80 Beethoven & Prokofiev (Barenboim / Jansons) 102 & 81 Salzburg Festival West-Eastern Divan Orchestra Camerata Salzburg, Sergey Khachatryan & Lorenzo Viotti 82 Strauss & Tchaikovsky (Soltani / Manasherov / Barenboim) 104 Mozart: (musicAeterna & Chorus / Currentzis) 83 RECITAL & CHAMBER MUSIC Berliner Philharmoniker Bach: The Well-Tempered Clavier, Book 1 (Schiff) 105 Adams & Dvořák (McAllister / Dudamel) 85 Woodlands and Beyond… – Hélène Grimaud at the Elbphilharmonie 106 Adams: The Gospel According to the Other Mary (Rattle) 85 Bartók: The Complete String Quartets (Quatuor Diotima) 107 Czech Philharmonic Rameau: Symphonies for two Harpsichords (Hantaï / Sempé) 108 Martinů, Strauss & Janáček (Baborák / Bělohlávek) 86 Pierre Boulez Saal Opening Concert (Boulez Ensemble / Barenboim) 109 Il pomo d’oro Schubert: The Complete Piano Sonatas (Barenboim) 111 In – Harmony Through Music (DiDonato / Emelyanychev) 86 The Christmas Tree Concert (Argerich / Barenboim) 112 Handel – Women’s Loves and Lives (Ciofi / Leon / Emelyanychev) 86 Haydn, Ligeti & Dvořák (Belcea Quartet) 113 Münchner Philharmoniker The Odeonsplatz Concert – Yuja Wang & 89 DOCUMENTARY Prokofiev: The Complete Symphonies (Gergiev) 89 Short Rides with John Adams 114 Prokofiev: Peter and the Wolf (Gergiev) 89 Arnold Schönberg – Who I Am 115 NDR Elbphilharmonie Orchester Saimir Pirgu – My Truth in Music 116 Brahms: The Complete Symphonies (Hengelbrock) 90 Barenboim or The Power of Music 117 Orchestre de Paris The Elbphilharmonie – Hamburg’s New Landmark 118 Elgar: The Dream of Gerontius (Harding) 91 Moving in Three Acts – A Building Site Opera 118 Royal Concertgebouw Orchestra I Am Carmen 118 Debussy & Stravinsky (Gatti) 92 Karajan – The Maestro and his Festival 120 Haydn & Mahler (Gatti) 92 Markus Hinterhäuser – An Artist Runs the Salzburg Festival 121 Beethoven & Brahms (Zimmermann / Gatti) 92 Mozart & Dvořák (Damrau / Hengelbrock) 95 SERIES & SPECIAL Schubert & Mozart (Hengelbrock) 95 Pagliardi: Caligula (Le Poème Harmonique / Dumestre) 122 Bach: Mass in B minor (Herreweghe) 95 Lecture Concert with Sir András Schiff – Bach: Goldberg Variations 123 Staatskapelle Berlin 40 Years Ensemble Intercontemporain 124 Beethoven: Symphony No. 9 (Damrau / von der Damerau / Fritz / Pape / Barenboim) 96 Stars of Tomorrow 126 Bruckner & Mozart (Barenboim) 96 INDEX 128

8 9 JOHN CRANKO’S STUTTGART BALLET MIRACLE

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n the occasion of John Cranko’s 90 birthday and legendary new works he helped to renew the genre of BALLET STUTTGART Marcia Haydée’s 80th birthday, UNITEL, NHK, the full-length narrative ballet: Romeo and Juliet (1962), SWR and ARTE and the Stuttgart Ballet team Onegin (1965, new version 1967) and The Taming of the Oup in a unique collaboration to finally record Cranko’s Shrew (1969). A fluid and easily understandable plot-line, three masterpieces Romeo and Juliet, Onegin and, to masterful dramaturgy, clearly drawn, vivid characters, come in 2019, The Taming of the Shrew – in 4K Ultra HD. breath-taking pas de deux and astounding choreographic diversity are the main features of Cranko’s style. A In 1961, John Cranko (1927–1973) was appointed director New York tour in 1969 turned into an overwhelming and choreographer of the ballet of the Wuerttemberg triumph, crowned by esteemed dance critic Clive Barnes State Theatre in Stuttgart. In the ensuing twelve years employing the phrase “The Stuttgart Ballet Miracle“. The Cranko was not only responsible for the most successful little known troupe became THE STUTTGART BALLET chapter of Stuttgart’s ballet history, but also joined the – an ensemble firmly positioned in the world’s premiere ranks of eminent 20th century choreographers. Early on, he league of ballet companies. Countless invitations to the surrounded himself with exceptional dancers such as Egon world’s great theatres ensued. At home in Stuttgart, Madsen, Richard Cragun, Birgit Keil, Ray Barra and most Cranko was tireless in his efforts to establish ballet as an of all, Marcia Haydée, who became his muse and prima autonomous, valid art form, fighting for better pay for his ballerina. A comprehensive vision focused on showcasing dancers, emancipation from the opera and more evenings his dancer’s unique talents and diversifying the repertoire dedicated solely to dance. The growing international as well as the use of his exceptional choreographic talent prestige of the Stuttgart Ballet was instrumental in the were the key factors which lead the Stuttgart Ballet accomplishment of these goals and Cranko paved the way to worldwide acclaim under Cranko’s aegis. With three for ballet to establish itself across Germany.

OF MIRACLES AND SUPERHEROES – DOCUMENTARY ON THE STUTTGART BALLET A FILM BY HAROLD WOETZEL

The documentary traces the extraordinary success story of the Stuttgart Ballet, from its rise to fame as the “Stuttgart Ballet Miracle” during the Cranko era to the ensemble’s acclaim of today. Harold Woetzel accompanied the company for one year, capturing the season’s highlights as well as everyday life at the Stuttgart Ballet.

Length: 90' A Production of SWR distributed by UNITEL Cat. no. A 050 50588 Photos: Bernd Weissbrod Photos: Bernd

RICHARD CRAGUN, MARCIA HAYDÉE & JOHN CRANKO Courtesy / Photo: Kilian Stuttgart Hannes Ballet MF MF JOHN CRANKO’S Photos: Stuttgart Ballet

“THE GERMAN AND BALLET MIRACLE” BALLET STUTTGART ROMEO – New York Times – JULIET

55 years after its premiere, the Stuttgart Ballet revisits John Cranko’s legendary Romeo and Juliet – the very choreography which laid the foundations for the “Stuttgart Ballet Miracle”, the company’s meteoric rise to fame. In this anniversary performance of the stunning, This production of Romeo and Juliet is marked by yet timeless production, experienced Cranko-performers another anniversary: Marcia Haydée, John Cranko’s and highly talented young dancers share the stage to tell muse and prima ballerina, was the very first, highly the most famous love story of all time. acclaimed Juliet. Haydée, who followed Cranko as John Cranko, who led the Stuttgart Ballet from 1961 until artistic director of the Stuttgart Ballet, participates in his death in 1973, created the choreography of Romeo this performance as Julia’s nurse, celebrating her 80th Music by and Juliet especially for his ensemble. Set to the superb birthday on stage. She is joined by two other stars of the score by Sergei Prokofiev, William Shakespeare’s story ensemble, Haydée’s former dance partner Egon Madsen SERGEI PROKOFIEV about two star-crossed lovers, caught in their families’ as Friar Lawrence and Artistic Director Reid Anderson feuds, offers dramatic roles for the top-notch soloists: as Lord Capulet. Choreography by Elisa Badenes shines as “youthful, fresh, entirely natural JOHN CRANKO and spontaneous Juliet”, while her partner David Moore “If you think you’ve seen Romeo and Juliet, think again. dances a Romeo who is “expressing his love with the This is a revelation.” (Daily Express)

Set & Costume Design by greatest sensitivity” (Der Neue Merker). With breathtaking A production of UNITEL in co-production with JÜRGEN ROSE pas de deux, fierce swordfights and colourful ensemble SWR/ARTE, NHK and Stuttgart Ballet scenes, the Stuttgart ensemble brings Renaissance Length: 127' Italy to life on stage. Jürgen Rose’s magnificent sets and Cat. no. A 050 50435 costumes conjure up images of the sunlit streets of Verona.

MARCIA HAYDÉE – THE SEDUCTION OF DANCE Juliet Romeo Lord Capulet ELISA BADENES • DAVID MOORE • REID ANDERSON A FILM BY HAROLD WOETZEL Lady Capulet MELINDA WITHAM • Tybalt ROBERT ROBINSON • Count Paris ROMAN NOVITZKY Marcia Haydée – for many the “primadonna assoluta” of the 20th century, Juliet’s Nurse Lord Montague Lady Montague MARCIA HAYDÉE • MATTEO CROCKARD-VILLA • JULIA BERGUA ORERO John Cranko’s muse and long-time director of the Stuttgart Ballet. On the Mercutio MARTÍ FERNÁNDEZ PAIXÀ • Benvolio ADHONAY SOARES DA SILVA occasion of her 80th birthday, Harold Woetzel pays homage to this unique artist Duke of Verona ROLANDO D’ALESIO • Friar Laurence EGON MADSEN Rosaline ROCIO ALEMAN et al. by telling the ballerina’s captivating story.

Conductor JAMES TUGGLE • Orchestra STATE ORCHESTRA STUTTGART Length: 45' A Production of SWR distributed by UNITEL Cat. no. A 055 50815 Video Director MICHAEL BEYER

MF ohn Cranko’s Onegin holds a special place in the Photos: Stuttgart Ballet choreographic repertoire of the second half of the 20th century as one of the few original full-length JOHN CRANKO’S Jballets. Based on Alexander Pushkin’s dramatic verse novel Eugen Onegin, the ballet tells the story of the arrogant and world weary aristocrat Onegin who rejects the love of the naïve country girl Tatiana only to realize – upon meeting her again years later – that in her he

threw away the only woman who ever truly loved him and BALLET STUTTGART who was ever worth loving. Tatiana, by now matured and married to Prince Gremin, must battle with her emotions when Onegin seeks her out to confess his love. In one of the most heart wrenching scenes in all of classical ballet, “ONEGIN IS THE Tatiana rejects Onegin although she secretly still loves him. PERFECT BALLET” John Cranko’s absolute mastery of the art of the pas de deux finds its climax in Onegin, where each of the three – Marcia Haydée – ONEGIN main encounters between Onegin and Tatiana is so skillfully crafted and so superbly nuanced that by the final As Onegin and Tatiana they masterfully portray the scene, the audience finds itself hopelessly caught up in the development of their individual characters from cold protagonists’ emotional turmoil. Set to sweeping music by and arrogant to desperately passionate, from youthful Pyotr I. Tchaikovsky (orchestrated and naïve to the heart-rending, mature awareness of a by Kurt-Heinz Stolze), and with sets love which can never be. Vogel is “the most elegant, most and costumes evoking 19th century elegiac Onegin of all times” (Südwest Presse). They meet Russia by Jürgen Rose, Onegin is their matches in David Moore and Elisa Badenes who a must for lovers of dramatic, full- give an outstanding performance as Lensky and Olga. length ballets. Jason Reilly impresses as majestic Prince Gremin, but it With Onegin, John Cranko secured is Marcia Haydée who creates the night’s special magic: his place in the pantheon of great Once Cranko chose her to be the very first Tatiana, now Music by 20th century choreographers. He she guest stars as nurse; the close bonds between Haydée created the three act work for the and the ensemble are palpable throughout and it is a truly Stuttgart Ballet – of which he was touching moment when the original Tatiana meets the arranged and orchestrated by Director – in 1965 and revised the current one. On the rostrum is the music director of the ballet two years later. Over the last Stuttgart Ballet himself, James Tuggle. “And in the pit: KURT-HEINZ STOLZE 50 years, the ballet has entered boundless joy!” (Südwest Presse) the repertoire of almost every “Onegin is so good, that it can easily hold its own against Choreography by leading ballet company in the world, any Broadway show!” (Newsday) JOHN CRANKO including the Ballet, the UNITEL is presenting three of Cranko’s masterpieces at Royal Ballet in London, the Bolshoi the Stuttgart Ballet: Alongside Onegin Cranko’s company Ballet, the Ballet of the Teatro alla Scala, American Ballet stages Romeo and Julia as well as The Taming of the Shrew. Set & Costume Design by Theatre, the National Ballet of China and the Universal JÜRGEN ROSE Ballet in Seoul. A production of UNITEL in co-production with NHK Friedemann Vogel and Alicia Amatriain – the leading and Stuttgart Ballet couple of the Stuttgart Ballet who have been showered Length: 96' with international prizes and accolades – demonstrate Cat. no. A 050 50527 here why they are deemed the elite of the dance world:

STUTTGART BALLET TALKS

A conversation with Marcia Haydée, A conversation with Jürgen Rose, Reid Anderson and Tamas Detrich on the Marcia Haydée and Reid Anderson on the Onegin FRIEDEMANN VOGEL • Tatiana ALICIA AMATRIAIN • Lensky DAVID MOORE occasion of Marcia Haydée’s 80th birthday. occasion of Jürgen Rose’s 80th birthday. Olga ELISA BADENES • Prince Gremin JASON REILLY • Madame Larina MELINDA WITHAM Moderated by Vivien Arnold Moderated by Vivien Arnold Tatiana and Olga’s Nurse MARCIA HAYDÉE Length: 88' Length: 102' Conductor JAMES TUGGLE • Orchestra STATE ORCHESTRA STUTTGART Cat. no. A 055 50730 Cat. no. A 055 50728 Video Director MICHAEL BEYER

MF OPERA

ALBAN BERG

“Kentridge finds a wealth of pictures for a world consumed by violence and destruction.” (Financial Times)

Orchestra Wiener Philharmoniker It was 1917, precisely a hundred years before the release of this new staging at the Salzburg Conductor Vladimir Jurowski Festival, when Alban Berg decided to set into music Georg Büchner’s fragment “Woyzeck” Choruses Konzertvereinigung that tells how a simple army batman, much put upon, suddenly explodes into violence. In Wiener Staatsopernchor this short drama, exposing the rudiments of emotional life, the tendons of frustration, desperation, hopelessness and love, Berg saw the conditions of his own time and found Salzburger Festspiele here the waiting template for the kind of music he and his teacher Arnold Schoenberg had und Theater Kinderchor arrived at only a few years before: the new atonality, a language apt to describe extreme Chorus Masters Ernst Raffelsberger emotional situations. Wozzeck became an immediate artistic and financial success and is Wolfgang Götz seen as one of the century’s most important works. MATTHIAS GOERNE ASMIK GRIGORIAN JOHN DASZAK Stage Director William Kentridge With inviting William Kentridge, internationally acclaimed for his drawings, films, theatre MAURO PETER GERHARD SIEGEL JENS LARSEN and opera productions, to stage this new production at the Haus für Mozart, the Salzburg Wozzeck Matthias Goerne Festival is reviving a great tradition of giving the fine arts significant scope. Kentridge’s Marie Asmik Grigorian WIENER PHILHARMONIKER work is oscillating between mediums and genres. His drawing, specifically the dynamism of Drum Major John Daszak an erased and redrawn mark, is an integral part of his expanded animation and filmmaking CONDUCTED BY VLADIMIR JUROWSKI Andres Mauro Peter practice, where the meanings of his films are developed during the process of their making. Captain Gerhard Siegel The set is dominated by a mountain of platforms, staircase fragments and discarded Doctor Jens Larsen STAGED BY furniture, where spaces are created by projections of animated drawings, shifting from WILLIAM KENTRIDGE Margret Frances Pappas inside to outside, from tavern to barracks to bombed-out heath. First Apprentice Tobias Schabel The flawless cast, excellent up to and into Second Apprentice Huw Montague Rendall the supporting roles, is headed by Matthias Madman Heinz Göhrig Goerne, one of the leading baritones of our time, who embodies the role, with which he Produced by Metis Film had become closely associated in recent years, Video Director Tiziano Mancini for the very last time and in an exhausted, war- torn and menacing way. Lithuanian soprano Asmik Grigorian as Marie was “the discovery of the evening” with “her rich, bright voice that possesses enough steely edge to communicate this gritty personality” (Bachtrack). The Wiener Philharmoniker, led with adamant restraint by Vladimir Jurowski, were “virtuosic”, “acting as A production of UNITEL an enhancer and interlocutor”. “The audience in cooperation with ARTE, medici.tv and Salzburg Festival seemed stunned at the end, yet grateful.” (New York Times)

Length: 102' Cat. no. A 040 50082

Photos: Ruth Walz

17 OPERA

GEORGES BIZET

Orchestra Wiener Symphoniker Conductor Paolo Carignani Choruses Prague Philharmonic Choir Bregenz Festival Choir Children’s Choir of the Musikmittelschule Bregenz-Stadt One of the most popular and beloved operas of the world, ’s Carmen, sees a new staging at the Bregenz Festival, with its Chorus Masters Lukáš Vasilek breathtaking backdrop of Lake Constance and a spectacular set design Benjamin Lack by British artist Es Devlin. The title role of Carmen is performed by GAËLLE ARQUEZ • DANIEL JOHANSSON Wolfgang Schwendinger rising star mezzo-soprano Gaëlle Arquez, alongside Swedish SCOTT HENDRICKS • ELENA TSALLAGOVA Michael Schwendinger Daniel Johansson as strongly passionate Don José. Stage Director Kasper Holten Acting with unrestrained intensity and displaying a stunning array WIENER SYMPHONIKER CONDUCTED BY PAOLO CARIGNANI of vocal colours, Gaëlle Arquez is at the centre of attention. She Carmen Gaëlle Arquez embodies Carmen “in a finely nuanced and completely natural way, as Don José Daniel Johansson if she had just invented Habanera & Co.” (Tagesspiegel) STAGED BY KASPER HOLTEN SET DESIGN BY ES DEVLIN Escamillo Scott Hendricks The Wiener Symphoniker play Bizet’s powerful score with elegance Micaëla Elena Tsallagova and technical virtuosity, under the “sensitive and energetic musical Le Remendado Simeon Esper direction” (The Telegraph) of Paolo Carignani. Le Dancaïre Dariusz Perczak This new production on the Bregenz lake-stage has been staged by Frasquita Jana Baumeister Kasper Holten, who has been attracting great attention for his work Mercédès Marion Lebègue at major theatres around the world, in particular for his “Copenhagen Moralès Rafael Fingerlos Ring” and his stagings as Director of Opera at House Zuniga Sébastien Soulès in Covent Garden. Set Designer Es Devlin, who already designed sets Lillas Pastia Stefan Wallraven for pop stars like Adele, U2, Take That, the Pet Shop Boys and Kanye Carmen as a Child Efsa Topal West, has created a set construction with an impressive height of 21 metres. The playing cards, which seem to hover between two massive Video Director Felix Breisach hands, are not only part of the scene but also serve as projection surfaces.

A co-production of ORF, SRF, tpc, UNITEL, ZDF The Telegraph is full of praise: “The lake- and 3sat in cooperation with Bregenz Festival stage in Bregenz is a venue for theatrical spectaculars, and Kasper Holten’s production of Carmen on Es Devlin’s Length: 124' extraordinary set was a knockout! […] Cat. no. A 040 50072 If opera is theatre, and it certainly should be, then this big-audience production serves it brilliantly.”

Photos: Karl Forster / Ralph Larmann

19 OPERA

GAETANO DONIZETTI

Conductor Evelino Pidò Orchestra Orchester der Wiener Staatsoper Chorus Chor der Wiener Staatsoper Chorus Master Martin Schebesta Stage Director Irina Brook After four decades, Donizetti’s Don Pasquale returns to the renowned in a cheeky, highly entertaining Juan Diego Flórez Don Pasquale Michele Pertusi new staging by Irina Brook. As if to make up for the neglect from Ernesto Juan Diego Flórez which the work has been suffering, Brook’s “opera-cartoon” Die( Michele Pertusi Malatesta Adam Plachetka Presse) with its opulent, colourful setting features a splendid cast, Norina Valentina Naforniță led by star tenor Juan Diego Flórez. Adam Plachetka Video Director Verena Kalenda Flórez (Ernesto), “without a doubt the leading Bel Canto tenor Valentina Naforniţă of today, places his legendary, sheer impeccable high notes in all their splendour” (Die Presse). Miming a Latin Lover right out of Las A production of Wiener Staatsoper live at home Vegas, his beautiful aria ‘Com’è gentil’ “is the evening’s highlight in Orchester der in co-production with ORF III in cooperation with UNITEL every respect” (Bachtrack). Valentina Naforniță gives her spirited Wiener Staatsoper role debut as Norina. Accompanying the lively scences on the richly decorated stage, the orchestra of the Vienna State Opera Length: 130' Conducted by under conductor Evelino Pidò performs playfully and with relish. Cat. no. A 040 50062 Evelino Pidò Irina Brook, daughter of legendary director Peter Brook, sets Donizetti’s plot in the present day. The Italian composer’s opera Staged by buffa tells the story of the old bachelor Don Pasquale who is eager Irina Brook to get married but is tricked. To punish his rebellious nephew Ernesto, he wants to marry him off to a wealthy woman. Ernesto however is in love with the young widow Norina. Since she is not willing to give up her lover easily, a plan is formed which leads to much confusion and hilarity. In Brook’s production “the jokes and punchlines are arranged masterfully and taken to extremes in accordance with the musical farce that is Donizetti’s score.” (Die Presse) “Applause for a likeable, entertaining staging!” (Der Standard)

Photos: Michael Pöhn, Ashley Taylor 21 OPERA

Conductor Marco Armiliato Jonas Kaufmann and Anja Harteros, the dream team of opera, continue their Orchestra Bayerisches Staatsorchester successful collaboration in a new production of ’s Andrea Chorus Chorus of the Chénier at the Bayerische Staatsoper in Munich. Alongside the superb baritone Bayerische Staatsoper George Petean, the superstars show how love triumphs over death in the shadow Chorus Master Stellario Fagone of a terrifying regime. In the opulent staging by film director Philipp Stölzl, Marco Stage Director Philipp Stölzl Armiliato conducts the Bayerisches Staatsorchester. Andrea Chénier, Giordano’s verismo opera, casts light upon the turbulent times Andrea Chénier Jonas Kaufmann of the French Revolution, and doesn’t shy away from its dark side. Embedded in Maddalena di Coigny Anja Harteros the great historical panorama, which is being laid out before the spectator, are the Carlo Gérard George Petean personal fates of the opera’s protagonists. Star soprano Anja Harteros sings the Bersi Rachael Wilson young aristocrat Maddalena di Coigny, “a role that seems to be tailored to her” Countess di Coigny Helena Zubanovich (FAZ). When Maddalena loses everything in the upheaval of the revolution and is Madelon Larissa Diadkova in grave danger as aristocrat, she turns to the young poet Andrea Chénier for help, who had impressed her with his criticism of the nobility’s mercilessness before. Roucher Andrea Borghini Chénier, sung by star tenor Jonas Kaufmann “with a dark, alluring, longing timbre” Pierre Fléville Johannes Kammler (Süddeutsche Zeitung), falls in love with her, but is being arrested and accused of Fouquier-Tinville Christian Rieger high treason by Carlo Gérard. George Petean is utterly convincing in his role as Mathieu Tim Kuypers Chénier’s rival. Now a powerful member of the Revolutionary tribunal, Gérard UMBERTO GIORDANO The Abbé Ulrich Reß has been in love with Maddalena since his time as servant for the Coigny family. Incroyable Kevin Conners But when she offers herself in exchange for Chénier’s life, Gérard is moved by et al. her willingness to sacrifice herself and tries everything to free Chénier. Despite his efforts, the poet’s execution is inevitable and in the face of death, Chénier Video Director Brian Large and Maddalena declare their undying love for each other. Fierce and passionate, Harteros’s Maddalena is “a marvel” (Süddeutsche Zeitung) in this fast-paced narrative. With tableaux vivants, historical costumes and scenic parallelism, stage director and designer Philipp Stölzl provides a powerful, filmic imagery, contrasting the upper classes of society and their lavish feasts with the living conditions of ANDREA their servants, who are crammed together in the basement. With the joint forces of the Bayerisches Staatsorchester and the Chorus of the Bayerische Staatsoper, conductor Marco Armiliato brings all the drama of revolutionary France to life. “A sensational Anja Harteros brings the house down! Kaufmann is perfect for the CHÉNIER role – full of vitality and radiance! World-class!” (BR Klassik) JONAS KAUFMANN • ANJA HARTEROS • GEORGE PETEAN BAYERISCHES STAATSORCHESTER CONDUCTED BY MARCO ARMILIATO

STAGED BY PHILIPP STÖLZL

A production of Bayerische Staatsoper and UNITEL

Length: approx. 125' Cat. no. A 050 50560

Photos: Wilfried Hösl

23 OPERA

CHARLES GOUNOD Roméo et Juliette

Juan Diego Flórez · Aida Garifullina Rachel Frenkel · Rosie Aldridge Orchester der Wiener Staatsoper Orchestra Orchester der The most famous love story of all time, conducted by a legend of opera: Conducted by Plácido Domingo Wiener Staatsoper superstar Plácido Domingo leads the stellar Juan Diego Flórez and Aida Conductor Plácido Domingo Garifullina as star-crossed lovers in Jürgen Flimm’s atmospheric staging of Staged by Jürgen Flimm Chorus Chor der Wiener Staatsoper Roméo et Juliette by Charles Gounod at the Wiener Staatsoper. Chorus Master Thomas Lang He lives and breathes opera: With over 3,800 opera performances, 147 Stage Director Jürgen Flimm roles and over 550 times at the rostrum, Domingo “is opera“ (Der Standard), as his dignified performance in the house at the Ring proves once again. Juliette Aida Garifullina While conducting the 19th century French composer’s take on William Roméo Juan Diego Flórez Shakespeare’s play Roméo et Juliette, Domingo shows great passion and Frère Laurent Dan Paul Dumitrescu fire, he revels, breathes and suffers with Roméo and Juliette. Juan Diego Mercutio Gabriel Bermúdez Flórez, the leading Belcanto tenor of our time, shines as Roméo. He plays Stéphano Rachel Frenkel him equally convincing as swashbuckling hothead and as someone whose Capulet Wolfgang Bankl love knows no bounds. The darling of the audience places top notes with Tybalt Carlos Osuna as much effect and taste as he savours tender phrases. There is not a dry eye in the house, when Flórez delivers his final monologue at Julia’s grave. Gertrude Rosie Aldridge Equally moving is his counterpart: Aida Garifullina, the young Russian Le Duc Alexandru Moisiuc soprano of Tatar origin, leaves no doubt about Julia’s strength, while Paris Igor Onishchenko simultaneously excelling with a voice that “seems as if it was weightless and Grégorio Ayk Martirossian made of ivory” (Die Presse). She masters the coloraturas and Gounod’s Benvolio Martin Müller espressivos – “this Julia is enchanting!” (Kronen Zeitung). The dramatic lighting design of English artist Patrick Woodroffe is used to great effect in Video Director Jasmina Eleta the trendy staging by Jürgen Flimm, who creates memorable moods and scenes, such as the starry sky over Verona. Friends and foes of the lovers are sung by a supportive cast, with Rachel Frenkel as adolescent Stéphano, A production of Wiener Staatsoper in co-production with UNITEL Rosie Aldridge who shows much humour as Juliet’s nurse Gertrude and the excellent Dan Paul Dumistrescu as benevolent Frère Laurent. Led by Domingo, the Orchester der Wiener Staatsoper exudes “passion, Length: 163' warmth and fervour as well as light-footed liveliness” (Der Standard). In Cat. no. A 040 50080 this extraordinary staging of Charles Gounod’s opera, the dream team Domingo, Flórez and Garifullina tell a tale of “tragic love that has the air of Hollywood about it!” (Die Presse)

Photos: Michael Pöhn

25 INTERNATIONALE HÄNDEL-FESTSPIELE KARLSRUHE OPERA

GEORGE FRIDERIC HANDEL

Max Emanuel Cencic excels with his celebrated and award-winning Conductor George Petrou production of ’s masterpiece Arminio at the Orchestra Armonia Atenea International Handel festival Karlsruhe. Stage Director Max Emanuel Cencic The remarkable counter-tenor Cencic, who dedicates himself to the revival and performance of the music of the 18th century, Arminio Max Emanuel Cencic demonstrates once more that Baroque singing can be both technically Max Emanuel Cencic • Lauren Snouffer Tusnelda Lauren Snouffer brilliant and at the same time modern and emotionally engaging. His Segeste Pavel Kudinov enchanting staging of Arminio is the fulminant revival of the heroic Gaia Petrone • Juan Sancho Varo Juan Sancho story of Arminio and Tusnelda, based on historical events during the Sigismondo Aleksandra Kubas-Kruk Varus Battle in which the Germans under the leadership of Cherusci Ramise Gaia Petrone chieftain Arminius stopped the Roman conquests in Germania. When Armonia Atenea conducted by George Petrou Tullio Owen Willetts premiered in 1737 at London’s Covent Garden, Arminio strangely Staged by received only six performances, despite being praised as “a miracle” Max Emanuel Cencic Video Director Corentin Leconte and “in every respect excellent and vastly pleasing” by contemporaries. Handel’s opera fell into oblivion– until Cencic put it into the limelight A production of Ozango at the Handel festival in Karlsruhe, resulting in the “rehabilitation of in cooperation with Badisches Staatstheater Karlsruhe, the piece” (FAZ). UNITEL, ClassicAll/M_Media and Szenik, Cencic’s production of Arminio, which created a furore when performed with the support of CNC at the , features the ensemble Armonia Atenea under the baton of George Petrou and stars the stage director in the Length: 168' leading role: “Cencic is not only as counter-tenor but also as stage Cat. no. A 050 50434 director at the peak of his success” (Süddeutsche Zeitung).

Photos: Felix Gruenschloß

27 INTERNATIONALE HÄNDEL-FESTSPIELE KARLSRUHE OPERA

GEORGE FRIDERIC HANDEL

Conductor Christopher Moulds A fulminant opening of the International Handel festival Karlsruhe, Floris Orchestra Deutsche Händel-Solisten Visser’s staging of George Frideric Handel’s musical drama Semele brings Chorus Händel Festspielchor distinguished Handel specialists such as the Deutsche Händel-Solisten and Chorus Master Carsten Wiebusch the Händel Festspielchor together. Stage Director Floris Visser Labelled a piece “after the manner of an oratorio”, the dazzling Semele fuses elements of opera, oratorio and classical drama. Plot-wise, the German- SEMELE Semele Jennifer France British Baroque composer turned to Ovid’s Metamorphoses to tell the story Jupiter Ed of a mortal woman who is ruined by her obsession to belong to the immortal Jennifer France • Ed Lyon • Katharine Tier • Terry Wey Athamas Terry Wey gods: Princess Semele’s love for Jupiter, King of the gods, proves to be her Juno Katharine Tier downfall as Jupiter’s jealous wife plots against her, causing Jupiter to kill Deutsche Händel-Solisten conducted by Christopher Moulds Ino Dilara Baştar Semele with his thunderbolts. Iris Hannah Bradbury Handel clads rise and fall, love and jealousy in Baroque sounds, evoked by Cadmus Edward Gauntt Staged by Floris Visser opulent choir movements. “An entertaining spectacle” (Badische Neueste Somnus Yang Xu Nachrichten), Visser’s captivating staging does justice to the dramatic plot. Cupid Ilkin Alpay Conducted in a subtly nuanced and flawless manner Badische( Neueste Nachrichten) by Christopher Moulds, the Deutsche Händel-Solisten deliver Video Director Sébastien Glas a passionate and sophisticated interpretation of the Baroque composer’s music. Their production of Semele crowns the International Handel festival: A production of Ozango here “acting and score go hand in hand perfectly – a veritable opera event in cooperation with Badisches Staatstheater Karlsruhe, in Karlsruhe” (Die Deutsche Bühne). UNITEL, ClassicAll/M_Media and Szenik, with the support of CNC

Length: 175' Cat. no. A 050 50433

Photos: Falk von Traubenberg

29 GEORGE FRIDERIC HANDEL OPERA

Orchestra Frankfurter Opern- Serse is one of Handel’s latest and most frequently performed operas, famous und Museumsorchester for its marvellous opening aria “Ombra mai fu”, in which the protagonist declares Conductor Constantinos Carydis his love to a plane tree. This historic piece about the romantic entanglements at the court of King Serse, staged at the Oper Frankfurt and conducted by Stage Director Tilmann Köhler Constantinos Carydis, features rising opera star Gaëlle Arquez in the title role of Serse. Serse Gaëlle Arquez The opera is a vicious persiflage about the longings, doubts, quirks and (self-) Arsamene Lawrence Zazzo destructive megalomania of a ruler. At the centre of the confusing tragicomedy, Romilda Elizabeth Sutphen very loosely based upon the life of Xerxes I of Persia, is a powerful and lovesick Atalanta Louise Alder royal eccentric, King Serse. Engaged to Amastre, he strives to win over his Amastre Tanja Ariane Baumgartner brother Arsamene’s beloved Romilda. Love, envy and jealousy, wrongly delivered Ariodate Brandon Cedel letters and misleading promises provoke all kinds of confusion – “a soap opera of Elviro Thomas Faulkner the upper class with all of its threats and intrigues” (FAZ). Gaëlle Arquez “scintillates with her nimble, luminous mezzo-soprano”, singing Video Director Tiziano Mancini “irresistibly beautiful, impassioned, furious – but never mean” (Frankfurter Rundschau). Counter-tenor Lawrence Zazzo, expertised in baroque singing, imbodies a powerful Arsamene, “agile and expressive, […] disposing of various nuances” (FAZ). Elisabeth Sutphen as Romilda, Louise Alder as Atlanta and Tanja Ariane Baumgartner as Amastre complete this colourful and passionate SerseGAËLLE ARQUEZ “singers’ competition with only winners” (Frankfurter Neue Presse). Frankfurt’s excellent Opern- and Museumsorchester contributes “all sorts LAWRENCE ZAZZO A production of UNITEL of refinements” to this “musical smash hit” Deutschlandfunk( ). All in all, the in co-production with NHK ELIZABETH SUTPHEN “spectacular staging” by Tilmann Köhler offers completely “new ways of hearing and seeing Handel” (FAZ). LOUISE ALDER Length: 180' Cat. no. A 050 50409 TANJA ARIANE BAUMGARTNER BRANDON CEDEL FRANKFURTER OPERN- UND MUSEUMSORCHESTER Conducted by CONSTANTINOS CARYDIS

Staged by TILMANN KÖHLER

Photos: Barbara Aumüller

31 OPERA

LEOŠ The JANÁČEK Cunning Little Vixen Conductor Tomáš Netopil Orchestra Orchester der Wiener Staatsoper Chorus Chor der Wiener Staatsoper Stage Director Otto Schenk After quarter of a century, legendary director Otto Schenk returns to the Wiener Staatsoper to stage Leoš Janáček’s musical fairy tale The Cunning Forester Roman Trekel Little Vixen, conducted by Tomáš Netopil. Harašta Paolo Rumetz Although the opera premiered in 1924, it took more than 90 years for Little Sharp Ears Chen Reiss The Cunning Little Vixen to enter the stage of the magnificent Wiener Fox Hyuna Ko Staatsoper. To celebrate the fact that the work is heard at the house on Forester's Wife/Owl Donna Ellen the Ring for the very first time, none other than Austrian theatre luminary Schoolmaster Joseph Dennis Otto Schenk devotes himself to staging the adventures of the clever fox Roman Trekel Priest/Badger Marcus Pelz and accompanying wildlife. With a keen eye for detail, Schenk conjures Pásek Wolfram Igor Derntl up an abundant, naturalistic forest scenery, created by set designer Amra Paolo Rumetz Pásek's Wife Jozefina Monarcha Buchbinder, in which the opera’s animal and human protagonists embark on Chen Reiss Pepík Raphael Reiter their life’s journey. In this magical world, Israeli soprano Chen Reiss enchants Frantík Nikolaus Prause in the title role of Little Sharp Ears, gracefully and cheekily roaming the woods. Opposite her Roman Trekel performs as a very likeable forester, Dog/Woodpecker Ilseyar Khayrullova Hyuna Ko shining with a warm baritone, while Korean Hyuna Ko brings a powerful Cock Heinz Zednik soprano to her performance as the Fox. Italian baritone Paolo Rumetz Crested Fowl Simina Ivan shines as Harašta and with Heinz Zednik, a household name in Vienna joins Orchester der Wiener Staatsoper Jay Seçil Ilker the cast. Conductor Tomáš Netopil elicits brisk tempi and a lush sound from Conducted by Mosquito Benedikt Kobel the energetic orchestra of the Wiener Staatsoper. et al. The Cunning Little Vixen, the Moravian composer’s seventh opera, is based Tomáš Netopil on a serial story by author Rudolf Tešnohlidek, who in turn was inspired by Video Director Verena Kalenda a collection of drawings by artist Stanislav Lolek. To tell a story about the eternal cycle of nature, of people and animals, of loving, living and dying, Janáček opted for a light-hearted and bright mood, tinged with occasional Staged by A production of Wiener Staatsoper live at home melancholy looks at the past. He incorporated animal voices and natural in co-production with ORF III noises in his composition without actually copying animal noises. Otto Otto Schenk in cooperation with UNITEL Schenk’s take on Janáček’s opera leaves nothing to be desired: “A triumph!” (Kronen Zeitung). “Tremendous applause for Schenk, the living legend!” Length: 91' (Wiener Zeitung). Cat. no. A 040 50061

Photos: Michael Pöhn

33 instruments. They are vital to the story-telling process, leading the the leading process, story-telling tothe vital are They instruments. period crafted beautifully and exotic its with conductor its surrounding and and of L’Orfeo production semi-staged the In tour’s highlights. of the one atVenice’s being Fenice La performance celebrated their US, the and Europe in operas great of Monteverdi’s be its laureate” ( laureate” its be should Choir Monteverdi the choirs, for Prize a Nobel were there “If world: the in choirs best of the one as hailed being consistently is which Choir, Monteverdi Gardiner’s with up team regularly They orchestras. instrument period leading world’s of the one as established been long have Soloists Baroque English the playing, virtuosic and passionate Poppea L’Orfeo trilogy opera the with glory his all in composer the celebrate to qualified uniquely him makes work of Monteverdi’s examination lifelong Gardiner’s composer. Italian the commemorate Gardiner Eliot John Sir director artistic their of baton the under Soloists Baroque English the and Choir Monteverdi of the members with together of soloists cast international an birth, Monteverdi’s of Claudio anniversary 450th of the occasion the On ENGLISH BAROQUE SOLOISTS MONTEVERDI CHOIR SIR L’incoronazione di Poppea . Combining the untamed sound of period instruments with with instruments of period sound untamed the . Combining Le Monde , and L’incoronazione and di patria in d’Ulisse ritorno Il ). Together they tour the surviving trilogy trilogy surviving the tour ). they Together , the orchestra takes centre-stage, centre-stage, takes orchestra , the , patria in d’Ulisse ritorno Il ( her.” or him for up open will world Awhole trilogy. tothis listen should far, so music Monteverdi’s to access trouble had has “Anyone who Nerone. as role his in enchants Kim Justin Kangmin Penelope. as Richardot Lucile expressive extremely an alongside hero broken of the longing the conveys (Ulisse) impressively Zanasi Furio depth. incredible an Neptune his gives Buratto Gianluca and Eurydice as role her in out stands Blažiková Hana demi-god credit. of the role his doing Orfeo, as impresses especially Adam Krystian other. each with interacting constantly are who soloists of the aid the with desolation, and anger, hope loss, of love, a world into audience FAZ ) English Baroque Soloists Orchestra Baroque English Francesca Boncompagni Pizzolato •Marianna Vistoli •Carlo

Hana Blažikova Burrato •Gianluca • Lucile Richardot Michał Czerniawski Treseder •Michał Dennis •Anna Gareth Sir John Eliot Gardiner Eliot John Sir Master &Chorus Conductor Krystian Adam •Furio Adam Krystian Zanasi •Kangmin Justin Kim Sébastien Glas Sébastien Director Video • Chorus Monteverdi Choir •Chorus

achieve their amorous goals and social ambitions amidst to alliances dissolve and form protagonists the how L’Orfeo L’Orfeo from apart itself sets decidedly swan-song operatic Monteverdi’s morality, and of reason expense the at triumphing ambition and love of carnal Acelebration queen. acknowledged his to opera follows Poppea’s progression from Nero’s mistress The motifs. mythological of illustrating instead events historical retelling to in –turns season carnival L’incoronazione di Poppea opera, final Monteverdi’s time, its for move unusual an In journey, of Ulysses’ turns and twists the retraces which three suitors to regain his kingdom. Monteverdi’s opera, the out drives and identity true of his Penelope convince to manages eventually Ulysses gods, quarrelling the by hindered occasionally and Aided husband. new as of them one take to urged is and suitors three by besieged being is Penelope, queen, faithful his that discovers of Ithaka, King Ulysses, Trojan wars, the from Odyssey: Back of Homer’s patria in d’Ulisse ritorno Il Monteverdi’s love, and fidelity by overcome eventually deception, and of treachery A tale of operas performed frequently most of the one was L’Orfeo Monteverdi, by music’ in ‘a fable Called himself. of understanding deeper and new to a coming finally and growing also but of suffering grief, violence the in himself loses dead. of the world the to return to forced is bride his around, turning from himself prevent cannot he Since world. living the to back him follows she when Eurydice at back look to allowed not is Orpheus condition: vital one fulfil to fails he But underworld. the to descends Orpheus life, to back Eurydice, bride, dead his bring to attempt an In Eurydice. and of Orpheus saga Monteverdi’s history, in operas first of the one be to Considered L’INCORONAZIONE POPPEA DI IL RITORNO D’ULISSE IN PATRIA L’ORFEO (1639/40) draws its motifs from the second half half second the from motifs (1639/40) its draws L’Orfeo (1607) re-enacts the tragic Greek Greek tragic the re-enacts (1607) – first performed in the 1642/43 1642/43 the in performed –first and and Il ritorno d’Ulisse ritorno Il A production of Ozango and Monteverdi Choir & Orchestras in co-production with UNITEL UNITEL with co-production in &Orchestras Choir Monteverdi and Ozango of A production in association with ClassicAll/M_Media with the participation of France with the participation in Télévisions with ClassicAll/M_Media association . It explores explores . It

history. opera in duets love touching most miro”, of the ti one is “Pur duet, final Their spell. irresistible their under viewers the leaves which lovers two the by exchange a passionate by followed is Poppea, and Nero despise to audience the prepare to bound society, Rome’s degenerate on attack asatirical scenes: juxtaposing by contrast stark creating in excels Monteverdi Rome. of Imperial decadence the sorrows and joys. and sorrows the audience to relate to Ulysses and Penelope and their allowing characters, main of his humanity essential the underlines composer Italian the strikingly, Most courtiers. noble protagonists, their and scheming the evil servants the to gods, arguing constantly the from personage, each of features prominent the reflects subtly and accurately music the of characters: cast aShakespearean features time.” of all operas greatest of the one it makes it and of Euridice loss of his dejection utter the to the euphoria and the exaltation of the nuptial ceremony from scales it of emotion, heights the scales it way the in extraordinary is music Monteverdi’s and tale a wonderful “It’s composer: Italian the over Gardiner way”, enthuses inexorable persuasive, most the in unfolds story the “how shows Monteverdi of structure, sense tremendous and melodies beautiful Combining of music. means by desire and character nature, of human investigation probing Monteverdi’s to introduction amagical is and era its Length: approx. 190' / Cat. no. A 000 50050 A000 no. /Cat. 190' approx. Length: 50049 A000 no. /Cat. 190' approx. Length: 50048 A000 no. /Cat. 120' approx. Length:

Photo: Ruth Walz 35 OPERA OPERA

WOLFGANG AMADEUS MOZART LA CLEMENZA DI TITO

Orchestra musicAeterna Peter Sellars, having made history with his 1998 staging of the opera Saint Conductor François d’Assise by Olivier Messiaen in the Felsenreitschule, returns to Salzburg Chorus musicAeterna Chorus to stage and direct for TV Mozart’s opera seria La clemenza di Tito. In the pit is Chorus Master Vitaly Polonsky his comrade-in-arms and long-time collaborator, Greek-Russian star conductor Russell Thomas • Golda Schultz • Christina Gansch Teodor Currentzis with his Russian MusicAeterna choir and orchestra from Tito Vespasiano Russell Thomas Perm. Marianne Crebassa • Jeanine De Bique • Willard White Vitellia Golda Schultz Sellars, who functions also as video director, and Currentzis take up the story Servilia Christina Gansch and develop it for their Salzburg production, creating a fresh and original yet Sesto Marianne Crebassa contemplative new version of Mozart’s last opera through the interpolation of musicAeterna • musicAeterna Chorus Annio Jeanine De Bique excerpts from his c-minor Mass. The parable of rebellion and forgiveness is set Publio Willard White in a developing country, with a brutal police presence but a thoughtful leader and conducted by Teodor Currentzis Basset Clarinet Florian Schüle with a chorus of citizen-refugees, displaced by a catastrophe. The story is driven by Sesto, Marianne Crebassa “in a star-making performance” (New York Times), here a disrupted terrorist, torn by the painful demands of the necessary violence Stage and Video Director Peter Sellars Staged by Peter Sellars needed to move the world and history forward and the horrifying, unavoidable loss of innocent lives. Sculptor, architect and installation artist George Tsypin is A co-production of ORF, 3sat and UNITEL utilizing the magnificent ambience of the Felsenreitschule to create a powerful in cooperation with Salzburg Festival scene with mysteriously moving steles. Currentzis, “who hits the peak of his career to date and proves at the same time that he is the radically best Mozart Length: approx. 170' conductor right now” (Süddeutsche Zeitung), translates Sellars’ intercultural vision congenially. The young, outstanding cast is led by tenor Russell Thomas Cat. no. A 040 50078 as Tito, who delivers a “brilliant performance amidst a perfect team that makes this opera without supporting roles a huge feat of the ensemble” (Der Spiegel). Christina Gansch (Servilia) and Jeanine de Bique (Annius) “fit in the ensemble with grace which is interspersed with tension” (FAZ), while Golda Schultz’s soprano displays a “silky brilliance” (Münchner Merkur) in the role of Vitellia. The choir “is once again the winner”– “Currentzis’ debut in the city of Mozart is a triumph” (Der Spiegel). The audience in the Felsenreitschule was “beside themselves with joy” (Die Zeit).

Photos: Ruth Walz, Roman Zach-Kiesling 37 OPERA

Punished for stealing the fire from the gods to bring the light of science and Conductor Marco Angius art to men, Prometheus has to endure darkness. In Luigi Nono’s “tragedy of Orchestra Ensemble Prometeo listening” Prometeo the hero’s fate and his inner conflicts are transformed into a Filarmonica Arturo Toscanini deeply impressive listening experience with the help of a fascinating spatial sound Chorus Coro del di Parma concept. It comes into its own in a rare performance at the spectacular Baroque Chorus Master Martino Faggiani cultural monument Teatro Farnese, conducted by Marco Angius.

Sopranos Livia Rado For the Italian avant-garde composer Luigi Nono (1924–1990), the central task Alda Caiello of art is to “wake up the ear, the eyes, the human thinking” and his visionary work Prometeo – Tragedia dell’ascolto, created in the SWR Experimental Studio in Altos Katarzyna Otczyk Freiburg in the early 1980s, is perhaps the ultimate realisation of Nono’s “theatre Silvia Regazzo of consciousness”, in which sound and its projection in space become fundamental Tenor Marco Rencinai LUIGI NONO to the overall dramaturgy. Parma’s Teatro Farnese, a jewel of early 17th century Speakers Sergio Basile architecture and one of the most beautiful historical theatres in Italy, offers the Manuela Mandracchia perfect surroundings for this performance of Prometeo. The theatre is entirely made out of wood and just like in an ancient amphitheatre, the horseshoe-shaped Video Director Tiziano Mancini rows of seats rise from a grandstand and the balconied gallery towers over a vast auditorium. By placing the excellent soloists, the choir of the Teatro Regio di PROMETEO Parma as well as the musicians and the two narrators onto the different levels of the hall, conductor Marco Angius perfectly unfolds the unique spatial sound TRAGEDIA DELL’ASCOLTO concept of Prometeo. Live electronics amplify and distort sounds and phrases to let them wander through the whole room, making the performance of Nono’s work an event. For the libretto, philosopher Massimo Cacciari compiled an intricate collage of texts that revolve around the myth of Prometheus, such as LIVIA RADO ALDA CAIELLO MARCO RENCINAI A co-production of • • Fondazione Teatro Regio di Parma the accounts of Aischylos, Sophokles and Hesiod as well as works by Goethe, KATARZYNA OTCZYK SILVIA REGAZZO and UNITEL Hölderlin and Walter Benjamin – a German philosopher whose writings and ideas • on history greatly influenced Nono. On the basis of the story of Prometheus, which is nothing less than the founding myth of science, Nono’s monumental Length: approx. 125' ENSEMBLE PROMETEO Prometeo with its sequence of nine cantatas explores the origin and evolution of Cat. no. A 000 50059 humanity and the ever prevalent question on the price mankind pays for progress. FILARMONICA ARTURO TOSCANINI With his sensitivity and outstanding technical ability, Angius explores this universe – “it is enchanting to see his precise, understanding and intelligent coordination” CONDUCTED BY MARCO ANGIUS (La Voce della Regio Emilia) of the project. “A fascinating journey through sound!” (Gazzetta di Parma)

Photos: Roberto Ricci

39

LA BOHÈME OPERA NICOLE CAR ∙ MICHAEL FABIANO SIMONA MIHAI ∙ MARIUSZ KWIECIEŃ ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY SIR ANTONIO PAPPANO

STAGED BY RICHARD JONES

An irresistible blend of comedy and tragedy, Richard Jones’s new staging of Giacomo Puccini’s La Bohème at London’s Royal Opera Conductor Sir Antonio Pappano House is an insightful take on the much-loved classic about two fated Orchestra Orchestra of the lovers in bohemian Paris, here brilliantly sung by Michael Fabiano and Royal Opera House Nicole Car under the baton of Sir Antonio Pappano. Chorus Royal Opera Chorus Chorus Master William Spaulding With its love story drawn from everyday life, La Bohème has captivated Stage Director Richard Jones the London audience since its first performance in Covent Garden in 1897, where it has had more than five hundred performances since. Mimì Nicole Car Now acclaimed director Richard Jones brings a fresh production of the timeless masterpiece to the Royal Opera House. Puccini’s bohemian Rodolfo Michael Fabiano Paris, where romance and heartbreak reign and a group of young artists Musetta Simona Mihai tries to make a living, is visualized in the stylized designs by Stewart Laing. Marcello Mariusz Kwiecień His sets range from spectacularly arcaded streets and a glittering Café Colline Luca Tittoto Momus to the bleak attic that the artists call home. The scene shifts Schaunard Florian Sempey are perfectly choreographed to reveal the diverse settings in which the Parpignol Andrew Macnair narrative unfolds. Nicole Car, the young Australian soprano “with real Alcindoro Wyn Pencarreg star potential” (The Stage), portraits Mimì as an unusually strong-willed Customs Officer John Morrissey woman. Her lover Rodolfo is sung by American tenor Michael Fabiano with open ardour; his poet is “marvellously confident and expressive” Sergeant Thomas Barnard (The Daily Telegraph). British soprano Simona Mihai steals the scene as outrageously flamboyant Musetta, who is brilliantly partnered with Video Director Rhodri Huw Mariusz Kwiecień as forthright yet complex Marcello. Having the Royal Opera house’s music director Sir Antonio Pappano in the pit, “the finest Puccini conductor of the day” (The Stage), ensures that the orchestra A production of and chorus perform the score with exceptional vividness. Jones’s Royal Opera House, Covent Garden finely crafted show fully captures the charm of Puccini’s cheerful La Bohème, before bringing the Italian opera to its tragic conclusion on Length: approx. 110' Mimì’s deathbed – “both terrible and beautiful” (The Independent). “The Cat. no. A 020 50117 reception was ecstatic, sending Covent Garden’s new season off to a flying start.” (The Daily Telegraph)

Photos: Catherine Ashmore

41 GIACOMO PUCCINI MADAMA BUTTERFLY OPERA ERMONELA JAHO ∙ MARCELO PUENTE SCOTT HENDRICKS ∙ ELIZABETH DESHONG ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY SIR ANTONIO PAPPANO

STAGED BY MOSHE LEISER & PATRICE CAURIER

East meets West with devastating consequences in Moshe Leiser and Patrice Caurier’s production of Puccini’s Madama Butterfly. Sir Antonio Conductor Sir Antonio Pappano Pappano conducts an impressive cast led by Ermonela Jaho and Marcelo Orchestra Orchestra of the Puente in Puccini’s deeply poignant opera. Cio-Cio-San, the young Royal Opera House Japanese bride of the dashing American officer Lieutenant Pinkerton, finds her romantic idyll shattered when he deserts her shortly after their Chorus Royal Opera Chorus marriage. She lives in hope that one day he will return. Chorus Master William Spaulding Stage Directors Moshe Leiser & Patrice Caurier Set against an exotic Nagasaki backdrop drawn from 19th century western artists’ romanticised view of Japan, it is a heart-breaking tale of love, Cio-Cio-San Ermonela Jaho honour and betrayal played out to a magnificently evocative score. Lieutenant B.F. Pinkerton Marcelo Puente Puccini drew on Japanese folk melodies for the score, one of his most Sharpless Scott Hendricks evocative and atmospheric. In Act I, Cio-Cio-San expresses her radiant Suzuki Elizabeth DeShong happiness in “Ancora un passo”, and the two lovers rapturously declare Goro Carlo Bosi their love for each other in the passionate duet “Viene la sera”. In Act II Kate Pinkerton Emily Edmonds the mood becomes increasingly strained, culminating in the famous aria The Bonze Jeremy White “Un bel dì vedremo”, when Cio-Cio-San longs for the “fine day” when th Prince Yamadori Yuriy Yurchuk her husband will return to her. The romantic exoticism of 19 -century European images of Japan – an integral part of Madama Butterfly’s character – inspire Moshe Leiser and Patrice Caurier’s elegant production Video Director Matthew Woodward for The Royal Opera.

A production of “Marcelo Puente makes an ideal, blury, young navy lieutenant.” Royal Opera House, Covent Garden (Financial Times) “Superlative conducting of the inexhaustible Antonio Pappano.” Length: approx. 150' (The Daily Telegraph) Cat. no. A 020 50110 “Ermonela Jaho is the best Cio-Cio-San London has seen in years.” (The Independent) “This production of Puccini’s tragedy is a superb achievement. The whole evening is, in fact, outstanding.”  (The Guardian) Photos: Bill Cooper Photos: Bill

UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF THE ROYAL OPERA HOUSE LONDON

43 OTTORINO RESPIGHI OPERA

Orchestra Orchestra del Acclaimed stage director Leo Muscato rediscovered a precious Teatro Lirico di Cagliari rarity of the 20th century: The “musical fairytale” La bella dormente Chorus Coro del Teatro Lirico di Cagliari nel bosco (The Sleeping Beauty) by Ottorino Respighi, which had not Chorus Master Gaetano Mastroiaco been staged for 50 years, and which Muscato revived in a “brilliant, Conductor Donato Renzetti surprising and colourful” staging (La Stampa) at the Teatro Lirico di Stage Director Leo Muscato Cagliari. The Sleeping Beauty The Teatro Lirico enjoys a worldwide reputation for championing The Princess Angela Nisi such rediscovered rarities. Already with La Campana sommersa (The Prince April Antonio Gandía Sunken Bell), another operatic masterpiece by Respighi available in the The Blue Fairy Shoushik Barsoumian UNITEL catalogue, its team enjoyed a fulminant success which even The King/The Ambassador Vincenzo Taormina met response on the other side of the ocean – the production became The Queen/The Frog/ part of the Opera’s programme. The Old Lady Veta Pilipenko The Green Fairy/The Cat/ Indeed, Respighi put a lot of passion and effort into La bella dormente, which is based on Charles Perrault’s fairy tale of the same name. The Duchess/The Cuckoo Lara Rotili Originally, the piece was conceived as a puppet show, written by Spindle/Nightingale Claudia Urru Respighi for the Italian marionettist Vittorio Podrecca, director Angela Nisi · Shoushik Barsoumian Mister Dollar/The Clown Enrico Zara of the famous marionette company Teatro dei Piccoli (Theatre for A Lumberjack Nicola Ebau Children). It was premiered at the Teatro Odescalchi in Rome in 1922. Antonio Gandía · Vincenzo Taormina The numerous roles were all interpreted by marionettes and only Video Director Tiziano Mancini accompanied by orchestra and singers, who took several roles at once. The production became such a big hit that it went on world tour. Conducted by In the present production of the Teatro Lirico, the prestigious cast of young singers and the enthusiasm shown by Donato Renzetti – who Donato Renzetti “conducts the orchestra with apparent love for Respighi’s music” (Der Opernfreund) – make their contribution to a “splendid Respighi-

A production of Unitel Rennaissance” (La Stampa). Staged by in cooperation with Teatro Lirico di Cagliari Fondazione Leo Muscato Length: 98' Cat. no. A 000 50046

Photos: Priamo Tolu

45 OPERA

Conductor Louis Langrée Orchestra Orchestre des Champs-Élysées Chorus Les éléments Chorus Master Joël Suhubiette Stage Director Denis Podalydès

Le Comte Ory Philippe Talbot With the Opéra Comique’s staging of Le Comte Ory in Paris, starring stellar soloists Philippe La Comtesse Julie Fuchs Talbot, Julie Fuchs and Gaëlle Arquez as well as the Orchestre des Champs-Élysées, Isolier Gaëlle Arquez conducted by Louis Langrée, the Rossini anniversary year starts off with “a masterpiece!” Dame Ragonde Éve-Maud Hubeaux (Télérama) Le Gouverneur Patrick Bolleire Raimbaud Jean-Sébastien Bou Rossini’s penultimate opera, premiered in 1828 at the Opéra National de Paris, is a musical comedy about a love triangle set during the Crusades. At the Opéra Comique its plot is Alice Jodie Devos LE COMTE ORY transported to the time of the works’ creation with France’s military expeditions to Algeria. It Actors PHILIPPE TALBOT • JULIE FUCHS • GAËLLE ARQUEZ Laurent Podalydès is staged by a first-rate creative team: Stage director Denis Podalydès and costume designer Léo Reynaud Christian Lacroix provide stunning visuals, whilst conductor Langrée leads the Orchestre des ORCHESTRE DES CHAMPS-ÉLYSÉES CONDUCTED BY LOUIS LANGRÉE Champs-Élysées, the Chœur Les éléments and a stellar cast of soloists in this delightful fool’s Video Director Vincent Massip game. With basically every man gone, the women – having vowed to be chaste – are confined STAGED BY DENIS PODALYDÈS to the castles. Adèle de Formoutiers, a beautiful young countess, sung by rising star Julie A co-production of CLC, Opéra Comique, Radio France Fuchs, sinks into deep melancholy and asks the advice of a pious hermit, who is none other and Mezzo, with the participation of France Télévisions, in cooperation with UNITEL than bon vivant Comte Ory. Brash, but also ridiculous, Ory deceits and seduces. Philippe and with support of CNC Talbot plays him with impressive virtuosity, uniting the different dimensions of the character in his performance. The Comte continuously tries to take advantage of the absence of the Length: approx. 150' other men. Disguised as nun, he finally gains admission to the castle. But before Ory can bring Cat. no. A 010 50077 dishonour upon Adèle, she is saved by another suitor, her page Isolier, a breeches role in which mezzo-soprano Gaëlle Arquez shines with her “superlative technique” (Le Monde). When Julie Fuchs’s Adèle first encounters Ory, “it is as if all the lights come back on at once.”(Télérama) Her performance elicits “more than just admiration, namely enthusiasm in the etymological sense of the word: inspired by the divine” (Le Monde). The Orchestre des Champs-Élysées brilliantly interprets the luxurious score with a lot of attention to its subtleties. “Pure pleasure!” (Les Échos) Le Comte Ory at the Opéra Comique is “a true musical and theatrical celebration where everything sparkles!” (Bachtrack)

Photos: Vincent Pontet

47 OPERA

GIOACHINO ROSSINI Orchestra Wiener Symphoniker A rarely performed masterpiece, Gioachino Rossini’s Mosè in Egitto Conductor takes centre stage at the Bregenz Festival thanks to Lotte de Beer who Chorus Prague Philharmonic Choir retrieves this hidden gem of opera literature for a spectacular staging. Chorus Master Lukáš Vasilek De Beer, one of the most sought-after stage directors of her Theatre Company Hotel Modern generation (International Opera Newcomer Award 2015) teams up Stage Director Lotte de Beer with the Dutch theatre collective Hotel Modern to tell the story of MOSÈ IN EGITTO the Biblical Exodus. Their unique production concept for Mosè in Faraone Andrew Foster-Williams Egitto revolves around the ingenuity of Hotel Modern. The theatre Andrew Foster-Williams • Mandy Fredrich Amaltea Mandy Fredrich group conjures up its own reality by using live animations to portray Osiride Sunnyboy Dladla the mass scenes and the parallel narratives of the people and the Sunnyboy Dladla • Clarissa Costanzo • Goran Jurić Elcia Clarissa Costanzo slaves. Miniature cameras, thousands of puppets, models of villages Mambre Taylan Reinhard and cities and a spectacular aquarium installation present the biblical Mosè Goran Jurić tale of plagues and the parting of the Red Sea on the Bregenz stage – Aronne Matteo Macchioni “a stroke of genius” (Der Standard). Amenofi Dara Savinova The universal narrative, with its themes of migration and the inability to deal with power, has lost none of its urgency and topicality and is Video Director Felix Breisach brought to life by the Wiener Symphoniker under Enrique Mazzola Wiener Symphoniker and the Prague Philharmonic Choir. Mazzola, who is a live wire on A co-production of ORF, tpc and UNITEL the rostrum, drives the Symphoniker to a top performance. Soprano Conducted by Enrique Mazzola in cooperation with Bregenz Festival Mandy Fredrich captivates as Amaltea and British baritone Andrew Foster-Williams’ Faraone competes with Goran Jurić who is “a Mosè with bear-like strength and softness” (Der Standard). Clarissa Staged by Lotte de Beer Length: 150' Costanzo (Elcia) displays her expressive soprano. Energetic Matteo Cat. no. A 040 50076 Macchioni and dazzling Taylan Reinhard impress in their roles as Aronne and Mambre, while Sunnyboy Dladla (Osiride) shines with “the beautiful timbre of his lyrical tenor” (Kurier).

Photos: Karl Forster

49 OPERA

Conductor Gabriele Ferro Gioachino Rossini’s Otello returns to the place of its premiere 200 years Orchestra Orchestra of Teatro di San Carlo ago in the inspired staging of director Amos Gitai at the Teatro San Carlo Chorus Chorus of Teatro di San Carlo in Naples. The stellar vocal cast is led by John Osborn, who shines in the Chorus Master Marco Faelli highly difficult title role, and Nino Machaidze as outstanding Desdemona. Stage Director Amos Gitai Gabriele Ferro conducts the flawless orchestra and chorus of the Teatro San Carlo. Otello John Osborn Now largely eclipsed by the fame of Verdi’s opera of the same name, Desdemona Nino Machaidze Rossini’s finely crafted work Otello with its romantic and tragic atmosphere was considered one of the composer’s masterpieces throughout the 19th Rodrigo Dmitry Korchak GIOACHINO century. At the Teatro San Carlo, “a vocal cast of stratospheric quality” Jago Juan Francisco Gatell (Bachtrack) tells the tale of Otello, the Moorish general of the Venetian Emilia Gaia Petrone army, who is married to Desdemona, the daughter of his enemy Elmiro, in Elmiro Mirco Palazzi secret. Rodrigo, another suitor, wants to take Desdemona to be his wife, ROSSINI Il Doge Nicola Pamio thus he conspires with Iago against Otello. Their actions lead to a jealous Il gondoliere / Lucio Enrico Iviglia Otello killing Desdemona and, after discovering her innocence, falling into madness and taking his own life. Rossini’s opera, which premiered in Naples in Video Director Tiziano Mancini 1816, significantly differs from its famous namesakes, William Shakespeare’s play Othello and Verdi’s opera, particularly in that it elevates the character Rodrigo to a major role alongside Otello and Iago, having earned the work OTELLO the nickname “the opera of the three ”. In his performance of the demanding title role, American John Osborn demonstrates coloratura dexterity and dramatic insight. As Desdemona, Georgian soprano Nino Machaidze showcases radiant technique and clarity, fusing sweetness and despair in her stage presence. Rodrigo is sung by Dmitry Korchak with an A co-production of Teatro di San Carlo impressively flexible technique. The trio of tenors is completed by Juan John Osborn • Nino Machaidze and Metisfilm Classica Francisco Gatell, who convincingly portrays the sinister traitor Iago. In the in cooperation with UNITEL pit, Rossini expert Gabriele Ferro conducts the composer’s brilliant score Dmitry Korchak • Juan Francisco Gatell with an “impeccable San Carlo Orchestra and Chorus” (Bachtrack). Israeli Length: 189' stage director Amos Gitai contextualises the tragic story set in 15th century Cat. no. A 000 50058 Venice, which revolves around the theme of otherness, with contemporary Conducted by Gabriele Ferro references by projecting video footage of migrants and battlefields onto the stage. Responsible for sets and costumes are two Oscar winners: Staged by Amos Gitai stage designer Dante Ferretti, who combines interiors from the Venetian Renaissance with modern day furniture, and costume designer Gabriella Pescucci, who contrasts the beautiful flowing dresses of the women with the tenors’ dark, uniform-like attire. An Otello that “evokes modern dramas” (Formiche) with “standing ovations for Machaidze and Osborn!” (Corriere del mezzogiorno)

Photos: Luciano Romano

51 FESTIVE REOPENING OF OPERA

th Conductor Daniel Barenboim After more than seven years of renovation, just in time for its 275 anniversary, the Staatsoper Berlin is back in its place of origin – Unter den Linden! For the Orchestra Staatskapelle Berlin festive reopening performance, General Music Director Daniel Barenboim Choruses Staatsopernchor and the Staatskapelle Berlin play Robert Schumann’s Scenes from Goethe’s ROBERT SCHUMANN Children's Choir of the Faust, staged by director Jürgen Flimm. Staatsoper Unter den Linden Chorus Masters Martin Wright “If to the moment I shall ever say: Ah, linger on” –Befitting a reopening Vinzenz Weissenburger night that creates many memorable moments, this quote is one of the most famous excerpts of probably the quintessential German dramatic texts of Szenen aus Goethes Faust Stage Director Jürgen Flimm theatre literature, Johann Wolfgang von Goethe’s Faust. Romantic composer Set Designer Markus Lüpertz Robert Schumann set it to music, creating an episodic concert piece which ROMAN TREKEL∙ELSA DREISIG∙RENÉ PAPE∙KATHARINA KAMMERLOHER Flimm embellishes with scenes from the play. Alongside the powerful and Faust/Doctor Marianus Roman Trekel agile choir, they are brought to life by the cast which consists entirely of Gretchen/Una Poenitentium Elsa Dreisig STAATSKAPELLE BERLIN CONDUCTED BY DANIEL BARENBOIM members of the opera’s ensemble, each and every one of them being an Mephistopheles/Evil Spirit/ internationally acclaimed artist: Embodying the grief of a maiden, Elsa Dreisig STAGED BY JÜRGEN FLIMM SET DESIGN BY MARKUS LÜPERTZ Pater Profundus René Pape gives a compelling performance as Gretchen. Roman Trekel in the title role of Marthe/Sorge/Mater Gloriosa Katharina Kammerloher Faust stands out due to the effortlessness of his lyrical baritone, while René Not/Magna Peccatrix Evelin Novak Pape, “sublimely sardonic, makes a great Mephistopheles” (rbb Kulturradio). Mangel/Mulier Samaritana Adriane Queiroz The spectacularly renovated hall allows for a delicate intimacy of the main Schuld/Maria Aegyptiaca Natalia Skrycka characters’ interactions. Distinguished actors André Jung, Meike Droste and Ariel/Pater Ecstaticus Stephan Rügamer Sven-Eric Bechtolf provide spoken parts which are entwined with those of the vocalists. In the sets of Markus Lüpertz, one of the most famous contemporary Pater Seraphicus Gyula Orendt German artists, Schumann’s orchestral work and the interwoven performances are transformed into a captivating drama. Barenboim’s orchestra sounds “more ACTORS warm and burnished in the new acoustic than they ever could before the Faust André Jung renovation.” (Financial Times) Mephistopheles Sven-Eric Bechtolf The renovated opera house’s sensational sound stems from the increased Gretchen Meike Droste volume of the room, allowing for a warmer tone quality. All in all, it took seven Speaker Anna Tomowa-Sintow years to refurbish the Staatsoper. Film maker Anne Osterloh documented the works, her film Umzug in drei Akten – Eine Baustellen-Oper (Moving in Three Video Director Michael Beyer Acts – A Building Site Opera) follows the people involved in the emotional transformation process. Available in the UNITEL catalogue. Running time: 45’ A production of UNITEL and ZDF in cooperation with ARTE and Staatsoper Unter den Linden

Length: 152' Cat. no. A 050 50506

Photos: Hermann & Clärchen Baus

53 PYOTR ILYICH TCHAIKOVSKY OPERA

Orchestra Staatsorchester Stuttgart Conductor Sylvain Cambreling Choruses Staatsopernchor Stuttgart Kinderchor Oper Stuttgart Chorus Master Johannes Knecht Stage Directors Jossi Wieler Sergio Morabito Acclaimed directing-duo Jossi Wieler and Sergio Morabito, together Set & Costume Designer Anna Viebrock with award-winning stage designer Anna Viebrock, are the creative team behind Pique Dame, the exciting production of Pyotr Ilyich German Erin Caves Tchaikovsky’s operatic masterpiece at the Opera Stuttgart. Lisa Rebecca von Lipinski Under Wieler and Morabito, Pique Dame becomes a psychological Count Tomsky Vladislav Sulimsky thriller; they condense the accuracy with which Tchaikovsky treats the Prince Yeletsky Shigeo Ishino original story by Alexander Pushkin even more. The plot centres on Chekalinsky Torsten Hofmann the young Russian soldier German, who feels haunted by the ghost Countess Helene Schneiderman of a countess. She once was the celebrated “Muscovite Venus” at the Surin David Steffens French Court and it is said that the secret of three infallible playing Erin Caves·Rebecca von Lipinski Chaplitsky Gergely Németi cards was bestowed on her. German is consumed by the envisioned Vladislav Sulimsky·Shigeo Ishino·Torsten Hofmann Narumov Michael Nagl victory in gambling. It even eclipses the desire for his lover Lisa, pushing Polina Stine Marie Fischer the erotic fulfilment of his love for her more and more aside, until he Staatsorchester Stuttgart Governess Maria Theresa Ullrich finally ends up in a deadly embrace with the old countess. Conducted by Sylvain Cambreling Masha Yuko Kakuta With a lot of attention to the story’s psychological layers, the creative Stage Piano Kristina Šibenik team manages “an always exciting balancing act between realism Staged by and surrealism, between rawness and ease, despair and humour, psychology of the highest level and the very mysteriousness that is an Video Director Tiziano Mancini Jossi Wieler & Sergio Morabito intrinsic part of every good night at the theatre.” (Süddeutsche Zeitung) “Sensual, colourful” (Südkurier) is Sylvain Cambreling’s treatment of the score who leads the Staatsorchester Stuttgart and the children’s choir of the Opera Stuttgart. Together, they “carve out every facet of Tchaikovsky’s music” (SWR2). The production stands out due to its close-knit ensemble, led by mezzo-soprano Helene Schneiderman in the role of the Countess: Their combined efforts make thisPique Dame A co-production of ZDF, 3sat and Unitel unique. Schneiderman is joined by baritone Vladislav Sulimsky (Count in cooperation with Oper Stuttgart Tomsky), who makes a brilliant debut at the Opera Stuttgart, and Stine Marie Fischer. As Polina, she “causes a stir with a lot of presence on Length: 172' stage” (Stuttgarter Nachrichten). Cat. no. A 050 50451 “Every leading opera stage, every opera festival in the world would be adorned by this production.” (Faustkultur)

Photos: A.T. Schaefer

55 OPERA

In the history of the Salzburg Festival, ’s popular opera Aida was performed only once, in 1979, staged and conducted by Herbert von Orchestra Wiener Philharmoniker Karajan. For its return as the centerpiece of Markus Hinterhäuser’s first Angelika-Prokopp- season as new intendant, the Salzburg Festival assembled a superb artistic Sommerakademie of team, making this production the most sought after and over-booked in the the Wiener Philharmoniker Festival’s history. The supreme cast was led by Anna Netrebko in the title Conductor role, directed by Iranian-born New York based visual artist Shirin Neshat Chorus Konzertvereinigung Wiener and conducted by the world’s finest Verdi conductor, Riccardo Muti. Staatsopernchor “Anna Netrebko storms Salzburg”, wrote the New York Times about her Chorus Master Ernst Raffelsberger highly anticipated debut as Aida, while the Neue Zürcher Zeitung praised Stage Director Shirin Neshat Netrebko’s “perfection and immaculacy”. , among the finest Verdi tenors of our time, scores as “vocally excellent” Radamès Der( GIUSEPPE VERDI Aida Anna Netrebko Standard). Ekaterina Semenchuk, the “primadonna among the mezzo- Radamès Francesco Meli sopranos” (FAZ) stuns in the role of Amneris and Luca Salsi, one of today’s The King of Egypt most sought after baritones, is “a luxury” (Corriere della Sera) as Amonasro. Amneris Ekaterina Semenchuk Riccardo Muti “creates effects you didn’t quite think possible. The Vienna Ramfis Dmitry Belosselskiy Philharmonic plays for him with astonishing virtuosity: strings of tactile fullness; tangy winds; bursts of ideally round and peppery brasses.” (New Amonasro Luca Salsi York Times) A Messenger Bror Magnus Tødenes The High Priestess Benedetta Torre While Aida is one of the most vulgarized pieces of opera literature, it is at the same time a deep reflection on the hierarchies of power. Being best-known for the sonic splendour of its famous “Triumphal Scene”, it is yet amongst AIDA Video Director Michael Beyer Verdi’s most intimate works when focusing upon the private emotions A co-production of ORF, NHK, UNITEL and ZDF experienced by the three victims of a tragic love triangle: Radamès, Egypt’s in cooperation with ARTE, Wiener Philharmoniker victorious captain of the guard, and the two rivalling women who adore him, and Salzburg Festival the Pharaoh’s daughter Amneris and her Ethiopian slave Aida. Shirin Neshat, who won a Silver Lion as Best Director at the Venice Film Length: 160' Festival, is working across various visual mediums such as photography, video Cat. no. A 040 50077 installation and film. While her early works explored the question of gender in relation to Islamic fundamentalism and militancy, she later departed from overtly political content or critique in favour of more poetic imagery M° Riccardo Muti appears by courtesy and complex human narratives. An approach that is also reflected in her ANNA NETREBKO FRANCESCO MELI of RM Music S.r.l. debut work as an opera director and that picks up Neshat’s own experience of repression and exile. The sculptural stage by Christian Schmidt is an ROBERTO TAGLIAVINI LUCA SALSI aesthetic masterpiece, doing without elephants and pyramids. EKATERINA SEMENCHUK WIENER PHILHARMONIKER CONDUCTED BY RICCARDO MUTI STAGED BY SHIRIN NESHAT

Photos: Salzburg Festival/Monika Rittershaus

57 GIUSEPPE VERDI IL TROVATORE OPERA GREGORY KUNDE ∙ LIANNA HAROUTOUNIAN VITALIY BILYY ∙ ANITA RACHVELISHVILI ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY RICHARD FARNES

STAGED BY DAVID BÖSCH

Orchestra Orchestra of the International superstars Anita Rachvelishvili, Lianna Haroutounian, Vitaliy Bilyy and Gregory Kunde lead a superb cast of world-class singers in David Bösch’s Royal Opera House production of Verdi‘s searing tragic opera Il trovatore at the Royal Opera House. Chorus Royal Opera Chorus Conductor Richard Farnes The atmospheric and poetic staging sets the story against the backdrop of Stage Director David Bösch war. Fire and snow in the landscape echo the cruelty and love contained in the story: soldiers and gypsies clash, a mother reveals a terrible secret and two men Manrico Gregory Kunde are engaged in a deadly fight for one woman. Verdi’s exceptionally fine music Leonora Lianna Haroutounian captures the shifting emotions of the drama through impassioned love duets, Il Conte di Luna Vitaliy Bilyy fiery solos and stirring choruses. Azucena Anita Rachvelishvili „Many are the directors who have refused the challenge of Verdi’s Il trovatore, Ferrando Alexander Tsymbalyuk and one can hardly blame them... At least David Bösch has had a bash. He Ines Francesca Chiejina makes his Covent Garden debut with a production that promises something Ruiz Samuel Sakker a little different – a dreamlike environment, designed by Patrick Bannwart. His Messenger Andrew O’Connor imagery works wonders, creating an atmosphere in which the canons of ordinary Old Gypsy Jonathan Fisher reality do not apply.“ (The Daily Telegraph)

„Verdi’s melodrama is given a grand start by Alexander Tsymbalyuk as Ferrando, Video Director Bridget Caldwell majestic in his retelling of the opera‘s convoluted back story about burning the wrong baby. I could have listened to the Ukrainian bass all evening. A production of Lianna Haroutounian is a devastatingly powerful Leonora.“ (WhatsOn Stage) Royal Opera House, Covent Garden „The evening’s musical credentials are unequivocally outstanding. The soloists Length: approx. 140' are very strong with two performances standing out in particular. The first comes Cat. no. A 020 50102 from Vitaliy Bilyy who is making his Royal Opera debut as the Count di Luna and who combines a deep, rich and secure baritone with a suitably commanding presence. The second comes from Anita Rachvelishvili as Azucena who displays a rich and nuanced mezzo-soprano, and whose voice and acting mark out the weight of sorrow and resolve that she constantly carries.“ (Opera Online)

Photos: Catherine Ashmore:

59 GIUSEPPE VERDI OTELLO OPERA JONAS KAUFMANN ∙ MARCO VRATOGNA MARIA AGRESTA ∙ FRÉDÉRIC ANTOUN ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY SIR ANTONIO PAPPANO

STAGED BY KEITH WARNER

Orchestra Orchestra of the German star tenor Jonas Kaufmann makes his long-awaited role debut in Verdi’s thrilling Shakespeare-based opera Otello, in a “thought- Royal Opera House provoking and stylishly abstract production” (The Evening Standard) Chorus Royal Opera Chorus directed by Keith Warner and conducted by Verdi expert Sir Antonio Conductor Sir Antonio Pappano Pappano – the first new staging of the Italian composer’s final tragedy Stage Director Keith Warner at the Royal Opera House in 30 years.

Otello Jonas Kaufmann The dramatic part of Otello, who is led into the trap of jealousy by Iago Marco Vratogna his scheming rival Iago and kills his innocent wife Desdemona out of Desdemona Maria Agresta suspicion and fury, is sung “most arrestingly” (The Guardian) by Jonas Kaufmann. He offers “a supremely burnished baritonal tenor with a Cassio Frédéric Antoun ringing, heroic top but capable of extraordinary lyrical beauty in more Montano Simon Shibambu intimate scenes” (Evening Standard). Roderigo Thomas Atkins Emilia Kai Rüütel Part of the uniformly strong cast is also Maria Agresta, who scores with Herald Thomas Barnard her touching interpretation of Desdemona: “a soaring songbird, trusting, naïve and doomed” (The Independent). Marco Vratogna in the role of Lodovico In Sung Sim Iago impresses with his ability to switch vocal registers with ideal ease. According to The Arts Desk, there could be no finer encouragement to Video Director Jonathan Haswell the cast than Sir Antonio Pappano, “who from the first notes whips the Royal Opera House orchestra like Poseidon whipping the seas or Zeus A production of the fates”. Royal Opera House, Covent Garden From the violent storm that opens the opera through to Iago’s Length: 152' blood-chilling “Credo” and Otello’s increasingly desperate duets with Desdemona – this is an “Otello for the Ages” (The New York Times). Cat. no. A 020 50114 Photos: Catherine Ashmore

UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF THE ROYAL OPERA HOUSE LONDON

61 FROM THE ROMAN THEATRE OF ORANGE OPERA

Orchestra Orchestre Philharmonique Against the breathtaking backdrop of the Théâtre antique d’Orange, de Radio France Europe’s best preserved amphitheatre, the festival Chorégies d’Orange Conductor Mikko Franck presents Verdi’s masterpiece Rigoletto. Legendary Italian baritone Leo Chorus Choeur de l’Opéra Nucci teams up with rising star Nadine Sierra for a “perfect symbiosis Grand Avignon which inevitably leaves you speechless” (ForumOpéra). Chorus Master Aurore Marchand In the extraordinary open air performance of Rigoletto, staged by Stage Director Charles Roubaud Charles Roubaud on a monumental scale, much-loved reprises his role as the hunch-backed court jester of the Duke of The Duke of Mantua Celso Albelo Mantua: having performed the title role of the tragic hero more than Rigoletto Leo Nucci 500 times, Nucci has “lost nothing of his aura” (Le Monde). Rising Gilda Nadine Sierra star soprano Nadine Sierra “reveals the infinite tenderness of an Sparafucile Stefan Kocan angelic nature” (Le Monde) as Gilda. One of the most exciting voices Maddalena Marie-Ange Todorovitch of today, Celso Albelo embraces the role as the Duke of Mantua, GIUSEPPE VERDI Giovanna Cornelia Oncioiu while Marie-Ange Todorovitch shines as Maddalena. The excellent Count Monterone Wojtek Smilek cast is supported by the Philharmonic Orchestra of Radio France, Marullo Igor Gnidii led by Mikko Franck who became the orchestra’s Musical Director in 2015. The joint forces of the Choirs of the Operas of Avignon, Borsa Christophe Berry Monte-Carlo and Nice add to the vibrant nocturnal atmosphere in Count Ceprano Jean-Marie Delpas Orange’s picturesque amphitheatre. A staging of Rigoletto “charged Countess Ceprano Amélie Robins with adrenaline!” (ForumOpéra) Court Usher Vincenzo Cristofoli Page Violette Polchi

Video Director Andy Sommer

A coproduction of CLC, Chorégies d’Orange and Radio France in cooperation with France Télévisions, medici.tv and UNITEL with support of CNC LEO NUCCI CELSO ALBELO Length: approx. 130' Cat. no. A 010 50073 NADINE SIERRA MARIE-ANGE TODOROVITCH

ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE CONDUCTED BY MIKKO FRANCK

STAGED BY CHARLES ROUBAUD

Photos: Philippe Gromelle, Christian Bernateau

63 50 YEARS SALZBURG EASTER FESTIVAL RE-CREATION OF HERBERT VON KARAJAN’S ORIGINAL PRODUCTION OPERA

RICHARD WAGNER DIE WALKÜRE Seiffert • Zeppenfeld • Kowaljow • Harteros • Kampe • Mayer

Conductor Staatskapelle Dresden Orchestra Staatskapelle Dresden Stage Director conducted by Christian Thielemann Siegmund Peter Seiffert Hunding Georg Zeppenfeld Staged by Vera Nemirova Wotan Vitalij Kowaljow Sieglinde Anja Harteros Brünnhilde Anja Kampe Fricka Christa Mayer On the occasion of its 50th anniversary, the Salzburg Easter Festival presents Gerhilde Johanna Winkel a very particular staging of Richard Wagner’s opera Die Walküre under the Ortlinde Brit-Tone Müllertz baton of Artistic Director Christian Thielemann: a “Re-creation” of Herbert von Karajan’s musico-theatrical vision of the 19th century masterwork, with Waltraute Christina Bock which the legendary Maestro opened the very first Easter Festival in 1967. Schwertleite Katharina Magiera The top-ranking ensemble of Wagner singers includes Anja Harteros, Peter Helmwige Alexandra Petersamer Seiffert, Christa Mayer, Vitalij Kowaljow and Anja Kampe. They perform in Siegrune Stepanka Pucalkova the faithfully reconstructed scenery of the original production. Grimgerde Katrin Wundsam Christian Thielemann, who has been assistant of Karajan in his beginnings, Roßweiße Simone Schröder counts among the world’s foremost Wagner conductors. His brilliant anniversary performance with the Staatskapelle Dresden – which has Video Director Tiziano Mancini an equally outstanding relationship to Richard Wagner as their former ‘Kapellmeister’ – and with the experienced singers on stage appears as “a declaration of love to Wagner, Karajan, Salzburg, and to the international audiences” (Dresdner Neueste Nachrichten). Directed by Vera Nemirova, the new staging of the Walküre with its majestic, timeless sets, created by visionary Günther Schneider-Siemssen, brings a part of theatrical history back to life but equally raises the question of how it may be reinterpreted for our time. This second opera of Wagner’s tetralogy A production of UNITEL deals with central topics of human existence and still in co-production with ORF/3Sat and NHK has to tell us a lot about family, brotherhood, moral and honour – and about in cooperation with Salzburg Easter Festival the difficult decision one has to make between money, power and love. The critics are full of praise for this “musically ravishing Walküre” (Frankfurter Length: 235' Allgmeine) and its “excellent ensemble of soloists”. As Sieglinde, Anja Cat. no. A 040 50067 Harteros is “enchanting and elegant”, Peter Seiffert “amazingly presents a steady and expressive Siegmund”, Christa Mayer “shows off as irresistible, throroughbred Fricka” and Anja Kampe is celebrated as “outstanding Brünnhilde” (Süddeutsche Zeitung).

Photos: OFS/Forster

65 THE ROYAL BALLET

WOOLF WORKS BALLET A TRIPTYCH INSPIRED BY THE WORKS OF VIRGINIA WOOLF ORCHESTRA OF THE ROYAL OPERA HOUSE CHOREOGRAPHY BY WAYNE MCGREGOR MUSIC BY MAX RICHTER CONDUCTED BY KOEN KESSELS

Director & Choreographer Wayne McGregor     Music by Max Richter (Guardian) (Timeout) (Daily Express) (The Stage) Conductor Koen Kessels Soprano Anush Hovhannisyan Orchestra Orchestra of the Wayne McGregor’s ballet triptych Woolf Works, inspired by the Royal Opera House writings of Virginia Woolf, met with outstanding critical acclaim on Voiceover Gillian Anderson its premiere, and went on to win McGregor the Critics’ Circle Award for Best Classical Choreography and the Olivier Award for Best New Video Director Ross MacGibbon Dance Production.

I NOW, I THEN The Observer described it as “a compellingly moving experience”. (inspired by Mrs Dalloway) Following The Independent it “glows with ambition, a brave, thoughtful Soloists: Alessandra Ferri, Federico Bonelli, Gary Avis, work”. The Guardian concluded that “it takes both McGregor – and the Francesca Hayward, Beatriz Stix-Brunell, Edward Watson, Akane concept of the three-act ballet – to a brave and entirely exhilarating Takada, Calvin Richardson new place”. For The Sunday Telegraph it is “A work whose subtle play of intellect and emotion make it not merely a beautiful exercise in BECOMINGS narrative metamorphosis but a meditation on the act of creation itself.” (inspired by ) Soloists: Gary Avis, Matthew Ball, Calvin Richardson, Francesca Each of the three acts springs from one of Woolf’s landmark novels: Hayward, Paul Kay, Sarah Lamb, Steven McRae, Natalia Osipova, Mrs Dalloway, Orlando and The Waves – but these inspirations are also Beatriz Stix-Brunell, Akane Takada, Eric Underwood, Edward Watson enmeshed with elements from her letters, essays and diaries. Woolf Works expresses the heart of an artistic life driven to discover a freer, TUESDAY uniquely modern realism, and brings to life Woolf’s world of ‘granite (inspired by The Waves) and rainbow’, where human beings are at once both physical body and Soloists: Alessandra Ferri, Federico Bonelli, Sarah Lamb, Luca Acri, Camille Bracher, uncontained essence. Mica Bradbury, David Donnelly, Benjamin Ella, Kevin Emerton, Isabella Gasparini, Golding, Hannah Grennell, Tierney Heap, Meaghan Grace Hinkis, Tomas Woolf Works was McGregor’s first full-length work for The Royal Mock, Anna Rose O’Sullivan, Marcelino Sambé, Leticia Stock, Calvin Richardson, Ballet, and saw him reunited with regular collaborator Max Richter, who Gina Storm-Jensen, David Yudes, Madeline de Andrade, Mia Bailey, George Cox, provides a commissioned score incorporating electronic and orchestral Jarad Jackson, Eve Simpson, Sacha Barber music. A production of Royal Opera House, Covent Garden

Length: 103' Cat. no. A 020 50103

Photos: ROH/Tristram Kenton

67 PYOTR I. TCHAIKOVSKY THE SLEEPING BEAUTY BALLET MARIANELA NUÑEZ ∙ VADIM MUNTAGIROV KRISTEN MCNALLY ∙ CLAIRE CALVERT ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY KOEN KESSELS

CHOREOGRAPHY BY MARIUS PETIPA

Ballett Company The Royal Ballet Celebrate 70 years of The Royal Ballet’s landmark production of Orchestra Orchestra of the Petipa’s classic ballet and enter an enchanted world of princesses, fairy Royal Opera House godmothers and magical spells, to glorious music by Tchaikovsky. The Conductor Koen Kessels Sleeping Beauty holds a special place in The Royal Ballet’s repertory. Choreographer Marius Petipa It was the ballet with which the Company reopened the Royal Opera Additional Choreography Sir Frederick Ashton, House in 1946 after World War II, its first production at its new home Sir Anthony Dowell & in Covent Garden. Christopher Wheeldon Stage Director Monica Mason & Christopher “If you want spectacle at the ballet then this Sleeping Beauty is for Newton after Ninette de Valois you. With so much richness on stage, in costumes, sets and the sheer & Nicholas Sergeyev number of courtiers and fairytale characters, the view from the stalls is full to bursting.” (The Times) Princess Aurora Marianela Nuñez Prince Florimund Vadim Muntagirov “Tchaikovsky’s most majestic ballet gets the royal treatment – With Lilac Fairy Claire Calvert contributions from no fewer than four choreographers the Royal Carabosse Kristen McNally Ballet’s Sleeping Beauty certainly gives you more bang for your bucks. Cattalabutte Alastair Marriott Marius Petipa’s original work has been augmented in such a way by King Florestan Christopher Saunders Sir Frederick Ashton, Christopher Wheeldon and Sir Anthony Dowell Queen Elizabeth McGorian that it seems made of whole cloth. Similarly, Oliver Messel’s designs – towering arches, fairytale forests – have been deliciously heightened by Video Director Ross MacGibbon Peter Farmer to the point of timelessness. The costumes never fail to amaze, reflecting three different eras with the exception of the Master A production of of Ceremonies who remains above – or beneath – fashion.” Royal Opera House, Covent Garden (The Stage )

Length: 138' Cat. no. A 020 50106

UNITEL PROUDLY REPRESENTS THE INTERNATIONAL TV DISTRIBUTION OF THE ROYAL OPERA HOUSE LONDON

69 FROM THE ROMAN THEATRE AT POMPEII

PABLO PICASSO AT POMPEII BALLET ERIK SATIE IGOR STRAVINKSY PARADE PULCINELLA Choreography by Léonide and Lorca Massine Sets and Costumes by Pablo Picasso Corps de Ballet of the Teatro dell‘Opera di Roma Staged by Eleonora Abbagnato Against the picturesque backdrop of the Vesuvius, the ancient Roman theatre of Pompeii hosts a colourful open air event in honour of Pablo Picasso. Celebrating the centenary of his visit to Italy, two ballets with sets and costumes designed by this Choreographers Léonide and Lorca Massine legendary Spanish artist are put on stage: Parade, with music by Erik Satie, and ’s Pulcinella. The choreography of both works has been created by Russian Ballett Company Corps de Ballet of the Teatro ballet star Léonide Massine. It is performed by the corps de ballet of the Teatro dell'Opera di Roma dell’Opera di Roma under the direction of Paris Opera prima ballerina Eleonora Stage Director Eleonora Abbagnato Abbagnato and Léonide Massine’s son Lorca as choreographer. Set & Costume Designer Pablo Picasso 100 years ago, together with Jean Cocteau, Picasso undertook a journey to Naples and Pompeii in order to work on Parade, an avant-garde ballet commissioned by Serge Video Director Pierre-François Decouflé Diaghilev, director of the famous Ballets Russes, which was supposed to be inspired by Neapolitan folklore and the commedia dell’arte. The stage curtain of Parade is the largest work Picasso ever completed, measuring about 11 meters high by 17 metres wide. Satie’s musical score mixes the orchestral palette with sounds from everyday life: noises of typewriters, revolvers, sirens, lottery wheels and bottles are brought together into a joyful collage reminiscent of cubist art. Cocteau’s libretto tells the story of a troupe of street artists who parade in front of a crowd of onlookers in an attempt to attract an audience for their show. A production of Heliox Films After the success of Parade, Massine, Picasso and the Ballets Russes joined forces in co-production with Opéra Films again for Pulcinella at the Opéra de Paris. This ballet en un tableau follows the amorous in association with medici.tv, Teatro dell’Opera di Roma episodes in the life of the young Neapolitan philanderer Pulcinella, a well-known figure and UNITEL, with support of CNC of traditional Neapolitan theatre. “The four creative geniuses of Parade – Picasso, Cocteau, Massine and Satie – were Performance only: Length 63' the ideal team for bringing new vitality and authenticity to the world of ballet. The solo Narrated Performance Version: Length 67' dancers and the corps de ballet of the Teatro dell’Opera di Roma now revive the magic Cat. no. A 000 50055 of the two ballets Parade and Pulcinella” (ANSA.it). The programme is available in two versions: performance only and a narrated performance version, containing interviews with Lorca Massine (choreographer), Eleonora Abbagnato (stage director), Carmine Romano (historian) and Luigi Gallo (curator of the Capodimonte Museum Pompeii).

Photos: Luciano Romano

71 LE BALLET BALLET ROYAL

Music by JEAN DE CAMBEFORT DE LOUIS CONSTANTIN MICHEL LAMBERT A unique and extravagant spectacle at the crossroads of opera, ballet and FRANCESCO CAVALLI artistry, captured on film for the very first time: Conductor Sébastien Daucé ANTOINE BOËSSET recreates the Sun King’s opulent Ballet royal de la nuit and, together with LUIGI ROSSI et al. his orchestra Ensemble Correspondance, evokes the splendour of the 17th century’s French court at the Théâtre de Caen. LA Harpsichordist and cembalist Daucé had to delve deep into the archives to Stage Director/Choreographer Francesca Lattuada unearth this gem of musical history from 1653. In a clever strategic move, Conductor Sébastien Daucé Cardinal Mazarin had commissioned a titanic ballet production back then Orchestra & Chorus Ensemble Correspondances for the French high nobility to take part in. It had but one political objective – to establish and secure the power of the king. And the Ballet royal de la NUIT Sun King Sean Patrick Mombruno nuitwas a powerful promotional tool indeed: Louis XIV, age 15, most notably danced the part of the Sun, earning him the title with which he has been Night, Italian Venus Lucile Richardot SEAN PATRICK MOMBRUNO immortalized, “Sun King”. An Hour, Cynthia, To recreate this total work of art, which brings together music and imagery, LUCILE RICHARDOT A French Grace Violaine Le Chenadec lavish decorations and opulent costumes, Daucé enlists the help of 20 singers, twelve acrobats and three jugglers as well as dancer Sean Patrick VIOLAINE LE CHENADEC Eurydice, A French Grace Caroline Weynants Juno Ilektra Platiopoulou Mombruno and the musicians of Ensemble Correspondance, distinguished CAROLINE WEYNANTS Venus, Silence Caroline Dangin-Bardot specialists in the music of the French Grand Siècle. Under their founder’s Pasithea, Mnemosyne Judith Fa inspired guidance, the ensemble showcases exceptional cohesion and delivers ILEKTRA PLATIOPOULOU a sensitive interpretation of a multifaceted, dazzling work of music. While the The Moon, Dejanira, choirs are “simply prodigious” (Le Monde), the soloists excel with declamatory A French Grace Cachet CAROLINE DANGIN-BARDOT strength when performing the original compositions of Jean de Cambefort, DEBORAH CACHET Apollo, Aurora David Tricou Michel Lambert and contemporaries, but equally shine when accentuating Endymion Davy Cornillot the dramatic hyperbole of Italian opera. By interweaving excerpts from the ENSEMBLE CORRESPONDANCES Sleep Etienne Bazola very first operas that were performed in France, namely Francesco Cavalli’s Hercules Renaud Bres Ercole armante and Luigi Rossi’s Orfeo, Daucé creates a rich musical CONDUCTED BY SÉBASTIEN DAUCÉ Grand Sacrificer Nicolas Brooymans tapestry. The outstanding work of Francesca Lattuada, who is in charge of the striking stage effects and period costumes as CHOREOGRAPHY BY FRANCESCA LATTUADA Video Director François-René Martin well as the spellbinding choreography, provides for an equally exciting visual counterpart. THÉÂTRE DE CAEN A co-production of CLC Productions, Théâtre de Caen, And when Ballet royal de la nuit culminates in the Radio France with the participation of France Télévisions, rise of the radiating Sun, there’s nothing left but Mezzo, medici.tv, Unitel and with support from CNC “unreserved admiration” (Le Monde) for this “exquisite Gesamtkunstwerk” (Welt.de). “A king-like, no, a veritable Sun-King-like delight!” (br.de) Length: approx. 210' Cat. no. A 010 60076

An extravagant spectacle at the crossroads of opera, ballet and artistry

Photos: Philippe Delval

73 Photo: Michael Zapf the baton of Principal Conductor and and Hengelbrock Thomas Conductor of Principal baton the under BR and of NDR choirs the and Praetorius Ensemble ofconcert the NDR Elbphilharmonie Orchester, the inaugural an with doors its opens Elbphilharmonie The space! becomes time Here hall. concert aworld-class and location aunique architecture, of breath-taking synthesis amonumental of Hamburg, landmark new the undoubtedly is The Elbphilharmonie, the “hall of wonders” ( of wonders” “hall the Elbphilharmonie, The HANNA-ELISABETH MÜLLER NDR ELBPHILHARMONIE ORCHESTER PHILIPPE JAROUSSKY JAROUSSKY PHILIPPE THE INAUGURAL CONCERT ELBPHILHARMONIE HAMBURG Cat. no. A 055 50610 0000 50610 A055 no. Cat. Length: 112' Length: · Countertenor Soprano CONCERTS The Guardian The PAVOL BRESLIK PAVOL BRESLIK · WIEBKE LEHMKUHL conducted by by conducted ), ),

scintillating concert!” ( concert!” scintillating a building, “A Rihm. Wolfgang composer, striking German living important most the by work brand-new commissioned a in culminates It Messiaen. and Wagner Beethoven, Brahms, by works includes that programme exciting an with acoustics its and Hall Grand Elbphilharmonie’s of the possibilities the explores Orchester Elbphilharmonie NDR the instrumentation different In top-class soloists. several THOMAS HENGELBROCK THOMAS Tenor · Tenor SIR TERFEL BRYN SIR Alto under license by Studio Hamburg Enterprises GmbH Produced by NDR, distributed by UNITEL UNITEL by distributed NDR, by Produced The New YorkThe Times Bass-Baritone ) 75 CONCERT HOLLYWOOD IN VIENNA A TRIBUTE TO DANNY ELFMAN

DANNY ELFMAN · LEBO M · REFI SINGS · SOHINI ALAM · NATHAN TRENT · LOUISE DEARMAN et al. CONCERT ORF VIENNA RADIO SYMPHONY ORCHESTRA conducted by JAMES SHEARMAN & JOHN MAUCERI

Hollywood in Vienna enters the realm of mythical creatures brave Mulan on her adventurous journey through medieval and fairy tales and honours Hollywood composer, Grammy China. Star singers Nathan Trent and Louise Dearman shine Award Winner and four-time-Oscar-nominee Danny in La La Land, while Insingizi & Friends sweep the audience Elfman. The ORF Vienna Radio Symphony Orchestra in the Vienna Concert hall away with their Lion King under the baton of James Shearman discovers with Beauty medley. In the second part, conductor John Mauceri and that there’s an enchanted prince hiding within the fearsome the orchestra perform the highlights from Danny Elfman’s Beast, explore the mysterious world to which the wardrobe impressive back catalogue such as The Nightmare before in The Chronicles of Narnia leads to and accompany the Christmas, The Simpsons and Batman.

Length: 91' A co-production of Interspot, Tomek Productions, ORF III and UNITEL Cat. no. A 045 50083 0000

ANNA NETREBKO & YUSIF EYVAZOV THE WALDBÜHNE CONCERT HUNGARIAN STATE OPERA ORCHESTRA conducted by MICHELANGELO MAZZA Returning to the stage where she achieved immense whilst superstar Netrebko brings Verdi’s and success, Anna Netrebko delivers a stunning performance of Puccini’s to life. The emotional opera the most beautiful arias and duets from Italian Opera at the duets and the contemporary love songs, specifically written Waldbühne Berlin. For a magical night at the spectacular for this “dream team of the opera” (Berliner Morgenpost) amphitheatre, the Russian star soprano is joined by Yusif by Russian composer Igor Krutoy, blend perfectly in the Eyvazov. Being not only her partner on stage but also in joyful and romantic atmosphere of this musical summer life, the internationally acclaimed Azerbaijani tenor shines night’s dream by Netrebko and Eyvazov, who “took Berlin in beloved arias such as “Nessun dorma” from Turandot, by storm” (Opera Wire).

Length: approx. 90' A production of ZDF in cooperation with DEAG Classics and UNITEL Cat. no. A 055 50686 0000

BARTABAS & THE ACADÉMIE ÉQUESTRE DE VERSAILLES AT THE FELSENREITSCHULE SALZBURG GENIA KÜHMEIER Soprano · ELISABETH KULMAN Alto JULIEN BEHR Tenor · CHARLES DEKEYSER Bass LES MUSICIENS DU conducted by Miserere, K. 85 · Requiem in D Minor, K. 626 · Ave verum corpus, K. 618 GEORGE FRIDERIC HANDEL “The ways of Zion do mourn” HWV 264 from FUNERAL ANTHEM FOR QUEEN CAROLINE An absolute highlight of Salzburg’s Mozart week: At the Dekeyser) to place the Requiem, one of Mozart’s most time-honoured Felsenreitschule, the French equine artist popular and yet most profound and sublime creations, and theatrical genius Bartabas presents Wolfgang Amadeus into a new theatrical context. It is Bartabas himself who Mozart’s Requiem. Horses and riders from the formidable opens the “poetic dance” (Süddeutsche Zeitung) on his Académie Équestre de Versailles join forces with the splendid stallion Caravage, tracing the musical rhetoric Musiciens du Louvre, conducted by Mark Minkowski, the of the Requiem in a “profound and touching” manner. Salzburger Bachchor and four excellent soloists (Genia “A piece of art with an exceptional power of attraction” Kühmeier, Elisabeth Kulman, Julien Behr and Charles (Schwäbische Zeitung). Length: 70' A co-production of ORF, ARTE and UNITEL in co-operation with Stiftung Mozarteum Salzburg and Cat. no. A 045 50069 0000 the Académie équestre nationale du domaine de Versailles Photo: Roehr ZDF/Jule YUSIF EYVAZOV & ANNA NETREBKO 77 CONCERT Photo: Chris Christodoulou Christodoulou Photo: Chris Christodoulou Photo: Chris IGOR LEVIT LEILA JOSEFOWICZ & MIRGA GRAŽINYTĖ-TYLA

FIRST NIGHT OF THE PROMS BBC SYMPHONY ORCHESTRA, CITY OF BIRMINGHAM SYMPHONY ORCHESTRA, IGOR LEVIT & EDWARD GARDNER LEILA JOSEFOWICZ, ALLAN CLAYTON & MIRGA GRAŽINYTĖ-TYLA Overture “Leonore” No. 3, Op. 72 · Symphony No. 5 in C minor, Op. 67 TOM COULT St John’s Dance IGOR STRAVINSKY Violin Concerto in D major LUDWIG VAN BEETHOVEN Piano Concerto No. 3 in C minor, Op. 37 GERALD BARRY Canada JOHN ADAMS Harmonium LUDWIG VAN BEETHOVEN & Ode to Joy (Arr. Igor Levit) (Encore) Rising star conductor Mirga Gražinytė-Tyla returns with – “on the podium a combination of flamboyance and the City of Birmingham Symphony Orchestra to the steely poise” (Financial Times) – explores the theme of The BBC Symphony Orchestra and Igor Levit, conducted (The Independent). For the grand finale, John Adams’s Royal Albert Hall, setting Beethoven’s Fifth Symphony political and artistic freedom in their concert: Beethoven’s by Edward Gardner, excelled at the First Night of the Harmonium receives “a glowing performance” (The Daily against a world premiere by Gerald Barry. Leila Josefowicz Overture “Leonore” No. 3 celebrates the triumph of Proms at London’s Royal Albert Hall, combining an Telegraph) by its gargantuan chorus: alongside the BBC excels as the soloist in Stravinsky’s Violin Concerto. Mirga truth over tyranny in music of radiant beauty while his exciting new work by a British artist, Tom Coult’s St John’s SO under Edward Gardner, seven choirs, among them Gražinytė-Tyla has been the youngest female conductor to Fifth rewrites the rules for the Classical symphony. Allan Dance, with a repertoire classic – Beethoven’s Piano the BBC Symphony Chorus and the BBC Proms Youth take over one of the world’s leading orchestras: Together Clayton's rendition of Canada, composed by Gerald Barry, Concerto No. 3 – and a topical piece such as John Adams’s Choir, make up the choral forces, doing “formidable” in with the CBSO, the Music Director from Lithuania completes the programme. “Irresistible!” (The Guardian) Harmonium, marking the composer’s 70th birthday. Igor “this stratospherically high, rhythmically difficult, super- Levit performs Beethoven “with rare grace and intimacy” exposed job.” (The Observer) Length: 88' A co-production of BBC and UNITEL Cat. no. A 025 50369 0000 Length: 91' A co-production of BBC and UNITEL Cat. no. A 025 50367 0000

78 79 CONCERT

SIR , EVA-MARIA WESTBROEK, KAREN CARGILL, Christodoulou Photo: Chris Christodoulou Photo: Chris , SIMON O’NEILL, PETER HOARE & CHRISTOPHER PURVES DANIEL BARENBOIM

ARNOLD SCHOENBERG: GURRELIEDER STAATSKAPELLE BERLIN & DANIEL BARENBOIM LONDON SYMPHONY ORCHESTRA & SIR SIMON RATTLE PERFORM BIRTWISTLE & ELGAR EVA-MARIA WESTBROEK Soprano · KAREN CARGILL Mezzo-Soprano SIR HARRISON BIRTWISTLE Deep Time PETER HOARE, SIMON O’NEILL Tenor · CHRISTOPHER PURVES Bass-Baritone SIR EDWARD ELGAR Symphony No. 2 in E flat major, Op. 63 THOMAS QUASTHOFF Speaker Daniel Barenboim and the Staatskapelle Berlin, returning They earn praise for playing his Opus 63 “with heroic Sir Simon Rattle starts his tenure as the London Symphony CBSO Chorus, and Orfeó Català meet the LSO and a heroes of the BBC Proms, give the UK premiere of Sir sweep and heart-melting beauty” (The Spectator). The Orchestra’s new Music Director with a concert at superb line-up of soloists, led by Rattle. The conductor is Harrison Birtwistle’s Deep Time at the Royal Albert Hall night is dedicated to celebrate European culture in all its the prestigious BBC Proms – 40 years after his first reunited with his long-term collaborator Chorus Master in London. They contrast the contemporary piece with the diversity: the German orchestra under Barenboim, who is appearance with the LSO, in October 1977 at the age of Simon Halsey, putting on “a brilliantly blazing show” Second Symphony by Sir Edward Elgar, thus reaffirming a passionate advocate of international understanding, gives 22. The Royal Albert Hall’s cavernous space provides the (The Daily Telegraph). Their BBC Proms performance their special relationship with the revered British composer: a “superb performance of Britain’s finest symphonies and perfect surroundings for this supersize scale performance is “an intoxicating embrace of the gigantic ebb and flow “The Staatskapelle, driven by Barenboim, has become its greatest living composer, each first and foremost part of Arnold Schoenberg’s Gurrelieder. The force of over five of Schoenberg’s score … an ecstatic celebration!” (The probably the world’s best Elgar-orchestra.” (Die Welt) of a wider European tradition.” (The Guardian) hundred voices from the London Symphony Chorus, the Guardian) Length: 91' A co-production of BBC and UNITEL Length: 109' Cat. no. A 025 50368 0000 A co-production of BBC and UNITEL Cat. no. A 020 50115

80 81 CONCERT Photo: Roman Zach-Kiesling Photo: Roman Zach-Kiesling SERGEY KHACHATRYAN & LORENZO VIOTTI TEODOR CURRENTZIS

CAMERATA SALZBURG, WOLFGANG AMADEUS MOZART: REQUIEM SERGEY KHACHATRYAN & LORENZO VIOTTI MUSICAETERNA & TEODOR CURRENTZIS PERFORM BEETHOVEN & SCHUMANN ANNA PROHASKA Soprano · KATHARINA MAGIERA Alto MAURO PETER Tenor · TAREQ NAZMI Bass LUDWIG VAN BEETHOVEN Violin Concerto in D major, Op. 61 MUSICAETERNA & CHORUS ROBERT SCHUMANN Symphony No. 3 in E flat major, Op. 97 “Rhenish” WOLFGANG AMADEUS MOZART Requiem in D Minor, K. 626 Lorenzo Viotti, who is considered one of the most talented the young and wild” (ARD), they rise to the challenge that conductors of his generation, returns to the Salzburg is Beethoven’s Violin Concerto: After all, Beethoven’s work Teodor Currentzis and his Russian ensemble musicAeterna black cassocks and afoot throughout the concert, perform Festival, which proved to be a stepping stone for the was deemed too difficult whilst not being virtuosic enough give their long awaited Salzburg Festival debut at the with full verve and complement each other perfectly: young Swiss: After he won the festival’s Young Conductors when it premiered in 1806. Khachatryan demonstrates Felsenreitschule with an exhilarating interpretation of “compelling and in its greatness hardly comparable” Award, leading the renowned Camerata Salzburg, he took his extensive skills, producing “celestially delicate sounds” Wolfgang Amadeus Mozart’s Requiem. The Greek- (Kronen Zeitung). The young quartet of excellent soloists the classical world by storm. Reunited with the Camerata, (drehpunktkultur.at). Viotti’s treatment of the “Rhenish”, Russian star conductor, “visually the rock star amongst - Anna Prohaska, Katharina Magiera, Mauro Peter and Viotti is joined by Sergey Khachatryan in the picturesque Robert Schumann’s Third Symphony, is “youthful and brisk” all conductors” (Kleine Zeitung), is for many today’s most Tareq Nazmi - is “smoothly blending in with the ensemble” Großer Saal of the Stiftung Mozarteum. In their “debut of (Kronenzeitung). exciting Mozart conductor. The musicAeterna orchestra (Salzburg.com). The “phenomen Teodor Currentzis sets and its fabulous chorus, completely dressed in solemn Salzburg on fire!” Kleine( Zeitung) Length: 91' A co-production of BR, ARTE and UNITEL Cat. no. A 045 50082 0000 in cooperation with Salzburg Festival Length: approx. 55' A co-production of ZDF/3sat, ORF and UNITEL Cat. no. A 040 50081 in cooperation with Salzburg Festival

82 83 CONCERT

GUSTAVO DUDAMEL CONDUCTS ADAMS & DVOŘÁK TIMOTHY McALLISTER Saxophone JOHN ADAMS City Noir ANTONÍN DVOŘÁK Symphony No. 9 in E minor, Op. 95, “From the New World” City Noir, John Adams’s work for orchestra, is a conglo- Venezuelan conductor also performs Dvořák’s Ninth meration of sophisticated solos, that pays homage Symphony. Premiered in New York, the colourful work to film noir with its title but also with its sinister and with the byname “From the New World” brilliantly fuses sensual sound language. Gustavo Dudamel leads the American impressions and symphonic music. While the Berliner Philharmoniker “with lots of humour and real Largo can “hardly be imagined in a more noble way”, the swing through the brilliantly instrumented urban jungle.” Scherzo bursts with great energy, making the endless (Berliner Morgenpost) Saxophonist Timothy McAllister expanses of the Midwest “almost physically tangible in the shines with a soulful solo. In an exciting juxtaposition, the swirling stream of sounds” (Tagesspiegel).

Length: 100' A production of Berlin Phil Media and UNITEL Cat. no. A 055 50689 0000

JOHN ADAMS: THE GOSPEL ACCORDING TO THE OTHER MARY CONDUCTED BY SIR SIMON RATTLE KELLEY O’CONNOR, TAMARA MUMFORD Mezzo-Soprano · PETER HOARE Tenor DANIEL BUBECK, BRIAN CUMMINGS, NATHAN MEDLEY Countertenor RUNDFUNKCHOR BERLIN

Sir Simon Rattle, the Berliner Philharmoniker and the orchestra’s rehearsals. In the role of the Evangelist, the Rundfunkchor Berlin give an impeccable performance of “flawless” Bachtrack( ) Bubeck, Cummings and Medley the powerful biblical oratorio The Gospel According to the lead through the narrative. A stunning highlight is Lazarus’s Other Mary by John Adams, one of the most renowned aria, sung by tenor Peter Hoare – “grand!” (Berliner contemporary composers. The sophisticated score with a Zeitung). But at the heart of the piece are Mary Magdalene libretto by acclaimed theatre director Peter Sellars comes and her sister Martha during the last days before Jesus’s to life thanks to the Berliner Philharmoniker. As their death, impressively performed by mezzo-sopranos Kelley Composer in Residence 2016/2017, Adams attended the O’Connor and Tamara Mumford.

Length: 155' A production of Berlin Phil Media and UNITEL Cat. no. A 050 50428 Photo: Monika RittershausPhoto: Monika GUSTAVO DUDAMEL 85 JIŘÍ BĚLOHLÁVEK CONDUCTS MARTINŮ, BOHUSLAV MARTINŮ STRAUSS & JANÁČEK SYMPHONY RADEK BABORÁK French Horn CYCLE CONCERT BOHUSLAV MARTINŮ Symphony No. 4, H 305 RICHARD STRAUSS Horn Concerto No. 2 in E flat major LEOŠ JANÁČEK Sinfonietta CZECH PHILHARMONIC At the acoustically superb concert venue of the Rudolfinum “the ultimate perfection” (Harmonie Magazine) – is Prague, the Czech Philharmonic performs Bohuslav complemented by Janáček’s late work Sinfonietta and Martinů’s Symphony No. 4 as part of the first-ever Strauss’s Horn Concerto No. 2, performed by renowned filmed complete cycle of all six symphonies by the Czech French horn soloist Radek Baborák. composer. It is at the same time one of the last recordings with the late Czech Philharmonic’s long-term musical The Martinů cycle will be completed by Jakub Hrůša, a director Jiří Bělohlávek. Martinů’s Fourth Symphony – fellow Martinů expert and former pupil of Bělohlávek.

Length: 86' A production of Czech Television and UNITEL Cat. no. A 985 50042 0000

IN WAR AND PEACE – HARMONY THROUGH MUSIC JOYCE DiDONATO AT THE GRAN TEATRE DEL IL POMO D'ORO conducted by MAXIM EMELYANYCHEV “In the midst of chaos, how do you find peace?”, is one of external conflict and serenity, internal war and peace, the pressing topical questions that Joyce DiDonato asks in and the challenges which they provide for every citizen of her powerful work In War and Peace –Harmony through the world. Together with the period-instrument ensemble Music. The Grammy Award winning mezzo-soprano Il Pomo d’Oro under Maxim Emelyanychev, the singer fashions an intense semi-staged concert production, creates a dramatic atmosphere on the stage of the Gran including works by George Frideric Handel and Henry Teatre del Liceu in Barcelona. In the music of Handel, Purcell. Organizing a set of Baroque arias along thematic DiDonato achieves a “purity that enhances the composer’s lines, DiDonato contemplates the interwoven worlds of signature formula” (Washington Post).

Length: 79' A co-production of Camera Lucida and Askonas Holt in association with ARTE France, with the Cat. no. A 935 50020 0000 participation of MUSEEC/medici.tv and UNITEL, with the support of CNC

HANDEL – WOMEN'S LOVES AND LIVES & DONNA LEON PATRIZIA CIOFI Mezzo-Soprano Introductions by DONNA LEON IL POMO D'ORO conducted by MAXIM EMELYANYCHEV Fearless in the face of death, unflinching in their love, the programme, comments on the women’s stories. When ruthless in their revenge: the women in Handel’s operas are becomes a veritable goddess of revenge, Ciofi anything but one-dimensional. Italian interprets her great aria “Morrai, sì” with dramatic ferocity. Patrizia Ciofi and the Baroque ensemble Il Pomo d’Oro, In , the heroine has the power to bewitch the whole led by Maxim Emelyanychev, perform the most powerful world around her, but none over her own heart. Ciofi and moving arias from Handel’s operas at the magnificent emotionally commits to Alcina’s desperate arias, such as Christuskirche am Mühlburger Tor in Karlsruhe. Bestselling “Ah, mio cor”, showcasing the tragedy of the narrative. author and Handel enthusiast Donna Leon, who presents “An original and electrifying spectacle!” (ForumOpera)

Length: 86' A co-production of Ozango, Badisches Staatstheater Karlsruhe, Cat. no. A 055 50677 0000 ClassicAll/M_Media, Szenik and UNITEL Photo: Javier Del Real : JOYCE DiDONATO 86 87 CONCERT

THE ODEONSPLATZ CONCERT YUJA WANG & VALERY GERGIEV YUJA WANG Piano JOHANNES BRAHMS Piano Concerto No. 1 in D minor, Op. 15 MODEST MUSSORGSKY Pictures at an Exhibition (Orchestration: Maurice Ravel) with encores by SERGEI PROKOFIEV, FAZIL SAY & ARCADI VOLODOS, PYOTR ILYICH TCHAIKOVSKY and MIKHAIL GLINKA

Munich’s Odeonsplatz Concert is one of the open-air “with vertiginous virtuosity, somnambulistic sovereignty, highlights of the year. The magnificent Residenz Palace a fine sense of dramaturgy and rhythmic perfection” on one side and the serene, towering Theatinerkirche (Münchner Merkur). With “a secure sense for creating on the other provide the ideal backdrop for exceptional effects without gimmickry” Süddeutsche( Zeitung), performances of . In this setting, Chinese Gergiev conducts Mussorgsky’s Pictures at an Exhibition, star pianist Yuja Wang, Valery Gergiev and the Münchner before closing with popular encores from Tchaikovsky’s Philharmoniker present a popular yet demanding concert Nutcracker and Glinka’s Ruslan and Lyudmila. programme. Wang performs Brahms’s First Piano Concerto

Length: 110' A production of BR Cat. no. A 055 50698 0000 in co-production with UNITEL and medici.tv

SERGEI PROKOFIEV: THE COMPLETE SYMPHONIES CONDUCTED BY VALERY GERGIEV SERGEI PROKOFIEV Symphonies Nos. 1–7

As the highlight of the MPHIL 360° festival, Valery Gergiev , to the much-loved Symphony No. 5 and the performs all seven symphonies by Sergei Prokofiev with composer’s beautiful last symphony with its lyrical qualities. the Munich Philharmonic Orchestra and the Mariinsky The Russian star conductor leads his musicians with minimal Orchestra in the Philharmonie Munich. In this “grandiose movements through Prokofiev’s phantasmagoria of sound. exhibition of the composer’s oeuvre” (BR Klassik), Gergiev He excels in bringing the little details of the compositions to delivers a stunning rendition of Prokofiev’s symphonic life – it is nothing short of an “intoxication which Gergiev cycle, from the first symphony, which Prokofiev himself so irresistibly generates!” (Süddeutsche Zeitung) named the “Classical”, as its style is very close to that of

Length: approx. 281' A co-production of the Münchner Philharmoniker and Telmondis in association with medici.tv and Cat. no. A 055 50662 0000 UNITEL and with the support of CNC

SERGEI PROKOFIEV: PETER AND THE WOLF CONDUCTED BY VALERY GERGIEV MALTE ARKONA Presenter SERGEI PROKOFIEV Peter and the Wolf, Op. 67 Russian star conductor Valery Gergiev leads the Mariinsky the delight of the children in the audience, a committed Orchestra in a captivating rendition of Sergei Prokofiev’s Gergiev and his musicians bring the fairy tale to life with symphonic fairy tale for children Peter and the Wolf in the the help of German kids’ TV presenter Malte Arkona, who Philharmonie Munich at the MPHIL 360° festival. One of charmingly voices the different parts. In the hometown of the most beautiful explanatory works, which gives young his German orchestra, the star conductor’s Petersburg listeners an understanding of the orchestral instruments, orchestra shines with a wonderful warm, dark tone. “The Peter and the Wolf famously attributes each character of Gasteig was buzzing during MPHIL 360°. More of this, its tale a corresponding instrument in the orchestra. To please!” (BR Klassik)

Length: 38' A co-production of the Münchner Philharmoniker and Telmondis in association with medici.tv and Cat. no. A 055 50618 UNITEL and with the support of CNC Photo: Marcus SchlafPhoto: Marcus VALERY GERGIEV & YUJA WANG 89 CONCERT Photo: Florence Grandidier Grandidier Photo: Florence Photo: Chau-Cuong/Lê Lucas Hans THOMAS HENGELBROCK DANIEL HARDING

JOHANNES BRAHMS: THE COMPLETE SYMPHONIES SIR EDWARD ELGAR: THE DREAM OF GERONTIUS CONDUCTED BY THOMAS HENGELBROCK CONDUCTED BY DANIEL HARDING JOHANNES BRAHMS Symphonies Nos. 1–4 MAGDALENA KOŽENÁ Mezzo-Soprano · ANDREW STAPLES Tenor · JOHN RELYEA Bass CHŒUR DE L’ORCHESTRE DE PARIS Conductor Thomas Hengelbrock and his NDR Elb- composing,” says Hengelbrock, “a wonderful journey The Dream of Gerontius, Sir Edward Elgar’s striking called the “English Parsifal”, is considered a national gem. philharmonie Orchester tackle a Brahms marathon, through four completely different resonance-chambers of musical meditation on life after death, showcases superb Even though George Bernard Shaw had no doubt that performing all four symphonies of the Hamburg-born Brahms’s soul.” “Extremely expressive – a show of strength choral writing and Wagnerian inflections. Daniel Harding Elgar’s music was to be immortal, it took some time to composer in the historic Laeiszhalle. Brahms’s music has that paid off!” Klassik.com( ) leads the Orchestre and Chœur de Paris with great prove that he was right. The powerful work, which keeps always played an important role for the orchestra, today commitment. Mezzo-soprano Magdalena Kožená very in tradition with greats like Beethoven, was rarely heard their interpretations of the symphonies by Brahms and Also available is the accompanying Lecture Concert movingly performs as Guardian Angel alongside Andrew outside ’s borders but is now revered throughout Bruckner have become its artistic trademark. “Every “Discovering Brahms” with Thomas Hengelbrock (43' / Staples, “a force of nature” (Diapason), and the impressive the world and receives a stellar performance in the beautiful symphony shows us a different aspect of Brahms’s Cat. no. A 055 50661). John Relyea. Created in 1900, this great oratorio, often Philharmonie de Paris.

Length: 167' A production of doclights for NDR Length: approx. 110' A co-production of CLC, Orchestre de Paris and Radio France in association with ARTE France with Cat. no. A 055 50589 0001-4 in cooperation with ARTE Concert and UNITEL Cat. no. A 010 50075 the participation of la Cité de la musique – Philharmonie de Paris and in cooperation with UNITEL

90 91 DANIELE GATTI CONDUCTS DEBUSSY & STRAVINSKY CLAUDE DEBUSSY Prélude à l'après-midi d'un faune · La mer IGOR STRAVINSKY Le sacre du printemps

Daniele Gatti is conducting three works that embody the single day in 1926 to long and loud ovations - a striking great musical changes taking place around 1900: Claude contrast to the premiere which caused a scandal. Under the Debussy’s Prélude à l’après-midi d'un faune and La mer baton of Maestro Gatti, the orchestra is performing these and Igor Stravinsky’s Le sacre du printemps. In 1914, three groundbreaking classics on the same programme Debussy himself led the RCO in his Prélude à l’après-midi for the very first time. “What a mesmerizing playing level! d'un faune and was met at the stage door by an applauding The RCO was again incredibly good, with a level of detail crowd after the performance. Stravinsky made his first and refinement that no other conductor achieves.” Het( guest appearance with the orchestra in 1924, after which Paarol) he returned regularly. He conducted his Sacre twice in a

Length: 80' A co-production of RCO and UNITEL Cat. no. A 865 50033 0000

DANIELE GATTI CONDUCTS HAYDN & MAHLER JULIA KLEITER Soprano · TATJANA VASSILJEVA Cello JOSEPH HAYDN Cello Concerto No. 1 in C major Hob. VIIb:1 GUSTAV MAHLER Symphony No. 4 in G major Joseph Haydn’s Cello Concerto in C major was long the RCO in the Dutch premiere of the work in 1904. In thought to have been lost, but in 1961 the manuscript was the third movement “Ruhevoll”, the orchestra’s sound is discovered in the archives of the Prague National Museum. “so beautiful it makes you want to cry” (NRC). With her Chief conductor Daniele Gatti leads the principal cellist angelic voice, soprano Julia Kleiter sings an ode to “Das of the RCO, Tatjana Vassilijeva, in Haydn’s animated, himmlische Leben” in the finale. The soprano solo, originally ingenious work, before performing Gustav Mahler’s Fourth intended for the Des Knaben Wunderhorn, Symphony together with his orchestra. Mahler himself led alternates with fast orchestral runs.

Length: approx. 105' A co-production of RCO and UNITEL Cat. no. A 865 50042 0000

FRANK PETER ZIMMERMANN & DANIELE GATTI PERFORM BEETHOVEN & BRAHMS FRANK PETER ZIMMERMANN Violin LUDWIG VAN BEETHOVEN Violin Concerto in D major, Op. 61 JOHANNES BRAHMS Symphony No. 1 in C minor, Op. 68

Outstanding German violinist Frank Peter Zimmermann, First Symphony. It took Brahms at least 14 years to who has been performing regularly with the RCO since complete it, as he battled self-doubt when comparing it to 1990, collaborates once more with Daniele Gatti to Beethoven’s symphonies. The audience, however, gave the great acclaim. Within the lush, energetic melodies of work the highest praise by dubbing it “Beethoven’s Tenth”. Beethoven’s immensely popular Violin Concerto the solo Gatti gives the score a reading of high drama, leading the violinist showcases his artistry. Under Gatti’s guidance, RCO to a most convincing finale. “In an onslaught of “the coordination between orchestra and soloist is inspiration, all musicians climbed to a level you rarely hear especially fine” Bachtrack( ). It is followed by Brahms’s … An unforgettable evening!” (Het Parool)

Length: approx. 110' A co-production of RCO, Avrotros and UNITEL Cat. no. A 865 50043 0000 Photo: polycast DANIELE GATTI 92 CONCERT & THOMAS HENGELBROCK PERFORM MOZART & DVOŘÁK WOLFGANG AMADEUS MOZART Overture to · “L'amerò, sarò costante” from pastore “Bella mia fiamma, addio! – Resta, o cara”, K. 528 · Symphony No. 32 in G major, K. 318 “E Susanna non vien! – Dove sono i bei momenti” from Le nozze di Figaro ANTONÍN DVOŘÁK Symphony No. 8 in G major, Op. 88 The RCO is joined by celebrated conductor Thomas the RCO and Thomas Hengelbrock, an expert in historically Hengelbrock and – for the first time ever – by German star informed performance practice. Diana Damrau’s “L’amerò, soprano Diana Damrau. Together they perform well-loved sarò costante” is a sincere declaration of love while the arias and orchestral works by Wolfgang Amadeus Mozart, concert aria “Bella mia fiamma, addio” is a dramatic farewell as well as Antonín Dvořák’s Symphony No. 8. Dedicated to letter to a loved one which the singer performs with great the genius of Mozart, the first half of the concert kicks off passion. The programme is rounded off by Dvořák’s Eighth with the overture to Don Giovanni, played with gusto by Symphony, an exuberant ode to the great outdoors.

Length: 82' A co-production of RCO and UNITEL Cat. no. A 865 50035 0000

THOMAS HENGELBROCK CONDUCTS SCHUBERT & MOZART KATJA STUBER Soprano · MARION ECKSTEIN Alto ANDREAS WELLER Tenor · REINHARD MAYR Bass Stabat Mater in G minor, D. 175 · Symphony No. 8 in B minor, D. 759 “Unfinished” WOLFGANG AMADEUS MOZART Requiem in D minor, K. 626 JOHANN SEBASTIAN BACH “Komm o Tod, du Schlafes Bruder” from Ich will den Kreuzstab gerne tragen, BWV 56 The RCO and Thomas Hengelbrock present a fine According to Hengelbrock, being Harnoncourt’s pupil was selection of incomplete works by Schubert and Mozart. a path-breaking experience in his own musical career. The They are joined by Hengelbrock’s Balthasar-Neumann- encore “Komm o Tod, du Schlafes Bruder”, the very first Chor, “one of the world’s best choirs” (Gramophone), Bach-chorale Hengelbrock and Harnoncourt performed and by four proficient soloists. The whole concert is together, is a deeply moving finale to a concert night “of dedicated to the late conductor , radiant beauty” (NRC). RCO’s Honorary Guest Conductor from 1975 to 2013.

Length: 91' A co-production of RCO, Mezzo and UNITEL Cat. no. A 865 50034 0000

JOHANN SEBASTIAN BACH: MASS IN B MINOR CONDUCTED BY PHILIPPE HERREWEGHE DOROTHEE MIELDS, HANA BLAŽÍKOVÁ Soprano · ALEX POTTER Countertenor ROBIN TRITSCHLER Tenor · KREŠIMIR STRAŽANAC Bass JOHANN SEBASTIAN BACH Mass in B minor, BWV 232 The RCO’s annual “Kerstmatinee” (Christmas Matinee) has Bach’s “Hohe Messe” (High Mass), the full-scale Catholic become a much loved holiday tradition. For this edition, the mass was given this name in the 19th century to distinguish orchestra, led by Philippe Herreweghe, performs Johann it from the Baroque composer’s other, small masses. Why Sebastian Bach’s Mass in B minor, one of the gems of his the Lutheran Bach decided to create a Catholic mass late œuvre –for the first time in 45 years! The choir Collegium in life, remains unclear; what is evident, however, is that Vocale Gent shares the stage with outstanding soloists his work is nothing less than a monumental masterpiece. Dorothee Mields, Hana Blažíková, Alex Potter, Robin Herreweghe’s Mass is “grand and yet moving!” (Het Parool) Tritschler and Krešimir Stražanac. Often referred to as

Length: 105' A co-production of RCO, Avrotros, Mezzo and UNITEL Cat. no. A 860 50018 Photo: Mladen Piculic DIANA DAMRAU 95 CONCERT

LUDWIG VAN BEETHOVEN: SYMPHONY NO. 9 CONDUCTED BY DANIEL BARENBOIM DIANA DAMRAU Soprano · OKKA VON DER DAMERAU Mezzo-Soprano BURKHARD FRITZ Tenor · RENÉ PAPE Bass LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Op. 125

A veritable “Ode to Joy”: the Staatsoper Unter den next to the renovated Staatsoper Unter den Linden. Linden celebrates its reopening with a rousing open-air Barenboim’s “Staatsoper für alle”, is a yearly open-air performance of Ludwig van Beethoven’s Symphony No. 9 tradition that has become a firm favourite with audiences: by General Music Director Daniel Barenboim, the the maestro “turns cultural performances of the highest Staatskapelle Berlin and the Staatsopernchor. Stellar level into blockbusters”, “meeting visitors in the streets” soloists Diana Damrau, Okka von der Damerau, Burkhard and thus making the Staatsoper Unter den Linden the city’s Fritz and René Pape come together at Berlin’s Bebelplatz, “true Volksbühne” (Berliner Zeitung).

Length: 100' A co-production of UNITEL and ZDF Cat. no. A 050 50525 in cooperation with ARTE and Staatsoper Unter den Linden

DANIEL BARENBOIM CONDUCTS BRUCKNER & MOZART CONCERT I ANTON BRUCKNER Symphony No. 1 in C minor Length: 53' Cat. no. A 015 50051 0001 CONCERT II ANTON BRUCKNER Symphony No. 2 in C minor Length: 60' Cat. no. A 015 50051 0002 CONCERT III ANTON BRUCKNER Symphony No. 3 in D minor Length: 65' Cat. no. A 015 50051 0003

WOLFGANG AMADEUS MOZART Sinfonia Concertante for Violin, Viola and Orchestra in E flat major, K. 364 Length: approx. 30' Cat. no. A 015 50081

With the performance of Bruckner’s Symphonies Wagner’s operas, Schoenberg’s orchestral works and, in Nos. 1–3 at the Philharmonie de Paris, Daniel conjunction with Pierre Boulez, Mahler’s symphonies. Barenboim completes his Bruckner Cycle with the As part of the performance of Bruckner’s Symphony No. Staatskapelle Berlin. Bruckner’s symphonies have 1, the maestro also conducted violinist Wolfram Brandl and “rarely been performed so passionately” (Altamusica). violist Yulia Deyneka in Mozart’s Sinfonia Concertante, Barenboim – conductor, pianist, all-round musician – available as separate programme in the UNITEL catalogue. has been exploiting the impact of cyclical performances of composers’ works for several years now, with cycles A production of CLC and UNITEL in association with medici.tv with the participation of la Cité de of Beethoven’s symphonies and piano concertos, la musique – Philharmonie de Paris and with the support of CNC Photo: Bartilla Thomas

96 97 CONCERT

SIR ANDRÁS SCHIFF & HERBERT BLOMSTEDT PERFORM BEETHOVEN, BACH & BRUCKNER LUDWIG VAN BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 JOHANN SEBASTIAN BACH Italian Concerto, BWV 971. Allegro ANTON BRUCKNER Symphony No. 4 in E flat major “Romantic”

The Staatskapelle Dresden reunites with its former nuances in his play” (Sächsische Zeitung). With the Principal Conductor Herbert Blomstedt for a memorable following performance of Anton Bruckner’s Symphony performance at the Semperoper Dresden, thanking him No. 4, Herbert Blomstedt “leaves a monument” (Dresdner for 50 years of highly productive collaboration. The grand Neueste Nachrichten). The orchestra, perfectly in line with seigneur amongst today’s conductors leads the orchestra Blomstedt, picks up every nuance of the conductor and in an impressive rendition of Ludwig van Beethoven’s develops every movement into an exciting sound structure First Piano Concerto, which features Sir András Schiff “of such intensity that it takes your breath away.” (Musik as acclaimed soloist “with an exquisite touch and finest in Dresden)

Length: 120' A production of UNITEL Cat. no. A 055 50692 0000 in cooperation with Semperoper Dresden

ANTON BRUCKNER: SYMPHONY NO. 1 CONDUCTED BY CHRISTIAN THIELEMANN ANTON BRUCKNER Symphony No. 1 in C minor WAB 101 (Linz Version) Christian Thielemann and his Staatskapelle Dresden embark his skill once more and shows a masterly control over his on their Bruckner Cycle at the Philharmonie in Munich with orchestra. “How Thielemann elicits diabolical trills and how a radiant performance of Symphony No. 1. Thielemann, he puts emphasis on syncopation, no matter how small – one of today’s leading Bruckner conductors, demonstrates that’s in a class of its own.” (Die Presse.com)

Length: 55' A production of UNITEL Cat. no. A 050 50520 Photo: Matthias Creutziger CHRISTIAN THIELEMANN 98 99 CONCERT

FESTIVE GALA AT THE SEMPEROPER DRESDEN 100 YEARS UFA FILM CLASSICS ANGELA DENOKE Soprano · ELISABETH KULMAN Mezzo-Soprano · DANIEL BEHLE Tenor conducted by CHRISTIAN THIELEMANN

The Festive Gala at the Semperoper Dresden brings the first half of the 20th century, UFA productions were back the splendour of UFA Film for one scintillating night marked by the predominant political climate, which meant, full of famous melodies. Christian Thielemann and his that in the 1930s and 1940s, they were tailored to the Staatskapelle Dresden together with the three outstanding purposes of propaganda und subject to NS film politics. singers Angela Denoke, Elisabeth Kulman and Daniel Behle Many musical artists, who contributed to UFA films, were pay homage to the hit songs of the so-called dream factory, forced to emigrate, e.g. Friedrich Hollaender. Some, like which produced film classics likeMetropolis , The Three Hans May, found fame abroad, creating memorable film from the Filling Station and The Blue Angel. Created in scores from London to Hollywood.

Length: approx. 90' A production of ZDF Cat. no. A 055 50758 0000 in co-production with UNITEL

FESTIVE ADVENT CONCERT AT THE FRAUENKIRCHE DRESDEN DIANA DAMRAU, TUULI TAKALA Soprano BENJAMIN APPL Baritone · HELMUT FUCHS Trumpet CHOIR OF THE SÄCHSISCHE STAATSOPER conducted by CHRISTIAN THIELEMANN The Festive Advent Concert has become a much loved her “gorgeous and richly coloured timbre” (Sächsische tradition in Dresden and one of German TV’s biggest Zeitung), the “brilliant” Helmut Fuchs on trumpet and classical music success stories. Christian Thielemann the “very impressive” Choir of the Sächsische Staatsoper and his Staatskapelle Dresden present a programme (Dresdner Neueste Nachrichten) create a festive concert ranging from the overture of Bach’s Orchestra Suite in experience together. The clear, enchanting soprano of Tuuli D major to Mendelssohn Bartholdy’s Christmas Cantata Takala blends perfectly with the beautiful, high baritone of “Vom Himmel hoch”, Mozart’s Laudate Dominum, Benjamin Appl, winner of the Gramophone Young Artist excerpts of Haydn’s Die Schöpfung () and of the Year Award. traditionals. German star soprano Diana Damrau with

Length: 48' A production of ZDF in co-production with UNITEL Cat. no. A 055 50695 0000 Photo: Matthias Creutziger SEMPEROPER DRESDEN 100 101 THE ODEONSPLATZ CONCERT CONCERT MARTIN GRUBINGER & MANFRED HONECK MARTIN GRUBINGER Percussion TAN DUN The Tears of Nature, Concerto for Percussion and Orchestra, I. Summer JOHN CORIGLIANO Conjurer, Concerto for Percussion and String Orchestra, II. Metal BRUNO HARTL Concerto for Percussion and Orchestra, Op. 23, Movements I + II CARL MICHAEL ZIEHRER “Hereinspaziert!” (Waltz Op. 518) from Der Schatzmeister ANTONÍN DVOŘÁK “Rusalka Fantasy”, Suite from Rusalka, Op. 114 (arr. by Manfred Honeck) DMITRI SHOSTAKOVICH Suite for Variety Orchestra with encores by LEROY ANDERSON & RICHARD STRAUSS Martin Grubinger is the star of Munich’s Odeonsplatz Performing at a breakneck pace, Grubinger, “a virtuoso Concert, one of the open-air highlights of the year beyond believe” (Süddeutsche Zeitung), challenges the in the heart of the historic city centre. The Austrian Symphonieorchester des Bayerischen Rundfunks under multi-percussionist is credited for turning classical solo the baton of Manfred Honeck to a percussion duel at percussion into an event. He demonstrates his versatility the highest level. Pieces by Antonín Dvořák and Dmitri with works by Bruno Hartl, John Corigliano and Tan Dun, Shostakovitch complete the programme. who wrote The Tears of Nature specifically for him.

Length: 101' A production of BR Cat. no. A 055 50697 0000 in co-production with UNITEL

GERHILD ROMBERGER & MARISS JANSONS PERFORM SOMMER, MAHLER & RACHMANINOFF GERHILD ROMBERGER Alto VLADIMÍR SOMMER Antigone GUSTAV MAHLER Kindertotenlieder SERGEI RACHMANINOFF Symphonic dances, Op. 45

The Symphonieorchester des Bayerischen Rundfunks death, transcendence and the afterlife. Renowned alto and under the baton of its musical director Mariss Jansons Mahler expert Gerhild Romberger makes Mahler’s ballads gives its debut at the Philharmonie de Paris: With Vladimír a “special and flawless experience” Wiener( Zeitung). The Sommer’s Antigone, Gustav Mahler’s Kindertotenlieder praised Symphonieorchester des Bayerischen Rundfunks and Sergei Rachmaninoff’sSymphonic Dances, the shines “bright under their chief conductor Mariss Jansons. evening’s programme revolves around the subjects of Impressive.” (Kurier)

Length: 91' A production of UNITEL and Heliox Films Cat. no. A 015 50053 0000 in association with ClassicAll/M_Media

DANIEL BARENBOIM & MARISS JANSONS PERFORM BEETHOVEN & PROKOFIEV LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E flat major, Op. 73 SERGEI PROKOFIEV Symphony No. 5 in B flat major, Op. 100 CLAUDE DEBUSSY Clair de lune (Encore) A very special collaboration of two exceptional artists: any other musician has studied the works of Beethoven not only do Daniel Barenboim and Mariss Jansons both as thoroughly as Barenboim. “No other piano player celebrate a milestone birthday just a few months apart creates such a magical atmosphere in the quiet passages; from each other, but Barenboim joins Jansons and the no other is capable of stopping time hypnotically like this.” Symphonieorchester des Bayerischen Rundfunks ten (Abendzeitung) The second part of the night is devoted to years after his first performance as piano soloist with Sergei Prokofiev’s Fifth Symphony. Here, the orchestra them. Together they present a stunning rendition of soars to great achievements in sound, creating a finale “with Ludwig van Beethoven’s Fifth Piano Concerto. Hardly vertiginous vehemence and power of sound” (Bachtrack).

Length: 90' A production of BR in co-production with UNITEL Cat. no. A 055 50732 0000 in association with Mezzo Photo: BR/Peter Meisel Photo: BR/Peter DANIEL BARENBOIM & MARISS JANSONS 102 103 CHAMBER MUSIC Photo: Manuel Vaca Photo: Manuel Christodoulou Photo: Chris SIR ANDRÁS SCHIFF

JOHANN SEBASTIAN BACH: DANIEL BARENBOIM CONDUCTS STRAUSS & TCHAIKOVSKY THE WELL-TEMPERED CLAVIER (BOOK 1) KIAN SOLTANI Cello · MIRIAM MANASHEROV Viola PERFORMED BY SIR ANDRÁS SCHIFF RICHARD STRAUSS Don Quixote, Op. 35 Often heralded as one of the finest Bach interpreters PYOTR ILYICH TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 interpretations” (Bachtrack). His recital of the first today, Sir András Schiff embarks on Book I of Johann with encores by CAMILLE SAINT-SAËNS & MIKHAIL GLINKA volume at the BBC Proms is “one of those unforgettable Sebastian Bach’s The Well-Tempered Clavier at the revelations” (Observer). Bach expert Sir András Schiff, On the occasion of the Festival de Música y Reflexión play Tchaikovsky’s Symphony No. 5 and Richard Strauss’s prestigious BBC Proms – a supreme technical challenge who will perform Book 2 of the Well-Tempered Clavier in at the Teatro Colón in Buenos Aires, Daniel Barenboim Don Quixote, enlisting the help of Kian Soltani and for any performer and an astonishing experience for 2018, also features in UNITEL’s catalogue with his critically returns to his native city to perform with the West- Miriam Manasherov. The soloists unite effortlessly with every listener, especially when they are played with the acclaimed rendition of the Goldberg Variations at the BBC Eastern Divan Orchestra, who every year “exceed all Barenboim’s orchestra, which famously brings together mastery and “gracious lucidity” (ArtsDesk) of Sir András Proms and a lecture concert on the Goldberg Variations expectations” (FAZ) with their festival programme. During young Israeli and Arab players from the warring states of Schiff. Schiff, “travelling deeper into the inexplicable from Berlin’s new Pierre Boulez Saal. their summer residency at the magnificent theatre, they the Middle East in a model of peaceful harmony. mysteries of Bach’s music” (Observer), provides “masterly

Length: 111' Length: 105' A production of arteAR and UNITEL A co-production of BBC and UNITEL Cat. no. A 020 50116 Cat. no. A 835 50010 0000 in cooperation with WEDO and Teatro Colón

104 105 106 HÉLÈNE GRIMAUD HÉLÈNE Hennek’s highly praised photo series series photo praised highly Hennek’s by accompanied is performance piano virtuoso Grimaud’s of Elbphilharmonie. Hamburg’s Hall Grand atthe project concert amultimedia with up comes Grimaud Hélène pianist star French Hennek, Mat photographer with Together by works hikes through various forests in Europe and the USA. USA. the and Europe in forests various through hikes of numerous results the of trees, portraits genuine depicts HÉLÈNE GRIMAUD GRIMAUD HÉLÈNE MAURICE RAVEL RAVEL MAURICE HÉLÈNE GRIMAUD AT THE ELBPHILHARMONIE BEYOND… AND WOODLANDS

LUCIANO BERIO Cat. no. A 055 50696 0000 50696 A055 no. Cat. Length: 60' • ISAAC ALBÉNIZ ALBÉNIZ ISAAC Piano · MATPiano HENNEK • NITIN SAWHNEY Woodlands • FRANZ LISZT LISZT FRANZ Photo Installation Photo , which , which • TŌRU TAKEMITSU

• in her interpretations” ( interpretations” her in clarity flawless showing atease, completely is “Grimaud ... beyond even and Woodlands various of those world enchanting the into audience her leads Grimaud Debussy, Claude and Tōru Liszt Sawhney, Takemitsu, Franz Nitin Berio, Luciano as composers diverse such by works With LEOŠ JANÁČEK JANÁČEK LEOŠ • GABRIEL FAURÉGABRIEL A production of Camera Lucida, Lucida, Camera of A production • CLAUDE DEBUSSY UNITEL and medici.tv Die Welt Die ).

Photo: Claudia Hoehne the “brilliant ensemble” ( ensemble” “brilliant the in Paris, Nord du Bouffes des Théâtre atmospheric the At restricted supply of tonal colours – of which Bartók makes makes Bartók – of which colours of tonal supply restricted a and voices to four Limited thinking. compositional his of summaries 1939, shortest and the are 1908 between written quartets, string six Bartók’s 4K. in film on captured time first the - for quartets string Bartók’s of Béla cycle entire the of performing challenge the meets Diotima BÉLA BARTÓKBÉLA FRANCK CHEVALIER ZHAO YUN-PENG PERFORMED BY QUATUOR BY DIOTIMA PERFORMED BARTÓK: THE COMPLETEBÉLA STRING QUARTETS Cat. no. A 015 50074 0000 A015 no. Cat. String Quartets Nos. 1–6 Nos. Quartets String Length: 169' Length: Violin Süddeutsche ZeitungSüddeutsche Viola · CONSTANCE RONZATTI CONSTANCE RONZATTI · PIERRE MORLET ) Quatuor ) Quatuor Violoncello Violin Violin poetic finesse and precision.” ( and finesse poetic depth, activity, inner captivating commitment, promising with music chamber demanding Bartók’s performs Quartet Diotima “The ensembles. in-demand most world’s of the one become has Quartet Diotima the Paris, de Musique de Supérieur National Conservatoire of the laureates by 1996 in Founded of discovery. a into voyage listening every turns which density, and richness of enormous are –they use full A production of Heliox Films in association with UNITEL and ClassicAll/M_Media and with the the with and ClassicAll/M_Media and UNITEL with association in Films Heliox of A production support of CNC of support Classiquenews )

Photo: Patrick Tourneboeuf 107 CHAMBER MUSIC PIERRE HANTAÏ & SKIP SEMPÉ CHAMBER MUSIC THE TOKYO CONCERT Photo: NHK AdamikPhoto: Peter

JEAN-PHILIPPE RAMEAU: PIERRE BOULEZ SAAL OPENING CONCERT SYMPHONIES FOR TWO HARPSICHORDS DANIEL BARENBOIM, KARIM SAID Piano · MICHAEL BARENBOIM Violin · YULIA DEYNEKA Viola PERFORMED BY PIERRE HANTAÏ & SKIP SEMPÉ KIAN SOLTANI Cello · JÖRG WIDMANN Clarinet · ANNA PROHASKA Soprano BOULEZ ENSEMBLE conducted by DANIEL BARENBOIM At the Chikurin Banquet Hall of Tokyo’s famous Gajoeng Hantaï and Sempé, two artists situated at the forefront of PIERRE BOULEZ Initiale · sur Incises Hotel, Pierre Hantaï and Skip Sempé present their today’s musical personalities in Renaissance and Baroque FRANZ SCHUBERT Der Hirt auf dem Felsen, D 965, for Soprano, Clarinet and Piano successful chamber music programme of Rameau’s music, create a stunning atmosphere in this private recital. WOLFGANG AMADEUS MOZART Piano Quartet in E flat major, K. 493 “Symphonies for two Harpsichords”. It comprises Recorded in the picturesque surrounding of extravagant ALBAN BERG Chamber Concerto for Piano and Violin with 13 Wind Instruments transcriptions compiled from nine different works, among Japanese-style murals and artworks preserved from the JÖRG WIDMANN Fantasie for Clarinet solo them Rameau’s first operaHippolyte et Aricie, as well old Gajoen buildings – which used to be one of Japan’s first as Dardanus, Les Indes galantes, and the composer’s wedding complexes back in the 1930s –, this concert is a instrumental masterwork Pièces de clavecin en concert. pleasure for both the eye and the ear. A stellar lineup of artists, headed by Daniel Barenboim, partners with the Boulez Ensemble’s strings in Mozart’s comes together for the opening concert of Frank Gehry’s Piano Quartet. Karim Said and Michael Barenboim take on Length: approx. 70' Pierre Boulez Saal, the new architectural highlight of the Berg’s Chamber Concerto, and Widmann performs his own A production of NHK Barenboim-Said Akademie in Berlin – “a masterpiece of its Fantasy for Solo Clarinet. The programme is bookended Cat. no. A 070 50006 in cooperation with Unitel kind” (The New Yorker). Anna Prohaska and Jörg Widmann by Boulez’ fanfare-like Initiale and sur Incises, for three join Daniel Barenboim, “who plays with the sureness of pianos, three harps, and three percussionists. “Absolutely a sleepwalker” (Süddeutsche Zeitung), for Schubert’s beautiful!” (FAZ) lyrical scene Der Hirt auf dem Felsen, while the latter also

Length: 155' A co-production of UNITEL and RBB Cat. no. A 055 50612 0000 in cooperation with ARTE and Pierre Boulez Saal

108 109 CHAMBER MUSIC

FRANZ SCHUBERT THE COMPLETE PIANO SONATAS DANIEL BARENBOIM

CONCERT I PIANO SONATAS A MINOR, D. 537 A MAJOR, D. 664 · A MAJOR, D. 959 Length: 83’

CONCERT II PIANO SONATAS B MAJOR, D. 575 G MAJOR, D. 894 · C MINOR, D. 958 Length: 97’

CONCERT III PIANO SONATAS E FLAT MAJOR, D. 568 A MINOR, D. 784 · D MAJOR, D. 850 Length: 88’

CONCERT IV PIANO SONATAS A MINOR, D. 845 B FLAT MAJOR, D. 960 Length: 87’

Star pianist Daniel Barenboim performs Schubert’s to the great masterworks written during his final months. complete piano sonatas on the piano, which he himself Universally recognized as supreme expressions of the conceived and commissioned. “This is Schubert at his most Romantic spirit, these works stand at the centre of the piano intense. Breathtaking!” (Guardian) In each of the four repertoire, side by side with the piano works of Beethoven, recitals in the Pierre Boulez Saal in Berlin, here captured on Schubert’s admired predecessor and contemporary. The film in 4K, Barenboim offers a journey through Schubert’s press raves about the Maestro’s Schubert interpretation: creative life, from the youthful sonatas of the earlier years “Superb Schubert from an Old Master.” (Bachtrack)

Length: 355' A production of Heliox Films in co-production with UNITEL in cooperation with Pierre Boulez Saal Cat. no. A 055 50658 0000 in association with medici.tv and with the support of CNC Photo: Peter AdamikPhoto: Peter DANIEL BARENBOIM 111 CHAMBER MUSIC Photo: Peter AdamikPhoto: Peter AdamikPhoto: Peter

THE CHRISTMAS TREE CONCERT THE BELCEA QUARTET PERFORMS HAYDN, LIGETI & DVOŘÁK MARTHA ARGERICH & DANIEL BARENBOIM CORINA BELCEA, AXEL SCHACHER Violin GEORGES BIZET Jeux d’enfants, Op. 22 KRZYSZTOF CHORZELSKI Viola · ANTOINE LEDERLIN Cello MAURICE RAVEL Ma Mère l’Oye JOSEPH HAYDN String Quartet in D Major, Hob. III:34 "Alla zingarese" FRANZ LISZT Weihnachtsbaum GYÖRGY LIGETI String Quartet No. 1 "Métamorphoses nocturnes" ANTONÍN DVOŘÁK String Quartet No. 12 in F Major, Op. 96 "American" Long-time artistic partners and close friends Martha floor around the piano for their performance ofWeih- with an encore by THOMAS ADÈS Argerich and Daniel Barenboim bring their extraordinary nachtsbaum, it is in the spirit of Christmas, when families artistry to the Pierre Boulez Saal in a piano duo recital, which come together, and reminiscent of the work’s premiere: The Belcea Quartet, one of the world’s leading chamber followed by Ligeti’s String Quartet No. 1 and an atmospheric features Bizet’s charming Jeux d’enfants alongside Ravel’s First performed in a Rome hotel room on Christmas Day music ensembles, lights up the Pierre Boulez Saal in Berlin rendition of Dvořák’s so-called “American Quartet”. The work for four hands Ma Mère l’Oye and Liszt’s rarely heard 1881 by Liszt’s granddaughter Daniela, the suite of 12 pieces with their exciting programme consisting of three string musicians’ journey through the history of string quartets is Weihnachtsbaum suite, an arrangement of Christmas brought the composer a family reunion with his beloved quartets from three different centuries. The hall with rounded off by the encore “O Albion”, the sixth movement carols written for his granddaughter. When Argerich and daughter and granddaughter. its perfect acoustics specifically caters to the needs of of contemporary English composer Thomas Adès’s String Barenboim invite the children in the audience to sit on the performers of chamber music and provides an intimate Quartet Op. 12 “Arcadiana”. “The Belcea Quartet searches setting for the multinational quartet, here beautifully and finds the essence of this music” Der( Tagesspiegel). Length: approx. 105' captured on film. Haydn’s 18th century masterpiece is A production of UNITEL Cat. no. A 055 50795 0000 Length: 84' A production of UNITEL and Heliox Films in co-production with Belcea Quartet in association with Cat. no. A 055 50704 0000 Pierre Boulez Saal and ClassicAll/M_Media with the support of CNC

112 113 DOCUMENTARY

SHORT RIDES WITH JOHN ADAMS Photo: Berlin Phil MediaPhoto: Phil Berlin Photo: picture alliance_dpa_Arnold Center Schnönberg

SHORT RIDES WITH JOHN ADAMS ARNOLD SCHÖNBERG – WHO I AM A DOCUMENTARY BY MAGDALENA ZIĘBA-SCHWIND & DANIEL FINKERNAGEL A FILM BY PAOLO FARONI & CHRISTIAN GIUFFRIDA

John Adams, one of the most influential and most popular documents both on and off stage encounters with musicians The documentary Arnold Schönberg – Who I Am by one of the most prominent and controversial musical US composers, is known for his irresistible music in which of the Berliner Philharmoniker, old friends and associates Paolo Faroni and Christian Giuffrida shows the numerous figures of the 20th century. With the help of musicologist minimalism is mixed with imaginative orchestration and jazzy such as Sir Simon Rattle, Peter Sellars, Gustavo Dudamel faces of a genius: the composer, the painter, the father Hartmut Krones and Therese Muxeneder, head of archive verve. Film makers Magdalena Zięba-Schwind and Daniel and star violinist Leila Josefowicz (“I call him Johnny”). The and the human Arnold Schönberg. Leading through the of the Arnold Schönberg Center in Vienna, they paint an Finkernagel accompanied the composer for a year on his rehearsals and the concert of the oratorio The Gospel documentary is Nuria Schoenberg Nono, the daughter of intriguing picture of an often misunderstood musician, who explorations and “short rides” in Berlin, when Adams was According to the Other Mary form the emotional highlight the great Viennese composer, who together with Daniel was despised at the time, but is now regarded as a pioneer the first ever composer to be Artist in Residence of the of the documentary. A film not only for connaisseurs and Barenboim, worldwide famous interpreter and supporter of today’s music. Berliner Philharmoniker. The film, shot in Berlin and L.A., admirers – just like the music of John Adams. of Schönberg’s music, embarks on a journey to discover

Length: 45' Length: 57' A production of Classica Italia HD A production of Berlin Phil Media in co-production with UNITEL Cat. no. A 055 50705 Cat. no. A 000 50047 in cooperation with UNITEL

114 115 DOCUMENTARY

BARENBOIM OR THE POWER OF MUSIC A PORTRAIT BY SABINE SCHARNAGL Photo: Paul Scala Photo: Ali Schafler

SAIMIR PIRGU – MY TRUTH IN MUSIC BARENBOIM OR THE POWER OF MUSIC A FILM BY PAOLO ALEOTTI AND PAOLA NESSI A PORTRAIT BY SABINE SCHARNAGL

“Music is my life. Singing, playing, listening – breathing!” in the inner mind of an artist? How is great talent discovered On the occasion of the 75th birthday of Daniel Barenboim, behind the scenes of two milestone events in Berlin: the Based on this passionate statement, the documentary and nurtured? The storyline follows Saimir Pirgu’s personal one of the most renowned conductors and pianists of opening of the Pierre Boulez Saal and the grand re-opening Saimir Pirgu – My Truth in Music follows the key moments reminiscences, replenished with live performances and our times, the first ever all-embracing portrait of this of the Staatsoper Unter den Linden, where Barenboim of Albanian-Italian tenor Saimir Pirgu’s flourishing musical intimate backstage moments. It depicts his work with grand outstanding musical personality has been created. Shot performs together with the Staatskapelle Berlin. Martha career. It is a journey to the world’s most renowned opera maestros like Abbado, Harnoncourt, Muti and Jansons, and in Buenos Aires, Ramallah, Munich, Berlin and London, Argerich, Zubin Mehta, Waltraud Meier, his son Michael houses – from Salzburg and Vienna to London, features interviews with top names of the contemporary the film accompanies Maestro Barenboim for rehearsals Barenboim, director Wim Wenders and many more give and New York – and at the same time gives insight into the music world: , Paolo Gavazzeni, Dominique and performances with his West-Eastern Divan Orchestra a very personal insight into the experiences they shared hidden chambers of the art of singing. What really happens Meyer, Ferzan Ozpetek and Nicoletta Pavarotti. at the Teatro Colón and the Waldbühne Berlin. It looks with Daniel Barenboim throughout the years.

Length: 55' Length: 45'/90' A production by SPM in association with Unitel A co-production of BR, RBB and UNITEL Cat. no. A 000 50060 Cat. no. A 050 50439

116 117 THE ELBPHILHARMONIE – HAMBURG’S NEW LANDMARK A DOCUMENTARY BY THORSTEN MACK & ANNETTE SCHMALTZ The Elbphilharmonie is undoubtedly the new landmark of the building over the course of ten years. From the initial

of Hamburg, a monumental synthesis of breathtaking plans to the rehearsals just before the opening ceremony DOCUMENTARY architecture, a unique location and a world-class concert they show a story of enthusiasm and disappointment, of hall. For this documentary Thorsten Mack and Annette hard work and triumph. Schmaltz closely followed the entire development process

Length: 53' A production of NDR distributed by UNITEL Cat. no. A 055 50619 under license by Studio Hamburg Enterprises GmbH Photo: NDR

MOVING IN THREE ACTS – A BUILDING SITE OPERA A FILM BY ANNE OSTERLOH

Now shining with its sensational sound, the Staatsoper Building Site Opera follows the people involved in the Unter den Linden had to wait a long time for its reopening. emotional transformation process. The legendary house All in all, it took seven years to refurbish the opera – just a was much loved by star tenor, tailor, musician and stage blink of an eye in the history of the house, but a long period cleaner alike. For them, working at the opera, is much more of insecurity for the Staatsoper family, the people who than just a job: it’s a passion, a life, a home. A film about work there. Film maker Anne Osterloh documented the a construction site where hopes and desires meet and a works over the years, her film Moving in Three Acts – A moving tribute to the fine arts.

Length: 45' A production of moving angel in co-production Cat. no. A 055 50731 with RBB and UNITEL Photo: MovingAngel

I AM CARMEN A DOCUMENTARY BY MARION FLATZ-MÄSER A spirited woman who loves her freedom: Carmen, the impressive height of 21 metres, and costume designer Anja protagonist of Georges Bizet’s much loved opera of the Vangh Kragh at work. Mezzo-soprano Gaëlle Arquez, who same name, brings a whirlwind of emotions to the world’s sings her Carmen “as if she had just invented Habanera & biggest sea stage at the Bregenz Festival. The documentary Co.” (Tagesspiegel), and festival director Elisabeth Sobotka I Am Carmen looks behind the scenes of Kasper Holten’s talk about the opera, discuss the main characters Carmen spectacular production and shows British stage designer Es and Don José and also touch upon the role of women in Devlin, responsible for the grandiose Carmen set with an today’s society.

Length: 45' A production of ORF Vorarlberg distributed by UNITEL Cat. no. A 045 50084 Photo: ORF

118 119 DOCUMENTARY KARAJAN THE MAESTRO AND HIS FESTIVAL Photo: Salzburger Festspiele/Franz Neumayr Photo: Festspiele/Franz Salzburger

KARAJAN – THE MAESTRO AND HIS FESTIVAL MARKUS HINTERHÄUSER – A DOCUMENTARY BY HANNES M SCHALLE AN ARTIST RUNS THE SALZBURG FESTIVAL Herbert von Karajan is the world’s most famous and starts in Nice, France, in 1957, when Eliette and Herbert A FILM BY BETTINA EHRHARDT commercially most successful conductor ever. Inspired by von Karajan met for the first time. The film follows their He is one of them: Markus Hinterhäuser, the new director and William Kentridge and observes how the director his wife’s book My Life at His Side, Hannes M. Schalle’s life until July 1989 and documents Karajan’s legacy, such of the Salzburg Festival, is an artist himself. That might be solves problems and how he celebrates with his team. film covers new aspects of Karajan’s career, focusing on as the Salzburg Easter Festival. A very personal story, told the reason why he communicates so effortless with the On a stroll through Salzburg’s picturesque alleys, Markus the maestro’s work in London, Berlin, New York, Vienna, by Madame Eliette von Karajan. protagonists of the festival. To create an in-depth portrait Hinterhäuser delivers insight into his past; archive footage Salzburg and Saint-Tropez. Shot on these locations, it of Hinterhäuser, Bettina Ehrhardt followed the Austrian brings the flashbacks to life. In the rapid alternation of the Length: 52' around the clock, compiling snap-shots of his life. The film documentary scenes, which are punctuated by moments of A Moonlake Entertainment production in co-production with the Eliette und Herbert von Karjan reflection, the artist and the human Markus Hinterhäuser Cat. no. A 045 50078 Institut, ORF and UNITEL in cooperation with and Salzburg Easter Festival accompanies him to the rehearsals for Jedermann, meets renowned artists such as Peter Sellars, Shirin Neshat reveals himself.

Length: 26' A production of BCE Films in co-production with WDR in cooperation with ARTE and UNITEL Cat. no. A 055 50701

120 121 SERIES & SPECIAL & SERIES Photo: CLC ProductionsPhoto: CLC AdamikPhoto: Peter SIR ANDRÁS SCHIFF

GIOVANNI MARIA PAGLIARDI: CALIGULA LECTURE CONCERT WITH SIR ANDRÁS SCHIFF CAROLINE MENG, SOPHIE JUNKER Soprano · JEAN-FRANÇOIS LOMBARD Haute-Contre JOHANN SEBASTIAN BACH: GOLDBERG VARIATIONS JAN VAN ELSACKER, SERGE GOUBIOUD Tenor · FLORIAN GÖTZ Baritone LE POÈME HARMONIQUE conducted by VINCENT DUMESTRE One of the most important Bach interpreters of our Schiff “is a gifted teacher” Süddeutsche( Zeitung), guiding time dedicates himself to a work that is one of the most the audience on his excursion that takes him “from serenity THÉÂTRE D’ARRAS fascinating compositions of the entire pre-Classical era: In to serenity, with highpoints and pauses for contemplation this lecture concert at the Pierre Boulez Saal Sir András along the way.” (The Arts Desk) How Schiff commands The Théâtre d’Arras unearthed a hidden treasure of instrumental music of the 17th and early 18th century, Schiff takes the audience on a journey to discover Bach’s the “smaller-scale architectures is just as impressive as opera history, Giovanni Maria Pagliardi’s Baroque could not be better suited for the versatile score with its Goldberg Variations in word and sound. Originally published his mastery of the whole 30-variation span … its cogency “melodrama” Caligula, and breathed new life into it: overflowing energy. They support six singers, “each one as as “Aria with various alterations”, the 30 variations have and integrity are peerless … A spellbinding account of the Mimmo Cuticchio’s and Alexandra Rübner’s spectacular exquisite as the next” (Mouvement), who are positioned on become an epitome of the Baroque period. Sir András Goldberg Variations!” (The Guardian) staging uses magnificent marionettes to tell a captivating either side of the stage to voice the marionettes. “Want to tale of the mad Roman emperor, accompanied by Vincent travel in time and space? This Caligula is made for you!” Length: approx. 140' A production of UNITEL Dumestre and his ensemble . The ( ) “A show for young and old, not to be missed Le Poème Harmonique Télérama Cat. nos. A 055 50690 0000/A 055 50691 0000 in cooperation with Pierre Boulez Saal “excellent musicians” (Le Monde), specialized in vocal and under any circumstances!” (Mouvement)

Length: 83' A co-production of CLC Productions and Arcal with the participation of France Télévisions and Cat. no. A 010 50072 UNITEL and with support of CNC

122 123 ROTHKO CHAPEL

EVAN HUGHES Baritone · SOPHIE CHERRIER Flute conducted by GREGOR A. MAYRHOFER JAY SCHWARTZ M MATTHIAS PINTSCHER Beyond (a system of passing) SPECIAL & SERIES GREGOR A. MAYRHOFER Grand Hommage à l’Âge de la Technique BENJAMIN ATTAHIR Et nous tournions autour de ces fontaines hallucinées MORTON FELDMAN Rothko Chapel CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Length 92’ / Cat. No. A 015 50093 0000 FLEXIBLE SILENCE 40 YEARS RIKA KATO · MARIA CHIARA MEZZADRI · RIHOKO SATO · ERI WANIKAWA Dancers ODILE AUBOIN Alto · FRÉDÉRIQUE CAMBRÉLING Harp · JÉRÔME COMTE Clarinet

Photo: Urbain Christophe GILLES DUROT Percussion · HIDEKI NAGANO Piano · EMMANUELLE OPHÈLE Flûte SEXTUOR D’ONDES MARTENOT DU CONSERVATOIRE NATIONAL SUPÉRIEUR ENSEMBLE DE MUSIQUE ET DE DANSE DE PARIS Choreography by SABURO TESHIGAWARA INTERCONTEMPORAIN Music by TŌRU TAKEMITSU · OLIVIER MESSIAEN 5 CONCERTS / 23 FILMS THÉÂTRE DE CHAILLOT, PARIS Length 106’ / Cat. no. A 015 50094 0000

The Ensemble Intercontemporain, which was founded subject. In Celestial Mechanics the music reflects on natural by Pierre Boulez, is one of the world’s most renowned phenomena like the sky, the wind, and the evanescence of GENESIS contemporary music ensembles. It consists of 31 soloists, all living things. Rothko Chapel is a musical evening dedicated who all share a strong passion for 20th and 21st century to the visual arts, while in Flexible Silence, dancers and conducted by MATTHIAS PINTSCHER music. The major aims of the Ensemble are performance musicians give an approach to music as a sculpture which CHAYA CZERNOWIN 1st Day: On the Face of the Deep and creation, but also the musical education of young is born on the spot, which keeps moving and disappearing. MARKO NIKODIJEVIC 2nd Day: dies secundus musicians and the general public. Under the artistic Genesis has especially been commissioned on the occasion FRANCK BEDROSSIAN 3rd Day: Vayehi erev vayehi boker direction of Matthias Pintscher the musicians work in of the Ensemble’s 40th anniversary and aims to examine ANNA THORVALDSDOTTIR 4th Day: Illumine close collaboration with composers, exploring instrumental the concept of creation in various nuances. The Grand JOAN MAGRANÉ FIGUERA 5th Day: Marines i boscatges techniques and developing innovative projects that Soir Stravinsky is dedicated to the legendary 20th century STEFANO GERVASONI 6th Day: Eufaunique interweave music, dance, theatre, film, video and visual arts. composer and features his burlesque pocket-size opéra- MARK ANDRÉ 7th Day: riss 1 ballet Renard. In the year of its 40th anniversary, the Ensemble CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Intercontemporain presented five very special programmes The single works performed in the 5 concerts are also Length 77’ / Cat. no. A 015 50095 0000 at the Cité de la Musique and the Théâtre de Chaillot in available as 23 individual films. Paris, each one of them dealing with its own particular GRAND SOIR STRAVINSKY

MARTIN MITTERRUTZNER, YVES SAELENS Tenor · LEIGH MELROSE Baritone CELESTIAL MECHANICS JÉRÔME VARNIER Bass · JÉRÔME COMTE Clarinet · CLÉMENT SAUNIER Trumpet conducted by DUNCAN WARD JEAN-CHRISTOPHE VERVOITTE Horn · CLÉMENT SAUNIER Trumpet IGOR STRAVINSKY Trois pièces pour clarinette · Renard, Histoire burlesque chantée et jouée conducted by MATTHIAS PINTSCHER JONATHAN HARVEY Bhakti RAMON LAZKANO Errobi-2 · Izarren hautsa · Egan-3 · Egan-4 RICHARD AYRES No. 31 (NONcerto for trumpet) MATTHIAS PINTSCHER Sonic eclipse UNSUK CHIN Gougalon (Scenes from a Street Theater) CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Length 79’ / Cat. no. A 015 50092 0000 Length 116’ / Cat. no. A 015 50096 0000

A PRODUCTION OF HELIOX FILMS IN CO-PRODUCTION WITH ENSEMBLE INTERCONTEMPORAIN, DECADRAGE PRODUCTIONS, EPIDEMIC AND KARAS IN ASSOCIATION WITH CLASSICALL/M_MEDIA, LA CITE DE LA MUSIQUE – PHILHARMONIE DE PARIS AND THEATRE NATIONAL DE CHAILLOT IN PARTNERSHIP WITH LE CONSERVATOIRE NATIONAL SUPERIEUR DE MUSIQUE ET DE DANSE DE PARIS IN COOPERATION WITH RADIO FRANCE AND LE FESTIVAL D’AUTOMNE À PARIS

124 125 ROLANDO VILLAZÓN PRESENTS ULTRA HD

Four new episodes of the casual, briskly paced and highly successful concert series! With unparalleled charm and whirlwind exuberance, world- renowned tenor Rolando Villazón hosts a unique television special in which young musical “stars of tomorrow” are introduced to millions of music lovers as soloists in performances with the Junge Sinfonie Berlin under the baton of Giedrė Šlekytė and Elias Grandy. In total 24 episodes available!

FATMA SAID Soprano DMITRY MASLEEV Piano ARIS QUARTETT KONU KIM Tenor THOMAS LELEU Tuba LUCIE HORSCH Recorder KIAN SOLTANI Cello ADRIEN LA MARCA Viola JUNGE SINFONIE BERLIN JUNGE SINFONIE BERLIN conducted by GIEDRĖ ŠLEKYTĖ conducted by GIEDRĖ ŠLEKYTĖ Works by NIELSEN, GIMÉNEZ & NIETO, Works by RACHMANINOFF, DONIZETTI, VIVALDI, MENDELSSOHN BARTHOLDY, DVOŘÁK, BLOCH, SCARLATTI, VAN EYCK, BONONCINI VAUGHAN WILLIAMS, HAYDN, BIZET, VERDI ONEGIN Our first production shot in UHD High Range (HDR)

Following the principles set up by Dr. Leo Kirch and 2160 Herbert von Karajan to produce in the best technical 4K ULTRA HD quality available, Unitel has started to produce in 4K Ultra High Definition – four times the quality of today’s standard Full HD. With about 50 available 1080 productions from venues such as the Salzburg FULL HD Festival, Teatro alla Scala, Bayerische Staatsoper, 720 Semperoper Dresden, Wiener Staatsoper, Teatro 490 HD EMMANUEL TJEKNAVORIAN Violin SALAPUTIA BRASS Regio Torino and the Stuttgart Ballet, Unitel, once SD LOUISE ALDER Soprano JULIA LANGE Guitar again, is taking classical music to the next stage. 640 1280 1920 3840 MARIE HAUZEL Piano GAËLLE ARQUEZ Mezzo-Soprano ILKER ARCAYÜREK Tenor ASYA FATEYEVA Saxophone JUNGE SINFONIE BERLIN JUNGE SINFONIE BERLIN The Unitel catalogue features some of the world’s conducted by ELIAS GRANDY conducted by ELIAS GRANDY greatest and finest moments of classical music Works by WOLFGANG AMADEUS MOZART Works by DÖRPINGHAUS, MARKUSSON, DYENS, from the last half a century of classical music – THE WHITE STRIPES, BIZET, MILHAUD, BACH, fundamental works of art shot on 35 mm film that DE FALLA, BORODIN have inspired generations of music lovers all over the world, landmark productions and bestsellers, to this day. We have started to make these unique 35 mm productions available in true 4K Ultra High Definition, offering a visual experience never before seen on the home screen.

Unitel GmbH & Co. KG ∙ Tel: +49.89.673469-613 · [email protected] Length: 24 x approx. 40' A production of Salve TV for ZDF/ARTE in cooperation with UNITEL Cat. nos. A 055 13473 0025-0028

126 127 AVANT PREMIÈRE CATALOGUE 2018 INDEX AVANT PREMIÈRE CATALOGUE 2018 INDEX

SINGERS COMPOSERS

A KRYSTIAN ADAM 34 • MARIA AGRESTA 60 • SOHINI ALAM 77 • CELSO ALBELO 62 • LOUISE ALDER 30, 126 • ROSIE ALDRIDGE A JOHN ADAMS 85, 78 • THOMAS ADÈS 113 • ISAAC ALBÉNIZ 106 • LEROY ANDERSON 102 • MARK ANDRÉ 125 • BENJAMIN 24 • ILKIN ALPAY 29 • FRÉDÉRIC ANTOUN 60 • BENJAMIN APPL 100 • ILKER ARCAYÜREK 126 • GAËLLE ARQUEZ 18, 30, 46, 118, ATTAHIR 125 • RICHARD AYRES 125 B JOHANN SEBASTIAN BACH 95, 98, 105, 123, 126 • GERALD BARRY 79 • BÉLA BARTÓK 107 126 • THOMAS ATKINS 61 • ODILE AUBOIN 125 B WOLFGANG BANKL 25 • THOMAS BARNARD 41, 61 • SHOUSHIK BARSOUMIAN FRANCK BEDROSSIAN 125 • LUDWIG VAN BEETHOVEN 78, 79, 82, 92, 96, 98, 102 • ALBAN BERG 16, 109 • LUCIANO BERIO 44 • DILARA BAŞTAR 29 • JANA BAUMEISTER 19 • TANJA ARIANE BAUMGARTNER 30 • DANIEL BEHLE 100 • JULIEN BEHR 77 106 • SIR HARRISON BIRTWISTLE 81 • GEORGES BIZET 18, 112, 126 • ERNSEST BLOCH 126 • ANTOINE BOËSSET 72 • GIOVANNI DMITRY BELOSSELSKIY 57 • GABRIEL BERMÚDEZ 25 • CHRISTOPHE BERRY 63 • VITALIY BILYY 58 • HANA BLAŽIKOVA 34, 95 BONONCINI 126 • ALEXANDER BORODIN 126 • PIERRE BOULEZ 109 • JOHANNES BRAHMS 89, 90, 92 • ANTON BRUCKNER 96, CHRISTINA BOCK 65 • PATRICK BOLLEIRE 47 • FRANCESCA BONCOMPAGNI 34 • ANDREA BORGHINI 23 • CARLO BOSI 98 C FRANCESCO CAVALLI 73 • UNSUK CHIN 125 • LOUIS CONSTANTIN 73 • JOHN CORIGLIANO 102 • TOM COULT 78 • CHAYA 43 • JEAN-SÉBASTIEN BOU 47 • HANNAH BRADBURY 29 • PAVOL BRESLIK 75 • DANIEL BUBECK 85 • GIANLUCA BURRATO 34 CZERNOWIN 125 D CLAUDE DEBUSSY 92, 102, 106 • JEAN DE CAMBEFORT 72 • 126 • C ALDA CAIELLO 38 • KAREN CARGILL 80 • NICOLE CAR 40 • CONSTANTINOS CARYDIS 30 • ERIN CAVES 54 • BRANDON 20, 126 • PETER DÖRPINGHAUS 126 • TAN DUN 102 • ANTONÍN DVOŘÁK 85, 95, 102, 113, 126 • PEER DYENS 126 E DANNY ELFMAN CEDEL 30 • MAX EMANUEL CENCIC 26 • FRANCESCA CHIEJINA 59 • PATRIZIA CIOFI 86 • ALLAN CLAYTON 79 • KEVIN 77 • SIR EDWARD ELGAR 81, 91 F GABRIEL FAURÉ 106 • MORTON FELDMAN 125 • JOAN MAGRANÉ FIGUERA 125 G STEFANO CONNERS 23 • CLARISSA COSTANZO 48 • MARIANNE CREBASSA 36 • VINCENZO CRISTOFOLI 63 • BRIAN CUMMINGS 85 GERVASONI 125 • GIMÉNEZ/NIETO 126 • UMBERTO GIORDANO 22 • MIKHAIL GLINKA 89, 104 • CHARLES GOUNOD 24 H GEORGE MICHAŁ CZERNIAWSKI 34 D OKKA VON DER DAMERAU 96 • DIANA DAMRAU 95, 96, 100 • JOHN DASZAK 16 • LOUISE DEARMAN FRIDERIC HANDEL 26, 28, 30, 77 • BRUNO HARTL 102 • JONATHAN HARVEY 125 • JOSEPH HAYDN 92, 113, 126 J LEOŠ JANÁČEK 77 • JEANINE DE BIQUE 36 • CHARLES DEKEYSER 77 • JEAN-MARIE DELPAS 63 • ANNA DENNIS 34 • JOSEPH DENNIS 33 32, 86, 106 L MICHEL LAMBERT 73 • RAMON LAZKANO 124 • GYÖRGY LIGETI 113 • FRANZ LISZT 106, 78 M GUSTAV MAHLER 92, 102 ANGELA DENOKE 100 • WOLFRAM IGOR DERNTL 33 • ELIZABETH DESHONG 42 • JODIE DEVOS 47 • LARISSA DIADKOVA 23 PEER MARKUSSON 126 • BOHUSLAV MARTINŮ 86 • GREGOR A. MAYRHOFER 125 • FELIX MENDELSSOHN BARTHOLDY 126 JOYCE DIDONATO 8 • SUNNYBOY DLADLA 48 • ELSA DREISIG 52 • DAN PAUL DUMITRESCU 25 E NICOLA EBAU 45 • MARION OLIVIER MESSIAEN 125 • DARIUS MILHAUD 126 • 34 • LEBOHANG MORAKE 77 • WOLFGANG AMADEUS ECKSTEIN 95 • EMILY EDMONDS 43 • DONNA ELLEN 33 • JAN VAN ELSACKER 122 • SIMEON ESPER • 19 YUSIF EYVAZOV 77 MOZART 36, 77, 83, 95, 96, 109, 126 • MODEST MUSSORGSKY 89 N CARL NIELSEN 126 • MARKO NIKODIJEVIC 125 • LUIGI NONO 38 F MICHAEL FABIANO 40 • THOMAS FAULKNER 31 • RAFAEL FINGERLOS 19 • STINE MARIE FISCHER • 55 JONATHAN P SERGEI PROKOFIEV 12, 89, 102 • GIACOMO PUCCINI 40, 42 R SERGEI RACHMANINOFF 102, 126 • JEAN-PHILIPPE RAMEAU 108 FISHER 59 JUAN DIEGO FLÓREZ 20, 24 • ANDREW FOSTER-WILLIAMS 48 • JENNIFER FRANCE 28 • MANDY FREDRICH 48 MAURICE RAVEL 106, 112 • OTTORINO RESPIGHI 44 • MAX RICHTER 66 • LUIGI ROSSI 73 • GIOACHINO ROSSINI 46, 48, 50 RACHEL FRENKEL 24 • BURKHARD FRITZ 96 • JULIE FUCHS 46 G ANTONIO GANDÍA 44 • CHRISTINA GANSCH 36 • AIDA S CAMILLE SAINT-SAËNS 104 • ERIK SATIE 70 • NITIN SAWHNEY 106 • DOMENICO SCARLATTI 126 • ARNOLD SCHOENBERG 80, GARIFULLINA 24 • JUAN FRANCISCO GATELL 50 • EDWARD GAUNTT 29 • IGOR GNIDII 63 • MATTHIAS GOERNE 16 HEINZ 115 • FRANZ SCHUBERT 95, 109, 111 • ROBERT SCHUMANN 52, 82 • JAY SCHWARTZ 125 • DMITRI SHOSTAKOVICH 102 • VLADIMÍR GÖHRIG 17 FLORIAN GÖTZ 122 • SERGE GOUBIOUD 122 • ASMIK GRIGORIAN 16 H LIANNA HAROUTOUNIAN 58 • ANJA SOMMER 102 • RICHARD STRAUSS 86, 102, 104 • IGOR STRAVINKSY 70, 79, 92, 125 T TORU TAKEMITSU 125, 106 • PYOTR ILYICH HARTEROS 22, 64 • SCOTT HENDRICKS 18, 42 • PETER HOARE 80, 85 • TORSTEN HOFMANN 54 • ANUSH HOVHANNISYAN 67 TCHAIKOVSKY 14, 54, 68, 89, 104 • ANNA THORVALDSDOTTIR 125 V JACOB VAN EYCK 126 • RALPH VAUGHAN WILLIAMS 126 ÉVE-MAUD HUBEAUX 47 I SEÇIL ILKER 33 • SHIGEO ISHINO 54 • SIMINA IVAN 33 • ENRICO IVIGLIA 51 J ERMONELA JAHO 42 GIUSEPPE VERDI 56, 58, 60, 62, 126 • ARCADI VOLODOS 89 W RICHARD WAGNER 5, 64 • JÖRG WIDMANN 109 • CARL MICHAEL PHILIPPE JAROUSSKY 75 • DANIEL JOHANSSON 18 • SOPHIE JUNKER 122 • GORAN JURIĆ 48 K YUKO KAKUTA 55 • KATHARINA ZIEHRER 102 KAMMERLOHER 52 • JOHANNES KAMMLER 23 • ANJA KAMPE 64 • JONAS KAUFMANN 22, 60 • ILSEYAR KHAYRULLOVA 33 KANGMIN JUSTIN KIM 34 • KONU KIM 126 • JULIA KLEITER 92 • BENEDIKT KOBEL 33 • STEFAN KOCAN 63 • HYUNA KO 32 CONDUCTORS DMITRY KORCHAK 50 • VITALIJ KOWALJOW 64 • MAGDALENA KOŽENÁ 91 • ALEKSANDRA KUBAS-KRUK 27 • GENIA KÜHMEIER 77 • ELISABETH KULMAN 77, 100 • GREGORY KUNDE 58 • TIM KUYPERS 23 • MARIUSZ KWIECIEŃ 40 L JENS A MARCO ANGIUS 38 • MARCO ARMILIATO 22 B DANIEL BARENBOIM 52, 81, 96, 104, 117 • JIŘÍ BĚLOHLÁVEK 86 • LEONARD LARSEN 16 MARION LEBÈGUE 19 • WIEBKE LEHMKUHL 75 • JEAN-FRANÇOIS LOMBARD 122 • ED LYON 28 M MATTEO BERNSTEIN 4 • HERBERT BLOMSTEDT 98 C SYLVAIN CAMBRELING 54 • PAOLO CARIGNANI 18 • TEODOR CURRENTZIS 36, 83 MACCHIONI 49 • NINO MACHAIDZE 50 • ANDREW MACNAIR 41 • KATHARINA MAGIERA 65, 83 • AYK MARTIROSSIAN 25 D SÉBASTIEN DAUCÉ 72 • PLÁCIDO DOMINGO 24 • GUSTAVO DUDAMEL 85 • VINCENT DUMESTRE 122 E MAXIM EMELYANYCHEV CHRISTA MAYER 64 • REINHARD MAYR 95 • NATHAN MEDLEY 85 • FRANCESCO MELI 56 • LEIGH MELROSE 125 • CAROLINE 86 F RICHARD FARNES 58 • GABRIELE FERRO 50 • MIKKO FRANCK 62 G SIR JOHN ELIOT GARDINER 34 • EDWARD GARDNER MENG 122 • DOROTHEE MIELDS 95 • SIMONA MIHAI 40 • MARTIN MITTERRUTZNER 125 • ALEXANDRU MOISIUC 25 78 • DANIELE GATTI 92 • VALERY GERGIEV 89 • ELIAS GRANDY 126 • MIRGA GRAŽINYTĖ-TYLA 79 H DANIEL HARDING 91 JOZEFINA MONARCHA 33 • HUW MONTAGUE RENDALL 17 • JOHN MORRISSEY 41 • HANNA-ELISABETH MÜLLER 75 THOMAS HENGELBROCK 75, 90, 95 • PHILIPPE HERREWEGHE 95 J MARISS JANSONS 102 • VLADIMIR JUROWSKI 16 MARTIN MÜLLER 25 • BRIT-TONE MÜLLERTZ 65 • TAMARA MUMFORD 85 N VALENTINA NAFORNIŢĂ 20 • MICHAEL NAGL 55 K HERBERT VON KARAJAN 120 • KOEN KESSELS 66, 68 L LOUIS LANGRÉE 46 M JOHN MAUCERI 77 • GREGOR MAYRHOFER TAREQ NAZMI 83 • GERGELY NÉMETI 55 • ANNA NETREBKO 56, 77 • ANGELA NISI 44 • EVELIN NOVAK 53 • LEO NUCCI 62 125 • MICHELANGELO MAZZA 77 • ENRIQUE MAZZOLA 48 • MARC MINKOWSKI 77 • CHRISTOPHER MOULDS 28 • RICCARDO O ANDREW O’CONNOR 59 • KELLEY O’CONNOR 85 • CORNELIA ONCIOIU 63 • SIMON O’NEILL 80 • IGOR ONISHCHENKO MUTI 56 N TOMÁŠ NETOPIL 32 P SIR ANTONIO PAPPANO 40, 42, 60 • GEORGE PETROU 26 • EVELINO PIDÒ 20 • MATTHIAS 25 • GYULA ORENDT 53 • JOHN OSBORN 50 • CARLOS OSUNA 25 • KATARZYNA OTCZYK 38 P MIRCO PALAZZI 51 • NICOLA PINTSCHER 124, 125 R SIR SIMON RATTLE 80, 85 • DONATO RENZETTI 44 S JAMES SHEARMAN 77 • GIEDRĖ ŠLEKYTĖ 126 PAMIO 51 • RENÉ PAPE 52, 96 • FRANCES PAPPAS 17 • MARCUS PELZ 33 • WYN PENCARREG 41 • DARIUSZ PERCZAK 19 T CHRISTIAN THIELEMANN 64, 98, 100 V LORENZO VIOTTI 82 W DUNCAN WARD 125 MICHELE PERTUSI 20 • GEORGE PETEAN 22 • MAURO PETER 16, 83 • ALEXANDRA PETERSAMER 65 • GAIA PETRONE 26, 27, 51 • VETA PILIPENKO 45 • SAIMIR PIRGU 116 • MARIANNA PIZZOLATO 34 • ADAM PLACHETKA 20 • VIOLETTE POLCHI 63 INSTRUMENTALISTS ALEX POTTER 95 • NIKOLAUS PRAUSE 33 • ANNA PROHASKA 83, 109 • STEPANKA PUCALKOVA 65 • MARCELO PUENTE 42 CHRISTOPHER PURVES 80 Q ADRIANE QUEIROZ 53 R ANITA RACHVELISHVILI 58 • LIVIA RADO 38 • SILVIA REGAZZO 38 A MARTHA ARGERICH 112 B RADEK BABORÁK 86 • DANIEL BARENBOIM 102, 109, 111, 112 • MICHAEL BARENBOIM 109 • CORINA TAYLAN REINHARD 49 • CHEN REISS 32 • RAPHAEL REITER 33 • JOHN RELYEA 91 • MARCO RENCINAI 38 ULRICH RESS BELCEA 113 C FRÉDÉRIQUE CAMBRÉLING 125 • SOPHIE CHERRIER 125 • FRANCK CHEVALIER 107 • KRZYSZTOF CHORZELSKI 23 • LUCILE RICHARDOT 34 • CHRISTIAN RIEGER 23 • AMÉLIE ROBINS 63 • GERHILD ROMBERGER 102 • LARA ROTILI 45 113 • JÉRÔME COMTE 125 D YULIA DEYNEKA 109 • GILLES DUROT 125 F ASYA FATEYEVA 126 • HELMUT FUCHS 100 G HÉLÈNE STEPHAN RÜGAMER 53 • PAOLO RUMETZ 32 • KAI RÜÜTEL 61 S YVES SAELENS 125 • FATMA SAID 126 • SAMUEL SAKKER 59 GRIMAUD 106 • MARTIN GRUBINGER 102 H PIERRE HANTAÏ 108 • MARIE HAUZEL 126 • LUCIE HORSCH 126 • EVAN HUGHES LUCA SALSI 56 • JUAN SANCHO 26 • DARA SAVINOVA 49 • TOBIAS SCHABEL 17 • HELENE SCHNEIDERMAN • 55 SIMONE 125 J LEILA JOSEFOWICZ 79 K SERGEY KHACHATRYAN 82 L ADRIEN LA MARCA 126 • JULIA LANGE 126 • ANTOINE LEDERLIN SCHRÖDER 65 • FLORIAN SCHÜLE 37 • GOLDA SCHULTZ 36 • PETER SEIFFERT 64 • EKATERINA SEMENCHUK • 56 FLORIAN 113 • THOMAS LELEU 126 • IGOR LEVIT 78 M MIRIAM MANASHEROV 104 • DMITRY MASLEEV 126 • TIMOTHY MCALLISTER SEMPEY 41 • SIMON SHIBAMBU 61 • KRISTINA ŠIBENIK 55 • GERHARD SIEGEL 16 • NADINE SIERRA 62 • NATALIA SKRYCKA 85 PIERRE MORLET 107 N HIDEKI NAGANO 125 O EMMANUELLE OPHÈLE 125 R CONSTANCE RONZATTI 107 S KARIM SAID 53 • WOJTEK SMILEK 63 • LAUREN SNOUFFER 26 • SÉBASTIEN SOULÈS 19 • ANDREW STAPLES 91 • DAVID STEFFENS 55 109 CLÉMENT SAUNIER 124, 125 • AXEL SCHACHER 113 • SIR ANDRÁS SCHIFF 98, 105, 123 • SKIP SEMPÉ 108 KIAN SOLTANI KREŠIMIR STRAŽANAC 95 • KATJA STUBER 95 • VLADISLAV SULIMSKY 54 • IN SUNG SIM 61 • ELIZABETH SUTPHEN 30 104, 109, 126 T EMMANUEL TJEKNAVORIAN 126 V JÉRÔME VARNIER 125 • TATJANA VASSILJEVA 92 • JEAN-CHRISTOPHE T ROBERTO TAGLIAVINI 56 • TUULI TAKALA 100 • PHILIPPE TALBOT 46 • VINCENZO TAORMINA 44 • SIR BRYN TERFEL 75 VERVOITTE 124 W YUJA WANG 89 • JÖRG WIDMANN 109 Z YUN-PENG ZHAO 107 • FRANK PETER ZIMMERMANN 92 RUSSELL THOMAS 36 • KATHARINE TIER 28 • LUCA TITTOTO 41 • BROR MAGNUS TØDENES 57 • MARIE-ANGE TODOROVITCH 62 • EFSA TOPAL 19 • BENEDETTA TORRE 57 • ROMAN TREKEL 32, 52 • NATHAN TRENT 77 • GARETH TRESEDER 34 • ROBIN TRITSCHLER 95 • ELENA TSALLAGOVA 18 • ALEXANDER TSYMBALYUK 59 U MARIA THERESA ULLRICH 55 • CLAUDIA URRU 45 V CARLO VISTOLI 34 • REBECCA VON LIPINSKI 54 • MARCO VRATOGNA 60 W STEFAN WALLRAVEN 19 • ANDREAS WELLER 95 EVA-MARIA WESTBROEK 80 • TERRY WEY 28 • JEREMY WHITE 43 • WILLARD WHITE 36 • OWEN WILLETTS 27 • RACHAEL WILSON 23 • JOHANNA WINKEL 65 • KATRIN WUNDSAM 65 X YANG XU 29 Y YURIY YURCHUK 43 Z FURIO ZANASI 34 • ENRICO ZARA 45 SEARCH THE COMPLETE UNITEL CATALOGUE WWW.UNITEL.DE LAWRENCE ZAZZO 30 • HEINZ ZEDNIK 33 • GEORG ZEPPENFELD 64 • HELENA ZUBANOVICH 23 WITH MORE THAN 2.000 PRODUCTIONS ONLINE AT

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