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OPERA : 6 HK Gruber: Geschichten aus dem Wiener Wald (Tales from the Woods) 8 Leoš Janáček: Jenufa 10 : Da Ponte-Cycle 12 Wolfgang Amadeus Mozart: 14 : 16 : 18 : 20 : 22 Richard Strauss: 24 Richard Strauss: 26 Richard Strauss: 28 : 30 Giuseppe Verdi: 32 Giuseppe Verdi: 34 BALLET “Cubania” by Carlos Acosta 36 : 38 CONCERTS Boston – The Inaugural Concert (A. Nelsons) 41 Pretty Yende in 41 14th International Master Competition 41 : – Grande Messe des morts (G. Dudamel) 43 Wiener Philharmoniker – Strauss & Staar (A. Nelsons) 43 The last three Mozart (N. Harnoncourt) 43 Grafenegg Festival – Midsummer Night’s Gala 45 Red Ribbon Celebration Concert 45 Hollywood in Vienna – A Tribute to Randy Newman 45 & Palastorchester – A Night in Berlin 86 Berliner Philharmoniker Schumann & Brahms (S. Rattle) 47 : Johannespassion (S. Rattle) 47 Czech Philharmonic Antonín Dvořák: The complete Symphonies (J. Bělohlávek) 49 Bedřich Smetana: Má vlast (J. Bělohlávek) 49 Royal Orchestra : Symphony No. 4 (A. Prohaska, M. Jansons) 51 Rossini, Shostakovich & Prokofiev (Y. Wang, M. Jansons) 51 Strauss & Brahms (A. Nelsons) 51 Brahms & Shostakovich (L. Prunaru, G. Horsch, A. Nelsons) 52 Flothuis, Strauss & Shostakovich (A. Ogrintchouk, A. Nelsons) 52

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Staatskapelle Berlin Piano Concertos (G. Dudamel) 55 Richard Strauss: (D. Barenboim) 55 Emmerich Kálmán: Die Csárdásfürstin, (A. Netrebko, J. D. Flórez, C. Thielemann) 57 Festive Advent Concert (P. Heras-Casado) 57 Richard Strauss: Elektra, concert performance (C. Thielemann) 57 Richard Strauss: Letzte Lieder & Eine Alpensymphonie (A. Harteros, C. Thielemann) 58 Richard Strauss Gala (C. Goerke, A. Harteros, C. Nylund, C. Thielemann) 58 Symphonieorchester des Bayerischen Rundfunks The Odeonsplatz Concert: “Russian Night” 61 : Missa solemnis (B. Haitink) 61 Haydn, Mendelssohn & Bruckner (J. E. Gardiner) 61 : Symphony No. 5 (M. Jansons) 62 Purcell & Mahler (D. Harding) 62 Bartók & Mahler (Y. Nézet-Séguin) 62 The West-Eastern Divan Orchestra & at the Teatro Colón & Daniel Barenboim: Piano Duos at the Teatro Colón 65 Mozart, Beethoven, Schumann, Ravel et al. (D. Barenboim) 65 BBC Proms West-Eastern Divan Orchestra (D. Barenboim) 67 Tonhalle Orchestra (D. Zinman) 67 World Orchestra for Peace (V. Gergiev) 67 Stars of Tomorrow 68 Franz Schubert: (M. Goerne, M. Hinterhäuser, W. Kentridge) 71 : String Quartets (Belcea Quartet) 71 Tormenti e dolce oblio – Umane passioni e affetti vocali (M. Mauillion, A. Mauillion, F. Heumann) 71 The Complete Beethoven Piano Sonatas (Rudolf Buchbinder) 73 DOCUMENTARIES Anna the Great 75 Don Giovanni – A Night at the Opera Backstage 75 From War to Peace 75 – Between Obsession and Perfection 77 A Trio for Schubert 77 Nine Sketches of Dvořák 77 – My Strauss 79 Richard Strauss – At the End of the Rainbow 79 The Symphonieorchester des Bayerischen Rundfunks in South America 79 UPCOMING PRODUCTIONS 82 INDEX 84

5 GAETANO DONIZETTI LA FAVORITE

Kate Aldrich Shi Yijie Ludovic Tézier Giovanni Furlanetto

Orchestre National du Capitole Conducted by Antonello Allemandi Staged by Vincent Boussard Théâtre du Capitole Toulouse GAETANO DONIZETTI GAETANO DONIZETTI OPERA

“Each note a masterpiece”, said of Donizetti’s La Favorite. LA FAVORITE Something of a seldom-performed rarity today, it was rarely out of the (THE FAVOURED ONE) opera repertoire in the decades that followed its premiere. It is considered one of the ’s most cogent works of music and shows Donizetti at the height of his powers as an orchestrator. The opera is the first LA FAVORITE Conductor Antonello Allemandi original French opera by the Italian composer - a happy congruence Orchestra Orchestre National du Capitole of the Italian and French operatic traditions. Chorus Chœur du Capitole Chorus Master Alfonso Caiani “The Favourite” is set in 14th-century , Kate Aldrich Stage Director Vincent Boussard where the young novice Fernand falls in love Costume Designer Christian Lacroix with young noblewoman Léonore, leaves the Shi Yijie monastic order and enlists in the army, unaware that the love of his life is the King’s favourite Léonor de Guzman Kate Aldrich mistress … Ludovic Tézier Fernand Shi Yijie Alphonse XI Ludovic Tézier The young Chinese Yijie Shi in the leading Giovanni Furlanetto Balthazar Giovanni Furlanetto role of Fernand emerges as the discovery of Don Gaspar Alain Gabriel the evening. “His singing leaves nothing to be Inès Marie-Bénédicte Souquet desired and he plays the part with a full and complete richness of voice from Orchestre National du Capitole the very first scene” (Forum Opera). His “Ange si pur” in the fourth Produced by CLC productions act, a big number for the great since the days of Caruso, earned him tumultuous applause. At his side, Kate Aldrich impressed with her “rich Conducted by Video Director Olivier Simonnet Antonello Allemandi mezzo timbre, effortless high notes, a supple voice” La( Depeche). Ludovic A production of CLC productions Tézier as the King “is quite simply indispensable Staged by Vincent Boussard in co-production with Théâtre du Capitole de Toulouse and in the role of Alphonse XI to which he brings a UNITEL with the participation of Télévisions and vocal colour and presence that are magnificent” Théâtre du Capitole Toulouse Centre national du cinéma et de l’image animée (Concert Classic).

Length: 152' Vincent Boussard’s staging catches the eye Cat. no. A 010 50031 with a simple clarity that shows off the elegant and colourful robes by Christian Lacroix, one of the most successful and influential Paris fashion designers of our age – “a spectacle of extreme aesthetic coherence” (Concert Classic). The Théâtre du Capitole in Toulouse was regarded in Donizetti’s time as one of the most important centres of bel canto and remains one of France’s most important opera houses to this day.

Photos: atrice Nin

7 HK Gruber Geschichten aus dem Wiener Wald based on “t Ilse Eerens fromales t

H viennaH e Daniel Schmutzhard o r Woods v Jörg Schneider á ” r r e tH ll ’s bestse

Wiener Symphoniker conducted by HK Gruber

Bregenz Festival HK Gruber HK GRUBER

GESCHICHTEN OPERA AUS DEM Geschichten WIENER WALD aus dem (TALES FROM THE VIENNA WOODS)

Orchestra Wiener Symphoniker Ödön von Horváth’s 1931 play “Tales from the Vienna Woods” takes a twisted view Wiener Wald Conductor HK Gruber of Johann Strauss Jr’s 1868 waltz of the same title. During his lifetime, he considered based Chorus Vokalensemble Nova teaming up with Kurt Weil to make an opera of the work. Three-quarters of a century on Chorus Master Colin Mason later, the Bregenz Festival has finally accomplished this job, by asking Viennese “tales Stage Director Michael Sturminger composer Heinz Karl Gruber to write the opera – and “Gruber is a worthy substitute Ilse Eerens from t for Weil” states the Financial Times.

H viennaH e Marianne Ilse Eerens Horváth’s tale is a timeless satire of gossipy hypocrisy: On the day of her betrothal, Daniel Schmutzhard o Alfred Daniel Schmutzhard fun-loving Marianne leaves her fiancé, the honest butcher Oskar, and elopes with a r Woods v Oskar Jörg Schneider rogue from Vienna, has his child, is abandoned by the child’s father, finds work as a Jörg Schneider á ” r r e Valerie Angelika Kirchschlager nude dancer in a bar, steals from one of the guests and ends up in prison. The staunchly tH ll Angelika Kirchschlager ’s bestse Zauberkönig Albert Pesendorfer Catholic community is highly critical of the young woman. Finally, the butcher deigns Mutter Anke Vondung to make an “honest woman” of her and provide her with a middle-class home. Anja Silja Großmutter Anja Silja The and staging,both by Michael Sturminger, adhere closely to Horváth’s Erich Michael Laurenz original. The protagonist emerges from the fog on an empty stage and disappears et al. into the mist again at the end. The action in between is a clever programme of Wiener Symphoniker cross-fade images: the Vienna Woods gives way to the River Danube, which in turn Produced by Felix Breisach becomes a block of council flats; the cathedral of St. Stephen mutates into a night Medienwerkstatt conducted by club. In connection with the direction of the very human characters, this produces an Video Director Felix Breisach incredibly dense, timeless work. HK Gruber A co-production of ORF and UNITEL CLASSICA in cooperation with Bregenz Festival The music is as captivating as the staging: “With his breathtaking instrumentation HK Gruber creates multi-faceted moods and virtuoso tone colours. The large-scale Bregenz Festival Length: approx. 160' sounds incredibly soft and all-enveloping one minute, then rears up Cat. no. A 040 50037 like a wild animal the next.” (Neue Vorarlberger Tageszeitung) “This work really plucks at your heart strings” (Süddeutsche Zeitung). HK Gruber’s opera “Tales from the Vienna Woods” deserves equal status with Horváth’s masterpiece, “and is perhaps even more oppressive and powerful. Result: a triumph!” (Kurier). Or as the Financial Times summarized: “Tales from the Vienna Woods is a well-crafted, weighty, and wordy.”

Photos: Karl Forster

9 JenůfaLeoš Janáček Michaela Kaune Will Hartmann Ladislav Elgr Jennifer Larmore Orchester der Deutschen Oper Berlin conducted by staged by Leoš Janáček Jenůfa OPERA

Conductor Donald Runnicles “Sometimes all that is needed is to match the right director with the Orchestra Orchester der right piece: Christof Loy and Janáček’s Jenufa are evidently just such Deutschen Oper Berlin a happy case, giving the Deutsche Oper Berlin the rare example of an Chorus Chor der Deutschen Oper Berlin opera production as intelligent as it is modern” (Opernglas). Jenufa, Chorus Master William Spaulding still Janáček’s most successful and most often performed opera, is Stage Director Christof Loy a musical study of the social milieu. The psychologically precise role management of Christof Loy (“exemplary”, said the Frankfurter Grandmother Buryjovka Hanna Schwarz Allgemeine Zeitung) results in “a staging with an authentically tragic Laca Klemeň Will Hartmann aura” (NY Times). Števa Buryja Ladislav Elgr Kostelnička Buryjovka Jennifer Larmore Loy moves the action of Janáček’s drama, revolving around the strict Jenůfa Michaela Kaune sacristan (the Kostelnicka) who – from fear of gossip and concern for Foremen Simon Pauly the future of her stepdaughter Jenufa – drowns Jenufa’s illegitimate Mayor Stephen Bronk child, to a bare white room in which the passage of is only Mayor’s Wife hinted at – “a wonderful concentration on the essence of the story” Karolka Martina Welschenbach (Der Neue Merker). At the very beginning, we see a white prison cell Herdswoman Fionnuala McCarthy – the sacristan goes over past events and is thrust into the Barena Jana Kurucová story seen in retrospective – “ a riveting new production” (NY Times). Jano Alexandra Hutton Before the orchestra of the Deutsche Oper Berlin stands Donald Produced by Bernhard Fleischer Runnicles “who neatly balances churning intensity and textural Moving Images refinement” (NY Times). Jennifer Larmore as the Kostelnicka “endows Video Director the role with singing of uncommon beauty and vulnerability while never slighting its more dramatic moments” (NY Times). Michaela Kaune A production of UNITEL in cooperation with sings the title role of Jenufa with warm , her despair at her Deutsche Oper Berlin and CLASSICA situation palpable at every moment, culminating finally in the discovery of her dead son. A “convincing and moving performance” (Der Neue Length: 130' Leoš Janáček Merker). The remaining cast too is top-drawer, with Will Hartmann Cat. no. A 050 50153 as the jealous Laca, Ladislav Elgr as good-for-nothing Steva and stage Jenůfa veteran Hanna Schwarz in the part of the old mill-owner Buryja. Michaela Kaune Will Hartmann Ladislav Elgr Jennifer Larmore Orchester der Deutschen Oper Berlin conducted by Donald Runnicles staged by Christof Loy Deutsche Oper Berlin

Photos: Monika Rittershaus, Bettina Stöß

11 Harnoncourt The Mozart Da Ponte CyCle

Bo Skovhus andrè Schuen christine Schäfer elisabeth Kulman Conducted by Nikolaus harnoncourt Staged by Felix Breisach Harnoncourt HARNONCOURT MOZART

THE OPERA The Mozart DA PONTE Da Ponte CYCLE CyCle

Conductor Nikolaus Harnoncourt Orchestra Concentus Musicus Wien Chorus Chor Chorus Master Erwin Ortner Stage Director Felix Breisach

LE NOZZE DI FIGARO Conte di Almaviva Bo Skovhus Contessa di Almaviva Christine Schäfer Susanna Mari Eriksmoen Figaro Andrè Schuen Cherubino Elisabeth Kulman Marcellina Ildikó Raimondi et al.

Length: 206' Cat. no. A 040 50028

DON GIOVANNI “He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the Don Giovanni Andrè Schuen conductor had to offer as he commenced his Mozart/Da Ponte cycle Leporello Ruben Drole in the Theater an der Wien was something we “had never before Donna Anna Christine Schäfer heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period Don Ottavio Mauro Peter performance practice, realized a project that had long been one of his Donna Elvira Maite Beaumont dearest wishes: for the first time, he and his “original-sound orchestra” Zerlina Mari Eriksmoen et al. Concentus Musicus and his personal choice of singers were presenting Length: 196' the complete Mozart/Da Ponte cycle and harvesting the fruits of his Cat. no. A 040 50029 Mozart research – an “enthusiastically acclaimed cycle!” (news.at). COSÌ FAN TUTTE During an intensive phase of rehearsal and preparation, he was in search Fiordiligi Mari Eriksmoen of a Mozart hermeneutic resting on historical sources and yet anchored Bo Skovhus Dorabella Katija Dragojevic in our own time, in order to stage the whole Da Ponte “trilogy” – Le Guillelmo Andrè Schuen nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere andrè Schuen Ferrando Mauro Peter six weeks. “This concentration – perceptible minute by minute – proved christine Schäfer Despina Elisabeth Kulman equally rewarding for the singers: the Concentus followed them like a Don Alfonso Markus Werba silver shadow, and those singers must have felt singularly elated to have elisabeth Kulman Length: 193' been carried along like that,” wrote Der Standard. Nikolaus Harnoncourt Cat. no. A 040 50030 has once again lived up to his name as a “Mozart rebel”: “True to his Markus Werba reputation as a provocateur, Harnoncourt takes at a fast speed what we Concentus Musicus Wien are accustomed to hear slow, while reining in what we expected to be A production of UNITEL and ORF III in cooperation with Theater an der Wien lively” (Forum Opera). Conducted by Nikolaus harnoncourt “BETWEEN OBSESSION Staged by Felix Breisach AND PERFECTION” ACCOMPANYING DOCUMENTARY Theater an der Wien SEE PAGE 79

Photos: Herwig Prammer

13 WoL f GAn G A m ADEu S m ozA rt Don GIovA nnI Lenneke Ruiten Anett Fritsch Valentina Naforniţa Ildebrando D‘ Wiener Philharmoniker staged by Sven-Eric Bechtolf OPERA

WOLFGANG AMADEUS MOZART DON GIOVANNI

Orchestra Wiener Philharmoniker The first D minor chords thunder ominously from the orchestra pit, while Conductor Christoph Eschenbach on the stage, the entrance hall of an elegant hotel appears, symbolic of Chorus Philharmonia Chor Wien a place of non-committal encounters. Luxury seeps from every pore of Chorus Master Walter Zeh the stairs, galleries and mysterious doors. This is the present residence WoL f GAn G A m ADEu S m ozA rt Stage Director Sven-Eric Bechtolf of Don Giovanni and his servant Leporello. The Don meets couples from high society (Donna Anna and Don Ottavio), he encounters lonely, Donna Anna Lenneke Ruiten unhappy women like Donna Elvira and he makes the acquaintance of Donna Elvira Anett Fritsch the hotel staff such as chambermaid Zerlina. The Commendatore is an Zerlina Valentina Naforniţa impenetrable hotel director, the Devil a barman. In a word, the perfect Don Giovanni Ildebrando D'Arcangelo place for Don Giovanni’s exercises in seduction. Leporello Luca Pisaroni Director Sven-Eric Bechtolf pulls off a brilliant coup with the high Il Commendatore Tomasz Konieczny Don GIovA nnI aesthetics of his intrigue, a masterful parody of the “everything is Don Ottavio Andrew Staples possible” of our time - flanked by an ensemble of exquisite vocal talents: Masetto Alessio Arduini Lenneke Ruiten Anett Fritsch Valentina Naforniţa Ildebrando D’Arcangelo, testosterone-charged Latin lover, amounts “with his splendid timbre and his stunningly virile magnetism to what Produced by BFMI must be an ideal realization of Don Giovanni” (Neue Zürcher Zeitung) . Ildebrando D‘ Arcangelo Luca Pisaroni Video Director Andreas Morell Seldom does one see such an insatiable seducer. With his finely balanced Wiener Philharmoniker Christoph Eschenbach A production of ServusTV in coproduction with UNITEL CLASSICA voice, Luca Pisaroni as an intellectually bespectacled Leporello is the in cooperation with Wiener Philharmoniker and Festival perfect foil to his master. “The powerful of Commendatore Tomasz staged by Sven-Eric Bechtolf Konieczny is a true sensation” (Frankfurter Rundschau) and Alessio Length: 184' Gardini’s Masetto conveys his Mediterranean jealousy with a bewitching Cat. no. A 040 50033 bel canto . Meanwhile, the female roles are all realized with elegantly lean voices: Anett Fritsch highly dramatic as Elvira, the Donna Anna of Lenneke Ruitens supple in her vocal line and Valentina Naforniţa “A NIGHT AT THE OPERA BACKSTAGE” “a wonderful Zerlina who radiates strong vocal sensuality” (Opernnetz). ACCOMPANYING DOCUMENTARY SEE PAGE 77 Christoph Eschenbach at the rostrum of the injects the necessary sense of threat into the atmosphere: “Large- symphony blackness climbs out of the pit” (Deutschlandfunk).

Photos: Michael Poehn

15 Bo Skovhus Philharmoniker Katja Pieweck conducted by Hellen Kwon staged by Karoline Gruber Siobhan Stagg Staatsoper Hamburg OPERA

Aribert reimAnn

Aribert Reimann’s “Lear” is a milestone in the tragic opera of the 20 th century. Ever since its 1978 premiere at the Bavarian in , it has made its triumphal progress around the world in more than thirty productions as the Orchestra Philharmoniker Hamburg most successful Shakespeare opera of our time. The remorseless logic of the Conductor Simone Young action and plot and the primal force of irresistible sonic fantasies give this work Chorus Herrenchor der the power to hold the attention of its listeners and viewers from the first moment Staatsoper Hamburg to the last. The great theme of self-deception is imaginatively portrayed in this Chorus Master Eberhard Friedrich captivating stage production by Karoline Gruber with a retreat into the interior Stage Director Karoline Gruber of a far from frail old man. It is not senility that drives Lear, brilliantly sung by Bo Skovhus, into isolation but his hyperactive ego. The action of Shakespeare’s König Lear Bo Skovhus highly politicised material is moved into the present day, in a power struggle Bo Skovhus Goneril Katja Pieweck within a major business conglomerate. Between black walls, on coffin-like Philharmoniker Hamburg Regan Hellen Kwon platforms and metal gangways, a Lear still at the height of his powers hands over Katja Pieweck conducted by Simone Young Cordelia Siobhan Stagg his kingdom to two greedy daughters - without recognising the love of the third. Narr Erwin Leder Aribert Reimann’s interpretation of the characters’ psychology, his lust for Hellen Kwon staged by Karoline Gruber Graf von Gloster Lauri Vasar power, self-delusion and brutality in sound is impressive and gives musical Edgar Andrew Watts Siobhan Stagg Staatsoper Hamburg expression to loneliness and despair. But the pitch-black clumps of sound Edmund Martin Homrich and shrieking clusters are contrasted with tender melodic curves, gentle instrumental reassurances, dreamy monologues. Produced by Favo Filmproduktion Video Director Marcus Richardt The first Hamburg performance of “Lear” is a musical achievement of the highest order. “The orchestra of the State Opera under its GMD Simone Young A co-production of is on absolutely top form.” No less fantastic is Bo Skovhus, “who in his starring Unitel classica and Staatsoper Hamburg role in shirt-sleeves and riding-boots mutates by his vocal and expressive power Length: 155' into a dangerous Everyman. A concentrated charge of monstrous megalomania, Cat. no. A 050 50164 obstinacy and self-centredness: that is how this violent Hamburg Lear - with his shaven-headed companions as surreally sinister mirror images - steers a course towards shipwreck.” (Handelsblatt)

Also available, an interview with Simone Young and Aribert Reimann introducing and explaining the opera (Length 19').

Photos: Bernd Uhlig

17 GiOaChinO ROSSini auRelianO in PalMiRa

Michael Spyres Jessica Pratt lena Belkina Raffaella lupinacci

Orchestra Sinfonica G. Rossini conducted by Will Crutchfield

staged by Mario Martone GiOaChinO ROSSini auRelianO OPERA Gioachino Rossini auReliano in PalMiRa in PalmiRa Orchestra Orchestra Sinfonica G. Rossini Since 1980 , the Italian town at the Adriatic Sea, is celebrating Conductor Will Crutchfield its most famous son: Gioachino Rossini. Beside the well known and Chorus Coro del Teatro Comunale famous Works of the master, in the intimate setting of the Teatro Rossini di Bologna also the creations which fell into oblivion were performed. In 2014 “Aureliano in Palmira” was for the very first time part of the repertoire. Chorus Master Andrea Faidutti Stage Director Mario Martone “Aureliano in Palmira” celebrated its first premiere on the 26th of December 1813 at the Scala In . Soon afterwards the work was Aureliano Michael Spyres played in different theatres all over Europe. Nevertheless Rossinis piece felt into oblivion more and more compared to the great competitors Zenobia Jessica Pratt like or the Barber of for which Rossini recycled musical Arsace Lena Belkina parts of Aureliano. But since a few years there are ambitions to play this Publia Raffaella Lupinacci work about love, war, jealousy, loyalty and magnanimity more frequently. Oraspe Dempsey Rivera The direction in Pesaro was in the proven hands of the famous film Licinio Sergio Vitale director Mario Martone. He approached the piece of the realistic side, Gran sacerdote Dimitri Pkhaladze with marvellous, picturesque pictures and tableaux. The conductor of the Un Pastore Raffaele Constantini rediscovery was Will Crutchfield. He decisively espoused the performance of this new edited work and directed masterfully the Orchestra Sinfonica Produced by Metisfilm Classica G. Rossini. Also the choir of the Teatro Comunale Bologna was in perfect Video Director Tiziano Mancini shape. From the soloist’s ensemble particularly Michael Spyres protruded in the title role. “The American showed immediately that his tenor with A production of UNITEL CLASSICA marvelous top notes has not only flexibility and agility, but also enough in co-production with body, to provide the Roman emperor great vocal authority” (opera glass). “Jessica Pratt, making her role debut, is more than a match as the Syrian Length: approx. 170' Queen, and went straight to the heart with an astonishing lengthy and Cat. no. A 000 50019 penetrating top E that would stop any Roman Emperor in his tracks” (Express). Lena Belkina as Arsace was also convincing in her role and gave the performance that brillant shine, that is neccesary for Festivals like Pesaro.

Michael Spyres Jessica Pratt lena Belkina Raffaella lupinacci

Orchestra Sinfonica G. Rossini conducted by Will Crutchfield staged by Mario Martone

Photos: studio amati bacciardi

19 Franz Schubert

Michael Schade Benjamin Bernheim Dorothea Röschmann Wiener Philharmoniker conducted by

staged by Peter Stein OPERA

Franz Schubert Franz Schubert FIERRABRAS

Orchestra Wiener Philharmoniker The heroic-romantic opera “Fierrabras” of 1823 is the last of Franz Conductor Ingo Metzmacher Schubert’s fifteen stage works. Still seldom performed to this day, this Chorus Konzertvereinigung masterwork has been staged for the first time ever at the Wiener Staatsopernchor by master director Peter Stein in a brilliant performance. Chorus Master Ernst Raffelsberger Based on an old French twelfth-century heroic epic, the plot depicts the Stage Director Peter Stein military conflict between Christians and Moors at the time of . Julia Kleiter Emma, the Christian emperor’s daughter, becomes engaged against her Fierrabras Michael Schade father’s wishes with the knight Eginhard, who is not equal to her in social Benjamin Bernheim Dorothea Röschmann Emma Julia Kleiter status. She has an admirer, Fierrabras, the eponymous hero and son of the Eginhard Benjamin Bernheim prince of the Moors. After a monumental battle, the taking of prisoners and Florinda Dorothea Röschmann scenes from a military court, grandiose marches and victory celebrations, Wiener Philharmoniker Markus Werba the noble Moor Fierrabras renounces his suit, which brings peace to the König Karl Georg Zeppenfeld conducted by Ingo Metzmacher warring factions and happiness for the lovers. Boland Peter Kálmán Maragond Marie-Claude Chappuis Presented also in the highest vocal quality, including the “marvellously staged by Peter Stein Brutamonte Manuel Walser expressive miracle Dorothea Röschmann” (). Not to mention Ogier Franz Gruber “Michael Schade who exudes his exceptional tenor in Fierrabras’s heroic et al. ” (Der neue Merker). Under the baton of lngo Metzmacher, the velvety tones of the Vienna Philharmonic unfold in romantic flair. Produced by BFMI Set builder Ferdinand Wögerbauer fits into this concept in producing Video Director Peter Schönhofer the black-and-white aesthetic scenery in the style of old engravings and A production of UNITEL CLASSICA in co-production with ZDF/3sat sumptuous nineteenth-century book illustrations in order to provide this in cooperation with Salzburg Festival and Wiener Philharmoniker slight work with rooms of stylish beauty and austere elegance for the Western world and sumptuous luxury for the Orient. Dressed in decoratively lavish Length: 163' costumes, the Franks in delicately patterned lily-white garments, the Moors Cat. no. A 040 50032 in similar black attire, the singers dovetail completely into this extraordinary staging. The result is a homogeneous like something from a lost world in which “the melos, the poetry, the sweetness and the dramatic force of Schubert’s highly refined and atmospheric sound worlds” Kleine( Zeitung) unfold in a unique manner.

Photos: Bernheim Kleiter, Monika Rittershaus

21 RichaR d StR auSS ArA bellA

Renée Fleming hanna-Elisabeth Müller daniel Behle

Staatskapelle dresden conducted by christian thielemann

Salzburg Easter Festival RichaR d StR auSS ArA bellA OPERA

RichaR d StR auSS “Arabella”, the final collaboration between and Richard ArA bellA Strauss, gives Christian Thielemann another opportunity to show his class as a Strauss specialist, captivating his audience at the rostrum of the Dresden Staatskapelle in his second season as Artistic Director of the Salzburg Easter Festival. “The music is Orchestra Staatskapelle Dresden dreamily opulent”, concluded the Frankfurter Allgemeine newspaper (FAZ). Conductor Christian Thielemann Chorus Staatsopernchor Dresden Inspired by the resounding success of “Der Rosenkavalier” a few years earlier, Chorus Master Wolfram Tetzner Strauss and Hofmannsthal once again placed the action of the opera, premiered at Stage Director Florentine Klepper the Dresden in 1933, in late-19th-century Vienna. Director Florentine Kleppers’ sensitive handling of the characters, in a fin-de-siècle stage set by Martina Renée Fleming Arabella Renée Fleming Segna, and the elegant costumes by Anna Sofie Tuma provide well-nigh ideal Mandryka Thomas Hampson conditions for the brilliant vocal ensemble, in which Renée Fleming as Arabella excels thomas hampson Zdenka Hanna-Elisabeth Müller with her unique powers of character portrayal. “She is a pure-bred Straussian, as was Count Waldner evident on Saturday from start to finish of the performance in a master class of vocal hanna-Elisabeth Müller Countess Adelaide Gabriela Beňačková style adapted to the music of Strauss that was simply amazing”, we read in leading Matteo Daniel Behle Spanish daily El Pais, and the FAZ went into raptures: “But scarcely has Renée daniel Behle et al. Fleming taken the stage (…) scarcely has she begun to sing than she radiates her own personal aura (…) The brightest, most comforting soprano heaven opens up before Produced by BFMI us when Müller joins Fleming in the famous sisters’ duet”. Hanna-Elisabeth Müller as Staatskapelle dresden Video Director Brian Large an “intensive Zdenka proved to be, alongside the orchestra’s excellent Strauss sound, A co-production of UNITEL CLASSICA, ORF/3sat and NHK the highlight of the evening”, reported Vienna newspaper Kurier. Thomas Hampson is conducted by in cooperation with Salzburg Easter Festival convincing as a “reserved, delicate Mandryka” (Opernglas) and together with Renée Fleming he does more than justice to the designation of “vocal dream team” (orf.at). christian thielemann Length: 168' Cat. no. A 040 50027 And Christian Thielemann? Once again, his is an inspiration. He provides affectionate support at the rostrum of the Dresden Staatskapelle, which premiered nine of Strauss’s 15 and is deservedly famous world wide. “The Strauss of Salzburg Easter Festival the Dresden Staatskapelle conducted by Christian Thielemann has no equal today for full-bodied sound, elegance and suppleness” (Ogni Giorno). An Arabella simply

Photos: Roman Zach-Kiesling

23 RichaRd StRauSS ElEktra

Ingela Brimberg Susanna Levonen Ingrid Tobiasson Thomas Lander Magnus Kyhle

NorrlandsOperan conducted by

staged by Carlus Padrissa OPERA

RichaRd StRauSS The city of Umeå not only host the worlds most northern opera house, RichaRd StRauSS but is also the European Culture Capital of 2014, for which occasion the NorrlandsOperan and the dramatic art collective La Fura Dels Baus have create a unique monumental outdoor performance of Richard Strauss’ one- ElEktra act opera Elektra. Orchestra NorrlandsOperan’s Cranes, mechanical giants with singers standing inside their chests, skips Symphony Orchestra filled with Blood – Elektra is NorrlandsOperan’s biggest and most complex Conductor Rumon Gamba production ever, including many ‘special-effects’: “Suddenly, the front of Staged by Carlus Padrissa, the large containers opened up. Bloody water came gushing out in copious La Fura dels Baus amounts. The water level on the graveyard rose and turned red. It was macabre, shocking and powerful in its great simplicity.” (Kulturkorren). Elektra Ingela Brimberg The opera itself is based on the ancient myth about a woman who does Susanna Levonen everything in her power to revenge the murder of her father , Klytaemnestra Ingrid Tobiasson ElEktra while waiting in vain for the return of her presumed dead brother Orest. Thomas Lander Magnus Kyhle The unique outdoor stage, where the opera takes place, is two hundred metres et al. long and erected on the old military command centre near the heart of Umeå city. It represents the palace in which Elektra’s dysfunctional family lives with Video Director Ola Gerhardsson their servants.

A production of SVT in cooperation with Norrlands Operan The NorrlandsOperan’s Symphony Orchestra is lead by conductor and and UNITEL CLASSICA grammy award nominee Rumon Gamba, gives the music its powerful and expressive note. Strauss’ courage inspired Carlus Padrissa of La Fura Dels Ingela Brimberg Length: 110' Baus in his staging of Elektra’s wrath and vindictiveness and for giving the Susanna Levonen Cat. no. A 060 50002 atmosphere for that, West Bothnian twilight is the perfect background for the burning forest and the river of blood. Elektra is sung by Ingela Brimberg who’s Ingrid Tobiasson “powerful voice filled soul, earth and sky” Kulturkorren( ). Thomas Lander “There may of course be other Elektra interpretations of great interest, from or the Semperoper Dresden, but the unique performance in Umeå is Magnus Kyhle simply unmatched”, summarizes the leading Spanish newspaper El Pais.

NorrlandsOperan conducted by Rumon Gamba staged by Carlus Padrissa La Fura dels Baus

Photos: Mats Bäcker

25

richard strauss

Feuersnot Nicola Beller Carbone Dietrich Henschel Rubén Amoretti Christine Knorren

Orchestra del Teatro Massimo Gabriele Ferro Conducted by Emma Dante Staged by Teatro Massimo OPERA

Feuersnot is Richard Strauss’s second opera and made up for the failure of his first when its 1902 Dresden premiere was a resounding success. It is a lively one-act drama about the richard ancient Bavarian tradition of celebrating midsummer night with bonfires, songs and dances at the summer solstice – a work full of allusions, whether to the person and the music of Richard strauss Wagner or to Strauss’s own life and times. RichaRd StRauSS The rather strange magician Kunrad falls in love with the well- brought-up burgomaster’s daughter Diemut and kisses her in front of all the passers-by. In revenge, she invites him to travel FeueRSnot to her room in a big basket that she will pull up to her window. He is left half way, hanging in the air, to the amusement of all. Now (Fire Famine) Kunrad takes his own revenge, thanks to the magical tricks he has Feuersnot learned from his Master Reichart, and all the bonfires go out … Conductor Gabriele Ferro The score has quotations from Wagner and echoes of Orchestra Orchestra del Teatro Massimo contemporary such as Mahler and Bruckner. Nicola Beller Carbone Chorus Coro del Teatro Massimo Nonetheless, it is genuine Strauss – from racy waltzes to Chorus Master Piero Monti enchanting love duets. The male lead, young magician Kunrad, Dietrich Henschel Stage Director Emma Dante is a coded reference to Strauss himself, while Kunrad’s mentor Meister Reichart represents Wagner, venerated by Strauss and, Rubén Amoretti like sorcerer Reichart, once expelled through intrigue from the Ortolf Sentlinger Rubén Amoretti city of Munich. Christine Knorren Diemut Nicola Beller Carbone Elsbeth Christine Knorren The Teatro Massimo, one of ’s finest and most respected Wigelis Chiara Fracasso opera houses and with its 3200 seats the country’s biggest, is Margret Maria Sarra opening this Strauss anniversary year with the revival of his early Orchestra del Teatro Massimo Kunrad Dietrich Henschel opera. In Italy, it was last staged in 1938 in with Strauss Gabriele Ferro Jörg Pöschel Michail Ryssov himself in the pit. Conductor Gabriele Ferro acquits himself Hämmerlein Nicolò Ceriani well in handling the complex score and keeping the balance Conducted by Kofel Paolo Battaglia between the pit and the crowded stage – “the orchestra sounds Emma Dante Kunz Gilgenstock Paolo Orecchia marvellous” (Forum Opéra), “the choruses are splendid” (Milano Staged by Ortlieb Tulbeck Cristiano Olivieri Finanza). “Nicola Beller Carbone triumphs magnificently in the Ursula Irina Pererva role of Diemut” (Forum Opéra) and “tackles the difficult passages Teatro Massimo Palermo Ruger Asbeck Francesco Parrino with aplomb” (Operaclick). Dietrich Henschel, in the role of her Walpurg Valentina Vitti suitor Kunrad, sings a “full-voiced baritone” (Tagesspiegel), “a Ein großes Mädchen Francesca Martorana baritone of refined voice” Corriere( della sera).

Produced by Metisfilm Classica Video Director Tiziano Mancini

A production of UNITEL CLASSICA in co-production with Fondazione Teatro Massimo

Length: 113' Cat. no. A 000 50016

Photos: Studio Camera

27 Der RosenkavalierRICHARD STRAUSS KRASSIMIRA STOYANOVA ∙ GÜNTHER GROISSBÖCK SOPHIE KOCH ∙ WIENER PHILHARMONIKER ∙ FRANZ WELSER-MÖST STAGED BY OPERA

Der Der RosenkavalierRICHARD STRAUSS T TIME IRS IN “‘It is a dream, cannot be really true …’ – These heartfelt final words by the F TH (The Knight of the Rose) E E H T talented poet Hugo von Hofmannsthal, set in even more moving strains by R O F Orchestra Wiener Philharmoniker his imaginative musical partner Richard Strauss, perfectly describe the high RICHARD STRAUSS UNABRIDGED & UNCENSORED Conductor Franz Welser-Möst quality of the new production of their masterpiece Der Rosenkavalier at

Rosenkavalier N Chorus Konzertvereinigung the Salzburg Festival. It is certainly the best and most universally satisfying VER SIO Wiener Staatsopernchor staged opera of this summer, and that applies to direction, presentation, KRASSIMIRA STOYANOVA ∙ GÜNTHER GROISSBÖCK Chorus Masters Ernst Raffelsberger singers, conductor and orchestra alike.” (Opernnetz) Wolfgang Götz SOPHIE KOCH ∙ MOJCA ERDMANN Familiar as the work may be, the 150th anniversary of Richard Strauss’s Stage Director Harry Kupfer birthday is marked with an innovation. For the first time at the festival, WIENER PHILHARMONIKER ∙ FRANZ WELSER-MÖST the opera is presented without the cuts made since the 1911 premiere, as Feldm. Fürstin Werdenberg Krassimira Stoyanova demanded by the censor, on account of excessive frivolity. The figures stand Octavian Sophie Koch STAGED BY out in sharper profile, with the most significant change being to the first-act HARRY KUPFER Sophie Mojca Erdmann monologue of Baron Ochs, which now clearly defines his high position. Jungfer Marianne Leitmetzerin Silvana Dussmann The roles are brilliantly cast: Günther Groissböck’s singing is “of the Annina finest, with a juicy lightness that lends him an irresistible roguish charm.” Baron Ochs auf Lerchenau Günther Groissböck (Morgenpost) Krassimira Stoyanova as Marschallin “was simply breathtaking Herr von Faninal Adrian Eröd with her vocal and dramatic presence, her consummate voice control and Valzacchi Rudolf Schasching exemplary clarity of enunciation.” (Drehpunkt Kultur) The Octavian of et al. the experienced Sophie Koch is a delightful young nobleman and Mojca Erdmann portrays a self-confident young bourgeoise seeking to improve Video Director Brian Large herself; together, they are “the perfect Strauss dream”. (Neue Musikzeitung) A co-production of UNITEL CLASSICA, Franz Welser-Möst is the audience’s darling at the rostrum of the Vienna ORF, BR and NHK in cooperation with Philharmonic. “The audience purred. They took delight in a fascinating Salzburg Festival and Wiener Philharmoniker transparency, a refinement worthy of chamber music.” SZ( )

Length: 214' On the stage, the peerless master director Harry Kupfer and his set designer Cat. no. A 040 50031 Hans Schavernoch recreate the 18th-century narrative in the era of the opera’s 1911 premiere. Vienna’s imperial edifices, parks, palaces and grand salons are imposingly projected aslant on the backdrop, opening up grand vistas on the widened stage. In this luxuriously elegant setting in black, white and grey, Harry Kupfer applies all his directorial artfullness to bring out the hopelessness of his precisely delineated characters and the tensions in their relationships. We sense “the aura of the eternally valid, timeless Gesamtkunstwerk, (…) dedicated to opulently sensual beauty. (…) Simply masterful!” (Nachrichten.at)

Photos: ORF/Roman Zach-Kiesling, Monika Rittershaus

29 GIuseppe verdI I l t r o v a t o r e Francesco MelI plácIdo doMInGo WIener phIlharMonIker conducted by staGed by GIuseppe verdI I l t r o v a t o r e OPERA Francesco MelI anna netrebko plácIdo doMInGo WIener phIlharMonIker conducted by danIele GattI staGed by alvIs herManIs

GIuseppe verdI “Anna Netrebko – better than ” (Süddeutsche Zeitung) – Since I l trovato re her sensational success in “La Traviata” the soprano Anna Netrebko, now even more popular than ever before, returns regularly to the great festival hall at the Salzburg Festival. This time she shines as Leonora in Giuseppe Verdi’s tragic Orchestra Wiener Philharmoniker opera “Il Trovatore” at the side of Placido Domingo and the critics go wild: “A Conductor Daniele Gatti triumph” writes , while the Neue Zürcher Zeitung speaks of Chorus Konzertvereinigung “truly divine sounds”. Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Francesco Meli as the troubadour Manrico whom Leonora loves is brilliant at Stage Director Alvis Hermanis her side: “He sings clearly and elegantly and has such vocal presence” (Der Standard). The Tagesspiegel is wowed by the enduring stage presence of Plácido Manrico Francesco Meli Domingo as his rival, Count Luna: it “never fails to amaze people when they Leonora Anna Netrebko experience Plácido Domingo live, with his stage presence, the way he takes it Il Conte di Luna Plácido Domingo all in his stride, how he now sings baritone parts without sounding different.” Azucena Marie-Nicole Lemieux The strong cast is complemented by Marie-Nicole Lemieux, who as the gypsy Ferrando Riccardo Zanellato Azucena provides spine-chilling and dramatic moments. The “most hotly Ines Diana Haller anticipated spectacle of the Salzburg Festival” (Corriere della Sera) exceeds all Ruiz/ Un messo Gérard Schneider expectations by a mile. Un vecchio zingaro Raimundas Juzuitis Alvis Hermanis staged the plot that revolves round two rival brothers who love the same woman and only learn they are related at the moment of her death, Video Director Agnes Méth using sets that “in their opulent adherence to detail and fantastically illuminated A co-production of ORF, UNITEL CLASSICA and ZDF/Arte atmosphere (…) offer much more than just a decorative sight for sore eyes“ in cooperation with Salzburg Festival and Wiener Philharmoniker (Salzburger Nachrichten).

Length: 149' On the rostrum of the Vienna Philharmonic is none other than Daniele Cat. no. A 040 50025 Gatti, who elicits undreamt-of cascades of sound from the orchestra: “employing the most fabulous colours, which the Vienna Phil savour in virtually impressionist manner, diligently and tenderly heeding every characteristic and every chord with skill” (Salzburger Nachrichten).

Photos: ORF/Roman Zach-Kiesling, Karl Forster

31 LUDOVIC TÉZIER NADIA KRASTEVA

STAGED BY MARTIN KUŠEJ BAYERISCHE STAATSOPER OPERA

Ever since their magnificent and hugely successful performance in Wagner’s “” at the , Anja Harteros and Jonas Kaufmann have come to be regarded as the world of opera’s perfect couple. In Giuseppe Verdi’s “La forza del destino”, the two returned and once again played two lovers desperately trying to be together but kept Orchestra Bayerisches Staatsorchester apart by the forces of destiny. Their performance at the Munich Opera Conductor Asher Fisch Festival met with “explosive outbursts of applause for the new heights Chorus Chor der Bayerischen Staatsoper reached in singing” (dpa). JONAS KAUFMANN ANJA HARTEROS Chorus Master Sören Eckhoff Stage Director Martin Kušej Verdi’s opera brings together three themes which have always been central LUDOVIC TÉZIER NADIA KRASTEVA to the history of mankind and which still retain their topicality today: class Donna Leonora Anja Harteros arrogance, racial prejudice and hysterical warmongering. The noble Leonora, Don Alvaro Jonas Kaufmann daughter of a marquess, is forbidden to be with Alvaro, the man she loves, Don Carlo di Vargas Ludovic Tézier because he is a Mestizo of Incan descent and therefore regarded not equal Il Marchese di Calatrava/ to her in social status. The third element, aggressive military frenzy and the Padre Guardiano Vitalij Kowaljow horrors of war, quickly reveal themselves not to be the least bit as entertaining Preziosilla Nadia Krasteva and merry as the gypsy Preziosilla would have everyone believe. In a world Fra Melitone Renato Girolami as cruel as this, the two despairing and desolate lovers finally conclude, Curra Heike Grötzinger not even the church can offer a way out. With “La forza del destino” Verdi Un alcade Christian Rieger created a pioneering masterpiece with regards to both form and content. Mastro Trabuco Francesco Petrozzi Anja Harteros formed, as it were, the radiant centrepiece of the production, Un chirurgo Rafał Pawnuk “the effect of her angel-like ‘piano’ is overwhelming” Münchner( Merkur). By virtue both of her wonderful voice and the sheer power of her magnificent Produced by Gemini Quint performance, she was able to celebrate nothing short of a triumph: “No Video Director Thomas Grimm one else today can die so beautifully, can act with such intensity. And no A production of UNITEL CLASSICA contemporary singer can hold a candle to her” (SZ). Jonas Kaufmann is in co-production with BR/Arte in cooperation the ideal choice for Alvaro: “At the present time, he is deservedly called with Bayerische Staatsoper unique because there is no other tenor who sings, acts, and creates so consummately” (Die Welt). French baritone Ludovic Tezier’s portrayal of Length: 179' Don Carlo was “a dramatic and dark, fundamental event” (Der Standard). Cat. no. A 050 50169 Under the insightful, circumspective, and psychological direction of Martin Kušej, the choir of the Bavarian State Opera sang with “elegance and precision”. The Bayerisches Staatsorchester, conducted by Asher Fisch, played beautifully and with accomplished sonority, “drawing forth superb details” (FAZ). Vitalij Kowaljow as the noble Padre Guardiano/Marquess of Calatrava, Nadia Krasteva as the fiery Preziosilla, und Renato Girolami as the tragi-comical Fra Melitone complete this first-class ensemble, leaving absolutely nothing to be desired for opera lovers.

STAGED BY MARTIN KUŠEJ BAYERISCHE STAATSOPER

Photos: Wilfried Hösl

33 FRANCESCO MELI LUCA SALSI HUI HE ELISABETTA FIORILLO

CONDUCTED BY ANDREA BATTISTONI

STAGED BY PIER LUIGI PIZZI OPERA

FRANCESCO MELI LUCA SALSI Orchestra Arena di Verona “First night provides a firework display”, raved the press over the new HUI HE Orchestra and Chorus staging of “Un ballo in maschera” (A Masked Ball). And indeed, the Conductor Andrea Battistoni performance at the Arena di Verona was a spectacle for the eyes and ELISABETTA FIORILLO Stage Director Pier Luigi Pizzi ears! Doyen of theatre directors Luigi Pizzi deployed “visually stunning characters” in “colourful, splendid costumes” (Kurier), all framed by gigantic colonnades and illuminated by pyrotechnic effects in order to CONDUCTED BY Riccardo Francesco Meli captivate his audience. ANDREA BATTISTONI Renato Luca Salsi The music too, performed “with vitality and at the same time a great Amelia Hui He intimacy” under the baton of “shooting star” Andrea Battistoni (Kurier), Ulrica Elisabetta Fiorillo delighted all: Francesco Meli as Riccardo and Hui He as Amelia were STAGED BY Serena Gamberoni “two singers to die for” (Kurier). Meli sings “with wonderful, well- PIER LUIGI PIZZI Silvano William Corrò rounded timbre, highly nuanced and with effortless top notes” (Kurier), Samuel Seung Pil Choi and is complemented by Hui He, who wins over her audience “with her Tom Deyan Vatchkov warmly timbred and forceful soprano” (Merker). A judge Antonio Feltracco Un ballo in maschera, originally written based on the life of the Swedish Amelia's servant Saverio Fiore King Gustav III (1746-1792) as a life-and-death drama, is given here in the revised “Boston version”. As a result of papal censorship, Verdi Produced by Metisfilm Classica changed the names of various characters and moved the location of the Video Director Tiziano Mancini plot one hundred years back and from to Boston.

A production of Unitel Classica and Classica Italia in co-production with Fondazione Arena di Verona

Length: 144' Cat. no. A 000 50018

Photos: Fondazione Arena di Verona

35 p y O tr i lyich t chaikOVsky

c h O r EOgraphy by r udO lf n urE y EV

Olga Esina cOnductE d by a l E xandE r i ngram

Vladimir s hishOV dirE ctE d by m anuE l lEgris

WiE n E r s taatsO p E r WiE n E r s taatsb allE tt p y O tr i lyich t chaikOVsky

Pyotr IlyI ch t chaI kovsky BALLET

Choreographers Marius Petipa It is the one ballet that everyone knows, has heard of or seen, and Lev Ivanov it is one of the loveliest and most frequently performed works in the ballet literature. No other ballet is capable of conjuring Ballet Director Manuel Legris up such intensive images, dreams and yearnings simply at the c h O r EOgraphy by r udO lf n urE y EV Ballet Company Wiener Staatsballett mention of its name as Tchaikovsky’s Swan Lake. Rudolf Nureyev Conductor Alexander Ingram created a new version of it in 1964 for the ; Orchestra Orchester der Wiener Staatsoper it helped the dancer and choreographer, then 26 years old, to achieve international fame and also projected the Vienna State Prince Vladimir Shishov Ballet onto the world stage, where it was to become one of the Odette/Odile Olga Esina company’s greatest successes. Sorcerer Rothbart Eno Peci Companions of the Prince Alice Firenze To mark the 50th anniversary of this ballet, the Vienna State Kiyoka Hashimoto Opera is now reviving it with new sets and costumes designed Masayu Kimoto by Luisa Spinatelli, whose concept is inspired by the fairytale Greig Matthews phantasy world of King Ludwig II incorporating simple, painted et al. backdrops and few accessories, to present a new Swan Lake.

Produced by ORF The role of the Princess, one of the most difficult (double) roles Video Director Michael Beyer in the entire ballet repertoire, and always viewed as the climax of any prima ballerina’s career, is danced by Olga Esina, who gives A co-production of ORF and UNITEL in cooperation with Wiener Staatsoper and CLASSICA the “impression of never having danced another role” (APA). Her performance is captivating for its “flawless technique, Length: 132' poised lightness and elegance” (Kronen Zeitung). In an aura of Cat. no. A 040 50026 dignified grace “her dancing is breathtaking” (Kleine Zeitung) – “a masterly performance in every respect” (Die Presse). Together with Vladimir Shishov as Prince Siegfried, she forms “a dance pair optically made for Hollywood” (Wiener Zeitung). “The Vienna State Ballet were the stars of the evening once again, dancing with great skill and energy” (Der Standard) – “a fantastic evening, a treat for the eyes and the ears” (APA).

Olga Esina cOnductE d by a l E xandE r i ngram

Vladimir s hishOV dirE ctE d by m anuE l lEgris

WiE n E r s taatsO p E r WiE n E r s taatsb allE tt Photos: ORF/Milenko Badzic, Michael Pöhn

37 BOSTON SYMPHONY ORCHESTRA – THE INAUGURAL CONCERT Photo: Chris Lee CONCERTS CONCERT

BOSTON SYMPHONY ORCHESTRA ∙ THE INAUGURAL CONCERT KRISTINE OPOLAIS, Soprano JONAS KAUFMANN, Tenor This wide ranging one-night only event celebrates the Wagnerian and the Italian verismo repertoires, they start of Andris Nelsons’ tenure as the 15th music director join forces for a powerful duet from Puccini’s of the Boston Symphony Orchestra and features two of Lescaut. The concert opens with Wagner’s Tannhäuser the conductor’s close colleagues, the acclaimed Latvian Overture – the work that first inspired a five year old soprano Kristine Opolais, and the outstanding German Nelsons to a life in Music – and closes with Respighi’s tenor Jonas Kaufmann. Singing’s selections from the spectacular orchestral showcases, “Pines of Rome”.

Length: approx. 120' A production of WNET/PBS, BSO Cat. no. A 035 50004 0000 and UNITEL CLASSICA

PRETTY YENDE IN PRAGUE PRETTY YENDE, Soprano VILÉM VEVERKA, PKF – PRAGUE PHILHARMONIA conducted by CHRISTOPHER FRANKLIN Pretty Yende, the young South African soprano, who has Side Story”) and Gounod (“Ah! Je veux vivre” from reached star status since she won Domingo’s Operalia “Roméo et Juliette”) Inbetween the arias Czech oboist competition at the latest, ecstasizes the audience with Vilém Veverka demonstrates in this cleverly selected great romantic arias by Bellini (“O rendetemi la spe” from program with works like Morricone’s “Gabriel’s Oboe” “”), Donizetti (“Ah! Tardai troppo” from “Linda from “Mission” how incredibly close the oboe timbre is di Chamounix”), Bernstein (“I Feel Pretty” from “West to the human voice.

Length: 76' A production of Czech Television and UNITEL CLASSICA Cat. no. A 985 50005 0000 in cooperation with Nachtigall Artists

14TH ARTHUR RUBINSTEIN INTERNATIONAL PIANO MASTER COMPETITION THE 40TH ANNIVERSARY GALA with D. TRIFONOV, R. RABANOVICH, D. FUNG et al. featuring works by BARTÓK, STRAVINSKY, MOZART et al. THE FINALS with A. BARYSHEVKYI, S. LIN, S. J. CHO et al. featuring piano concertos by PROKOFIEV, RACHMANINOFF, TCHAIKOVSKY et al. The Rubinstein Competition enjoys a reputation as one of It was Antonii Baryshevskyi who won over the jury with the world's most prestigious piano competitions. Founded his outstanding style of playing, which gained him first in 1974 with the aim of linking Arthur Rubinstein’s artistic prize. The gala concert to mark the 40th anniversary of heritage with the cultural life of , it is an international the event featuring prizewinners of previous competitions forum for discovering talented, ambitious young pianists. provide a fascinating glimpse of the dynamics of the In the final of the 14th competition, six young pianists competition and showcase outstanding, hopeful young competed against each other in various piano concertos. pianists of the new generation.

Length: 89' (Gala) Length: approx. 110' (Finals) A co-production of The Arthur Rubinstein International Music Society, Cat. no. A 125 50001 0000 Cat. no. A 125 50002 0000 BZ/DV, IBA and UNITEL CLASSICA

39 HECTOR BERLIOZ: REQUIEM Photo: Jean-François Leclercq CONCERT

HECTOR BERLIOZ: REQUIEM – GRANDE MESSE DES MORTS CONDUCTED BY ANDREW STAPLES, Tenor ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE & SIMÓN BOLÍVAR SYMPHONY ORCHESTRA CHOEUR DE RADIO FRANCE & MAÎTRISE NOTRE-DAME DE PARIS “If I was threatened with the destruction of all my works choral work is one of the boldest and most complex but one, I would save the Requiem” wrote Berlioz shortly creations of music history, a vision of judgement. Notre- before his death. The Requiem requires an orchestra Dame Cathedral in Paris provides the ideal spatial and of immense size: 108 strings, woodwind and brass, 16 acoustic conditions for its performance. Under Gustavo kettledrums and a battery of percussion instruments Dudamel’s direction, it was revealed as “a Requiem of the augmented by four remote bands of , highest calibre” (El Pais), which set the vault and columns and and 200 singers. This sacred of Notre-Dame de Paris vibrating.

Length: 98' A co-production of Camera Lucida productions, Radio France and ARTE France in association with UNITEL CLASSICA, in collaboration with Cat. no. A 010 50030 Musique Sacrée à Notre-Dame de Paris et Notre-Dame de Paris with the participation of the CNC

WIENER PHILHARMONIKER CONDUCTED BY GUSTAVO DUDAMEL RICHARD STRAUSS Tod und Verklärung, Op. 24 RENÉ STAAR Time Recycling, Op. 22n RICHARD STRAUSS , Op. 30 Strauss - the co-founder of the Salzburg Festival - is being “Time Recycling” by composer and Vienna Philharmonic celebrated with two of his so called , “Death violinist René Staar. Under Dudamel’s baton the Vienna and Transfiguration” and “Thus spoke Zarathustra”. The Philharmonic unfold its vast aural splendor: “Gustavo concert is complemented by the contemporary work Dudamel understands how to light a fire” Die( Krone).

Length: 93' A production of UNITEL CLASSICA in co-production with ZDF/Arte Cat. no. A 045 50037 0000 in cooperation with Salzburg Festival and Wiener Philharmoniker

THE LAST THREE MOZART SYMPHONIES CONDUCTED BY NIKOLAUS HARNONCOURT WOLFGANG AMADEUS MOZART Symphonies No. 39 in E flat / No. 40 in G minor / No. 41 in C major CONCENTUS MUSICUS Mozart’s three last symphonies are not separate works, Musicus “which played thrillingly well” (), but are to be perceived as a single “instrumental Harnoncourt excites the audience with his innovative oratorio”! That is the view of “Mozart expert and original- reading of the three symphonies at the Stefaniensaal in sound past master” () Nikolaus Harnoncourt. Graz during the “Styriarte” festival. Standing ovations At the rostrum of his period-sound orchestra Concentus for an ultimate Mozart interpretation.

Length: 113' A production of ORF Landesstudio Steiermark Cat. no. A 045 50035 0000 in cooperation with ORF 3, Styriarte and UNITEL CLASSICA

41 GRAFENEGG FESTIVAL – MIDSUMMER NIGHT’S GALA Photo: Exceptional Pictures/Alexander Haiden CONCERT

GRAFENEGG FESTIVAL – MIDSUMMER NIGHT’S GALA ANGELA DENOKE, Soprano • RAMÓN VARGAS, Tenor • JEAN-YVES THIBAUDET, Piano TONKÜNSTLER-ORCHESTER conducted by JUANJO MENA Each year, artistic director and pianist Rudolf Buchbinder from , Ravel’s Concert for Piano and Orchestra manages to lure the biggest stars of to in G major, 3rd movt., Gershwin’s “I got rhythm” et al. Grafenegg Festival in . This year’s edition of the When night finally falls over the castle of Grafenegg, the “Midsummer-Night’s-Gala” presents a musical world orchestra traditionally performs ’s “Pomp tour gliding through space and time – classics from and Circumstances”, accompanied by a spectacular opera, musical, operetta and film-music, as Ravel’s firework. Rapsodie espagnole, Puccini’s “E lucevan le stelle”

Length: approx. 90' A co-production of ORF and UNITEL CLASSICA Cat. no. A 045 50039 0000 in cooperation with Grafenegg Festival

RED RIBBON CELEBRATION CONCERT "GARDEN OF EARTHLY DELIGHTS" JENNIFER O’LOUGHLIN, Soprano • VESSELINA KASAROVA, Mezzo-soprano PIOTR BECZALA, Tenor • YUSIF EYVAZOV, Tenor • THOMAS HAMPSON, Baritone LUCA PISARONI, Baritone • ILDAR ABDRAZAKOV, Bass ORF VIENNA RADIO SYMPHONY ORCHESTRA conducted by CORNELIUS MEISTER According to its slogan “United in Difference” and as and Mozart’s “Madamina” from Don Giovanni, the a key element of Vienna’s famous Life Ball, the Red prodigious solo artists such as Thomas Hampson and Ribbon Celebration Concert in the reputed Viennese Luca Pisaroni make their voices heard at one of the assembles a unique line-up of artists. world’s biggest fund-raising events to further the cause Performing and presenting a gala concert with musical of those living with HIV or AIDS. pieces such as Puccini’s “Nessun Dorma” from

Length: 66' A production of Life Ball in cooperation with Interspot Film for ORF III and UNITEL CLASSICA Cat. no. A 045 50034 0000

HOLLYWOOD IN VIENNA – A TRIBUTE TO RANDY NEWMAN RANDY NEWMAN, Composer/Vocals/Piano • ADRIAN ERÖD, Baritone CASSANDRA STEEN, Vocals • DAVID B. WHITLEY, Vocals • FRANTIŠEK JÁNOŠKA, Piano ORF VIENNA RADIO SYMPHONY ORCHESTRA conducted by DAVID NEWMAN In this edition “Hollywood in Vienna” invites you to concert is dedicated to star composer Randy Newman, an unforgettable gala concert with music from the one of the most successful film scorers (two-fold Oscar biggest and most popular film comedies of all time. winner among other signifying awards) of our time. David Newman and the ORF Vienna Radio Symphony “Hollywood in Vienna” is an annual symphonic gala Orchestra set off to discover a fascinating musical world concert celebrating classic and contemporary master- from the “Muppets”, “Simpsons”, “Monty Python” and pieces of film music. “Pink Panther” to “The Artist”. The second part of the

Length: 88' A co-production of Interspot Film and BOFM Cat. no. A 045 50042 0000 for ORF III and UNITEL CLASSICA

43 J. S. BACH: JOHANNESPASSION Photo: Monika Rittershaus CONCERT

SCHUMANN & BRAHMS CONDUCTED BY Symphony No. 4 in D minor, Op. 120 (original version) JOHANNES BRAHMS Symphony No. 4 in E minor, Op. 98 In a rousing concert under the baton of Sir Simon Rattle which Schumann himself had radically revised 10 years the present the fourth symphonies after its premiere. Simon Rattle too, who with the Berlin of both Robert Schumann and Johannes Brahms. Philharmonic has been nominated for a 2015 Grammy The comparison of the two symphonies is based on for his CD recording of the Schumann symphony cycle, the personal and artistic affiliation between the two has chosen the rarely heard first version, describing the composers. It was Brahms who advocated publication original symphony as “full of lightness, grace and beauty”. of the original version of Schumann's fourth symphony

Length: 75' A production of Cat. no. A 055 50429 0000 Berlin Phil Media and UNITEL CLASSICA

JOHANN SEBASTIAN BACH: JOHANNESPASSION (ST. JOHN PASSION), BWV 245 , Soprano MAGDALENA KOZENÁ, Mezzo-soprano TOPI LEHTIPUU, Tenor , Tenor RODERICK WILLIAMS, Baritone , Baritone RUNDFUNKCHOR BERLIN conducted by SIMON RATTLE directed by PETER SELLARS “A simmering performance that lives up to the high located: in the feeble light of a single lamp, the Evangelist expectations”, wrote the NY Times of Bach’s St. John and the other soloists play out a piece of chamber Passion presented by the great American director Peter theatre. “The paradox of a staging for the concert hall is Sellars and the star conductor Simon Rattle at the thus realized” (Berliner Zeitung). Berlin Philharmonie. The semicircular stage of the Berlin Philharmonie is transformed into a magically charged Also available: An introduction interview with Simon space: musicians from the right, choir from the left keep Rattle and Peter Sellars (Length 33') pressing into the centre, where the heart of the action is

Length: 135' A production of Cat. no. A 050 50158 Berlin Phil Media, BR and UNITEL CLASSICA

45 ANTONĹN DVOŘÁK: THE COMPLETE SYMPHONIES Photo: Petra Hajská, Ester Havlová CONCERT

ANTONĺN DVOŘÁK: THE COMPLETE SYMPHONIES CONDUCTED BY JIŘÍ BĚLOHLÁVEK Symphony No. 1 in C minor, Op. 3 (Length: Concert version 47', Introduction version 64’) Symphony No. 2 in B flat major, Op. 4 (Length: Concert version 54', Introduction version 67') Symphony No. 3 in E flat major, Op. 10 (Length: Concert version 37', Introduction version 49') Symphony No. 4 in D minor, Op. 13 (Length: Concert version 43', Introduction version 54') Symphony No. 5 in F major, Op. 76 (Length: Concert version 46', Introduction version 54') Symphony No. 6 in D major, Op. 60 (Length: Concert version 45', Introduction version 52') Symphony No. 7 in D minor, Op. 70 (Length: Concert version 41', Introduction version 54') Symphony No. 8 in G major, Op. 88 (Length: Concert version 40', Introduction version 55') Symphony No. 9 in E minor, Op. 95 (Length: Concert version 47', Introduction version 61') Antonín Dvořák stands alongside Smetana as a founder in Prague, where Dvořák conducted the first concert of the new Czech music. His nine symphonies, presented by today’s Czech Philharmonic in 1896. Jiří Bělohlávek, here for the first time as a filmed cycle, show Dvořák chief conductor of the Czech Philharmonic, is as a thoroughly individual and original composer whose considered an established authority on the Slavic music symphonic concepts and wealth of musical expression of his homeland. Each symphony is available as a pure are often surprising. All the symphonies in this cycle concert version and as a version with introductions and were performed in the Dvořák Hall of the Rudolfinum explanations of every movement by Jiří Bělohlávek. “NINE SKETCHES Length: approx. 400' A production of CZECH TELEVISION OF DVOŘÁK” Cat. no. A 985 5000 40000 and the CZECH PHILHARMONIC in co-production with UNITEL CLASSICA ACCOMPANYING DOCUMENTARY SEE PAGE 79

BEDŘICH SMETANA: MÁ VLAST CONDUCTED BY JIŘÍ BĚLOHLÁVEK Is there any more evocative piece of national music than the baton of Jiří Bělohlávek the Czech Philharmonic “Ma Vlast” (My Country)? Smetana’s six orchestral poems manages to perform “something very subtle: a feeling – the most famous of which is “Vltava” (Moldau) with of great power without aggression, exactitude without its instantly recognizable melody and evocation of this pedantically sharp edges, and a weight and clarity in the great river – tell of Bohemia’s lands and legends. Under wind and brass” (The Daily Telegraph).

Length: 82' A production of Czech Television, Czech Philharmonic, Cat. no. A 980 50003 Prague Spring Festival and UNITEL CLASSICA in co-production with ZDF/Arte

47 Photo: Peter Meisel CONCERT

GUSTAV MAHLER: SYMPHONY NO. 4 IN G MAJOR CONDUCTED BY , Soprano According to Jansons Mahler’s fourth symphony “is a sunny end point to an emotional journey. This concert surely the best that Mahler has written”. It begins with marks the extremely impressive RCO debut of soprano sleigh bells and ends in heaven. “Das himmlische Leben”, Anna Prohaska, who has established a reputation as a a song about the naive (yet also rather morbid) heavenly soloist at such houses as the Berlin Staatsoper. visions of a child, is heard in the last movement and forms

Length: approx. 70' A production of RCO Cat. no. A 865 50007 0000 in co-production with UNITEL CLASSICA

ROSSINI, SHOSTAKOVICH & PROKOFIEV CONDUCTED BY MARISS JANSONS GIOACHINO ROSSINI Overture to “La gazza ladra” DMITRI SHOSTAKOVICH Piano Concerto No. 1, Op. 35 SERGEI PROKOFIEV Symphony No. 5 in B flat major, Op. 100 , Piano “Mariss Jansons, Yuja Wang and the RCO delight in the percussive energy in Rossini’s overture “La gazza ladra”, Russian repertoire“ the press proclaims and continues, the contagious slapstick passages in Shostakovich’s that Mariss Jansons is not only in topform, but conducts Piano Concerto No. 1 for Piano, , and Strings, “with exuberance and frolic”. And indeed, the programme and Prokofiev’s youthful optimism in Symphony No. 5 in consists of a lot of energy and exciting humour and is B minor. surprisingly connected by its playfulness: the exhilarating

Length: 91' A production of RCO Cat. no. A 865 50019 0000 in co-production with UNITEL CLASSICA

STRAUSS & BRAHMS CONDUCTED BY ANDRIS NELSONS RICHARD STRAUSS Till Eulenspiegels lustige Streiche, Op. 28 / , Op. 23 JOHANNES BRAHMS Symphony No. 2 in D major, Op. 73 During the 1880s Strauss applied hisself to the genre misadventures and pranks of the German peasant folk of symphonic poems, which Strauss described as “a hero Till Eulenspiegel, fully revealing Strauss’s mastery completely new path” for him compositionally. One of in the sharp melodic characterisations and brilliant his first works in that genre was “Macbeth”, a musical instrumentation. The work complements Brahms’s portrayal of the two main characters of Shakespeare's Symphony No. 2, which is imbued with a sunny, lush play, the Scottish regicide Macbeth and his wicked wife atmosphere. The brilliance of the grand finale is a quality Lady Macbeth. “Till Eulenspiegels lustige Streiche” rarely heard in Brahms’s. (Till Eulenspiegel's Merry Pranks) chronicles the

Length: 89' A production of RCO Cat. no. A 865 50016 0000 in co-production with UNITEL CLASSICA

49 BRAHMS & SHOSTAKOVICH CONDUCTED BY ANDRIS NELSONS JOHANNES BRAHMS Concerto for and Violoncello, Op. 102 DMITRI SHOSTAKOVICH Symphony No. 4 in C minor, Op. 43 LIVIU PRUNARU, Violin • GREGOR HORSCH, Violoncello The Royal Concertgebouw Orchestra opened the which he had written when he had been relegated from Brahms Double Concerto with great fury, after which the status of a national hero to that of a potential enemy the two soloists Liviu Prunaru and Gregor Horsch of Stalin’s state. The audicence was deeply moved: After took over in their solo parts. “Their interplay seemed the last note was played, the silence of the audience and to evolve into one, as if they were both playing one the lack of immediate applause revealed the success of instrument” romanced the press. The Double Concerto this performance. was complemented by Shostakovich’s fifth symphony,

Length: approx. 90' A production of RCO Cat. no. A 865 50018 0000 in co-production with UNITEL CLASSICA

FLOTHUIS, STRAUSS & SHOSTAKOVICH CONDUCTED BY ANDRIS NELSONS MARIUS FLOTHUIS Cantus amoris, Op. 78 RICHARD STRAUSS Concerto for Oboe and Small Orchestra in D major DMITRI SHOSTAKOVICH Symphony No. 5 in D minor, Op. 47 ALEXEI OGRINTCHOUK, Oboe After the Royal Concertbebouw Orchestra’s for producing music that failed to reflect Soviet ideals. performance the press reports impressed: “Nelsons Strauss’s melodic work is dominated by nostalgia for masterfully“ (De Telegraf). Under the baton of Andris a world that was lost forever, written shortly after the Nelsons the orchestra presents works by Flothius, Second World War towards the end of his life. With the Strauss and Shostakovich. Shostakovich’s symphony “Cantus amoris” by Marius Flothuis (1914–2001), the was presented as a public penance in 1937, when the orchestra commemorates one of its artistic directors. composer had been rebuked by the Communist regime

Length: 95' A production of RCO Cat. no. A 865 50017 0000 in co-production with UNITEL CLASSICA

50 Photo: Anne Dokter DANIEL BARENBOIM & GUSTAVO DUDAMEL Photo: Matthias Creutziger CONCERT

DANIEL BARENBOIM & GUSTAVO DUDAMEL JOHANNES BRAHMS Piano Concerto No. 1 in D minor & No. 2 in B flat major Daniel Barenboim teams up with Gustavo Dudamel begins to play her hauntingly lovely solo in the Andante and the for an evening dedicated movement and Barenboim (on piano) sinks with her from to the two piano concertos by Johannes Brahms at the that moment into an almost transcendent ‘dialogue�, Philharmonie Berlin. In the D minor concerto Barenboim we feel the tears welling up; what an exhilarating and focuses entirely on the intimate moments, eschewing a timeless moment!” (Tagesspiegel). “Sustained and display of strength which this piece sometimes seems grateful applause” at the end of the concert, especially to encourage. The solo in the Andante movement for Daniel Barenboim, who gave a Nocturne by Chopin of the Piano Concerto No. 2 is one of the most moving as an encore: “tender, gossamer fine, not of this world” moments of the evening: “When Sennu Laine (cello) (Tagesspiegel).

Length: approx. 130' A production of UNITEL CLASSICA Cat. no. A 055 50393 0000 in cooperation with Staatsoper im Schillertheater and Musikfest Berlin

RICHARD STRAUSS: EIN HELDENLEBEN, OP. 40 CONDUCTED BY DANIEL BARENBOIM Richard Strauss composed the tone poem “Ein dimension of this rich and opulent composition, any Heldenleben” (A Hero's Life) in 1898. Generally agreed listener is bound to go into raptures” according to the to be autobiographical in tone, despite contradictory Tagesspiegel. “A mellow, rich ‘Hero�s Life’ that yet again statements on the matter by the composer, the work establishes itself as a benchmark performance for the contains more than thirty quotations from Strauss's orchestra and its Principal Conductor for Life, Daniel earlier works. Yet “even setting aside the autobiographical Barenboim”, according to Die Welt.

Length: approx. 50' A production of UNITEL CLASSICA Cat. no. A 055 50392 0000 in cooperation with Staatsoper im Schillertheater

53 EMMERICH KÁLMÁN: DIE CSÁRDÁSFÜRSTIN Photo: Matthias Creutziger CONCERT

EMMERICH KÁLMÁN: DIE CSÁRDÁSFÜRSTIN GALA CONCERT PERFORMANCE ANNA NETREBKO, Soprano • CHRISTINA LANDSHAMER, Soprano JUAN DIEGO FLÓREZ, Tenor • PAVOL BRESLIK, Tenor SEBASTIAN WARTIG, Baritone ∙ BERND ZETTISCH, Baritone conducted by CHRISTIAN THIELEMANN “A great conductor and great singers in a jewel of the Sächsische Staatskapelle Dresden under the direction great operetta tradition” was the verdict of the press, of its conductor Christian Thielemann, Anna Netrebko converging on the Semperoper in Dresden to celebrate is teamed with the Peruvian star tenor and darling of this operetta in grand style. Anna Netrebko sings Sylva the public Juan-Diego Flórez, also making his role debut Varescu in a concert performance of Emmerich Kálmán's as Sylva�s lover Edwin. Yet again the Semperoper has popular operetta “Die Csárdásfürstin” (The Riviera produced “deluxe operetta for television” (Die Welt). Girl resp. The Gypsy Princess). Accompanied by the

Length: approx. 90' A production of ZDF and UNITEL CLASSICA Cat. no. A 055 50396 0000 in co-production with Semperoper Dresden

FESTIVE ADVENT CONCERT CHRISTIANE KARG, ELĪNA GARANČA, YOSEP KANG conducted by PABLO HERAS-CASADO

Elina Garanca, the star of this festal Advent concert, Meanwhile Christiane Karg captivates us with her crystal- proves once more “that she has one of the loveliest and clear soprano, winging its way straight to our hearts. The finest voices in the whole world”. In 's concert is conducted by maestro Pablo Heras-Casado, “Agnus Dei”, in the “Regina Coeli” from Mascagni's whose sensitive touch and style-conscious precision , she lets her voice “shine and beam, brings out to the full the particularly refined sound of the bringing tears to many eyes”, the critics enthuse. Staatskapelle. (Der neue Merker)

Length: approx. 60' A production of ZDF in co-production with UNITEL in cooperation with Staatskapelle Dresden Cat. no. A 055 50397 0000 and CLASSICA with the support of Stiftung Frauenkirche Dresden

RICHARD STRAUSS: ELEKTRA CONCERT PERFORMANCE , Soprano ∙ ANNE SCHWANEWILMS, Soprano , Mezzo-soprano ∙ FRANK VAN AKEN, Tenor ∙ RENÉ PAPE, Bass conducted by CHRISTIAN THIELEMANN In this – GRAMMY nominated - concert performance be desired, above all Evelyn Herlitzius, “today’s leading of Elektra the Staatskapelle Dresden under the baton interpreter of the role. Her vocal power and dramatic of its principal conductor Christian Thielemann does intensity place her ahead of her colleagues as far as once again justice to its reputation as Richard Strauss’s Elektra goes”. “After a few seconds of truly moving favourite orchestra. The soloists too leave nothing to silence the biggest ovations and cheers” writes the press.

Length: 118' A production of UNITEL CLASSICA Cat. no. A 05050154 in co-production with Semperoper Dresden and Staatskapelle Dresden

55 LETZTE LIEDER & EINE ALPENSYMPHONIE CONDUCTED BY CHRISTIAN THIELEMANN Ernster Gesang RICHARD STRAUSS Letzte Lieder / Eine Alpensymphonie, Op. 64 ANJA HARTEROS, Soprano The friendship between Richard Strauss and the last song “Malven” was added. This piece, originally set for Staatskapelle Dresden lasted over 60 years. His 150th piano, was orchestrated by one of today’s most respected birthday was therefore duly celebrated in Dresden. One German composers, Wolfgang Rihm, on behalf of the highlight of the celebrations was the performance of his Staatskapelle Dresden. Soprano Anja Harteros yet again “Alpine Symphony”, which the master dedicated to the demonstrated her consummate skill as a leading singer of Staatskapelle. The first half of the concert was devoted Strauss lieder. to Strauss’s “” cycle, to which his very

Length: 102' A production of Unitel Classica Cat. no. A 055 50380 0000 in co-production with Semperoper Dresden

RICHARD STRAUSS GALA CONDUCTED BY CHRISTIAN THIELEMANN RICHARD STRAUSS Excerpts from all nine operas premiered in Dresden , Soprano ANJA HARTEROS, Soprano , Soprano The relationship between Richard Strauss and the Rosenkavalier”, “”, “Elektra” and “Feuersnot”. Staatskapelle Dresden was very special: nine of his 15 Three leading Strauss were engaged for this operas were premiered at the Semperoper. In celebration big event: Christine Goerke, Anja Harteros and Camilla of his 150th anniversary year Christian Thielemann, the Nylund, a fact that underlines the special significance of leading Strauss expert, conducts excerpts from all nine of this concert. Strauss's operas premiered in Dresden – including “Der

Length: 100' A production of UNITEL CLASSICA “MY STRAUSS” in co-production with MDR/Arte in cooperation with Semperoper Dresden ACCOMPANYING DOCUMENTARY Cat. no. A 055 50364 0000 SEE PAGE 81

56 Photo: Matthias Creutziger SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS

THE ODEONSPLATZ CONCERT "RUSSIAN NIGHT" Photo: Goran Nitschke CONCERT

THE ODEONSPLATZ CONCERT “RUSSIAN NIGHT” TEREM QUARTET ∙ MARISS JANSONS For Munich residents, it's the biggest open-air highlight the “Polovetsian Dances” by Alexander Borodin, Dmitri of the year: “Klassik am Odeonsplatz”. In keeping with Shostakovich's “Festive Overture” and the popular the motto “Russian Night”, the four soloists from the “Sabre Dance” by Aram Khachaturian. On top of this, famous Terem-Quartet join forces once again on this audiences can witness the world premiere of the “Garden mild summer evening. The evening features a number Symphony” by living composer Alexander Tchaikovsky, a of works by the greatest Russian composers: among work dedicated to Mariss Jansons. others the “Italian ” by Peter I. Tchaikovsky,

Length: approx. 120' A production of BR Cat. no. A 055 50374 0000 in co-production with UNITEL CLASSICA

LUDWIG VAN BEETHOVEN: MISSA SOLEMNIS IN D MAJOR CONDUCTED BY GENIA KÜHMEIER, Soprano ∙ ELISABETH KULMAN, Mezzo-soprano MARK PADMORE, Tenor ∙ HANNO MÜLLER-BRACHMANN, Baritone CHOR DES BAYERISCHEN RUNDFUNKS Teaming up with the Chor und Symphonieorchester class especially in the complex fugues and energetic des Bayerischen Rundfunks, Bernard Haitink devoted passages of the piece. The ensemble was completed himself to Ludwig van Beethoven’s “Missa Solemnis”. He by wonderful soloists: in particular “Genia Kühmeier´s managed to find “great nuances and nice timbres of the voice floated in the space with celestial ease, Elisabeth orchestra effectively and impressively underlining the Kulman was beguiling with her incredibly powerful alto” bombastic passages of the piece” (Münchner Merkur). (Abendzeitung). The Bavarian Radio Choir displayed its exceptional

Length: 87' A co-production of BR and UNITEL CLASSICA Cat. no. A 050 50185

HAYDN, MENDELSSOHN & BRUCKNER CONDUCTED BY “Insanae et vanae curae”, Motet for Chorus and Orchestra, Hob XXI:1 No. 13c BARTHOLDY Symphony No. 5 in D major, Op. 107 No. 1 in D minor LUCY CROWE, Soprano ∙ JENNIFER JOHNSTON, Mezzo-soprano TOBY SPENCE, Tenor ∙ GÜNTHER GROISSBÖCK, Bass CHOR DES BAYERISCHEN RUNDFUNKS “Sir John Eliot Gardiner is as much a great leader of every nuance and subtlety in the music – always with just as he is a designer for fine details” SZ( ). the right amount of pathos. Thus, he succeeds in creating Together with the Chor und Symphonieorchester an impressive and profound interpretation of the works. des Bayerischen Rundfunks , the proven expert for The Symphonieorchester des Bayerischen Rundfunks historically informed performances manages to bring out plays in perfect harmony – “full of energy and life” (TZ).

Length: 85' A co-production of BR and UNITEL CLASSICA Cat. no. A 055 50378 0000

59 DMITRI SHOSTAKOVICH: SYMPHONY NO. 5 IN D MINOR, OP. 47 CONDUCTED BY MARISS JANSONS In the first concert of their tour through the musical expert when it comes to the Russian composer. With his metropolises of the America starting at the Teatro outstanding interpretation of Shostakovich’s oeuvre he Colón in , the Symphonieorchester raised the world’s awareness and even helped to give the des Bayerischen Rundfunks under the baton of their composer his well-deserved success. “This Shostakovich musical director Mariss Jansons were celebrated by the Symphony was energetic, hard-driven and exciting” audience for their interpretation of the 5th symphony by (NY Times). Shostakovich. For many critics Mariss Jansons is THE “SOBR IN Length: approx. 60' A co-production of BR and UNITEL CLASSICA SOUTH AMERICA” Cat. no. A 835 50002 0000 in cooperation with Teatro Colón ACCOMPANYING DOCUMENTARY SEE PAGE 81

PURCELL & MAHLER CONDUCTED BY DANIEL HARDING Music for the Funeral of Queen Mary GUSTAV MAHLER Symphony No. 6 in A minor, “Tragic” CHOR DES BAYERISCHEN RUNDFUNKS Daniel Harding and the Symphonieorchester des Bay- the way he fashions the tragic nature of the pieces with- erischen Rundfunks present Mahler’s Symphony No. 6 out severity, neither prolonged, nor solemn, but with his along with the Music for the Funeral of Queen Mary by head held high” (Abendzeitung). The “fantastic soloists, Henry Purcell – an unusual combination considering the Harding’s overview, his control, as well as his fine feel for very different time frames of their conception but not tempo, setting, and for the relentless shifts of phases” so uncommon when considering the subject matter they (Muenchner Merkur) deserve special appreciation. both address: death. “Harding’s greatest achievement is

Length: 105' A co-production of BR and UNITEL CLASSICA Cat. no. A 055 50367 0000

BARTÓK & MAHLER CONDUCTED BY YANNICK NÉZET-SÉGUIN BÉLA BARTÓK Violin Concerto No. 2 in B minor GUSTAV MAHLER Symphony No. 1 in D major, “Titan” GIL SHAHAM, Violin Canadian conductor Yannick Nézet-Séguin is easily one Bartók’s second violin concerto starring violonist Gil of the most promising conductors of his generation. Shaham. Nézet-Séguin and the orchestra manage to Employing subtle sophistication as well as supreme present Bartók with “thrilling dynamic effects by quietly intelligence, he leads the Symphonieorchester des backing the soloist, only to flare up the next moment Bayerischen Rundfunks to an out-of-the-ordinary with all its richness” (Muenchner Merkur). performance of Mahler’s first symphony and of Béla

Length: 106' A co-production of BR and UNITEL CLASSICA Cat. no. A 055 50384 000

60 Photo: Peter Meisel MARTHA ARGERICH & DANIEL BARENBOIM" Photo: Arnaldo Colombaroli CONCERT

MARTHA ARGERICH & DANIEL BARENBOIM PIANO DUOS AT THE TEATRO COLÓN WOLFGANG AMADEUS MOZART Sonata for Two in D major FRANZ SCHUBERT on an Original Theme in A flat major Le sacre du printemps (Version for Piano Duet) ROBERT SCHUMANN Andante and Variations for Two Pianos, Op. 46 Suite No. 2, Op. 17 – Waltz “Martha Argerich and Daniel Barenboim wow their from the audience for encores and so, Argerich and hometown of Buenos Aires” proclaimed the FAZ. For Barenboim gave Schumann�s Variations for two pianos, the first time the two musicians performed together in accompanied by three musicians from the West-Eastern the city of their birth. For this reason the Colón seemed Divan Orchestra, Rachmaninoff's Suite No. 2 and pieces to burst at the seams. Works by Mozart, Schubert by Guastavino and Milhaud. and Stravinsky were followed by frenetic demands

Length: 120' A co-production of Artear and UNITEL CLASSICA Cat. no. A 835 50005 0000 in cooperation with the Teatro Colón and the West-Eastern Divan Orchestra

MOZART, BEETHOVEN, SCHUMANN, RAVEL et al. CONDUCTED BY DANIEL BARENBOIM WOLFGANG AMADEUS MOZART – Overture from “Le nozze di Figaro” LUDWIG VAN BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 ROBERT SCHUMANN Fantasiestücke, Op. 12, Traumes Wirren Rapsodie espagnole, Boléro et al. GEORGES BIZET Suite No. 1 MARTHA ARGERICH, Piano “A city in a state of emergency” was the euphoric title of eight– followed by Ravel�s evergreens like Boléro and of a FAZ article describing the residency of the West- Rapsodie espagnole and Bizet’s popular Carmen Suite Eastern Divan Orchestra in Buenos Aires. At the No. 1. In the Ravel in particular, the Divan musicians opening concert the musicians enthralled their audience were able to prove “their filigree tone, their mastery of with Beethoven's Piano Concerto No. 1 – with which pianissimo through to the barely audible and many other Martha Argerich debuted at the Teatro Colón at the age merits” (FAZ).

Length: 116' A co-production of Artear and UNITEL CLASSICA Cat. no. A 835 50003 0000 in cooperation with the Teatro Colón and the West-Eastern Divan Orchestra

63 AT THE

AT THE ROYAL ALBERT HALL CONCERT

WEST-EASTERN DIVAN ORCHESTRA CONDUCTED BY DANIEL BARENBOIM WOLFGANG AMADEUS MOZART The Marriage of Figaro – Overture KAREEM ROUSTOM Ramal AYAL ADLER Resonating Sounds MAURICE RAVEL Rapsodie espagnole, Alborada del gracioso, Pavane pour une infante défunte, Boléro The West–Eastern Divan Orchestra and Daniel urgent dance as we reach the Rapsodie’s latter Barenboim return to the BBC Proms for a colourful movements – a preview of the rhythmic intensity of the Spanish-flavoured evening. The concert begins just composer’s Boléro. Also featured here are two works outside Seville in Mozart’s vivacious Figaro overture, newly composed for the orchestra – both exploring the before drifting into the dreamy Spanish nights of Ravel’s musical junctions of east and west. Rapsodie espagnole. Dreams give way to convulsing,

Length: 96' A BBC production in association with Cat. no. A 025 50134 0000 West-Eastern Divan Orchestra and UNITEL CLASSICA

TONHALLE ORCHESTRA ZURICH JULIA FISCHER ∙ RICHARD STRAUSS Till Eulenspiegels lustige Streiche, Op. 28 ANTONIN DVOŘÁK Violin Concerto in A minor, Op. 53 LUDWIG VAN BEETHOVEN Symphony No. 6 “Pastoral”, Op. 68

From the pastoral landscapes of Beethoven’s Symphony Till Eulenspiegel, while Julia Fischer makes a welcome No. 6 to the vibrant folk scenes of Strauss’s sound- return to in the last of the great romantic poem and Dvořak’s violin concerto, this Prom takes violin concertos – an inventive and idiosyncratic work a vivid journey across Central Europe. Celebrated by Dvořak, previously too often neglected in favour of Straussian David Zinman appears in his final concert as Mendelssohn or Bruch. “This beautiful Prom marked chief conductor of Zurich’s Tonhalle Orchestra, stepping the end of an era. David Zinman’s final concert as chief down after almost 20 years. Strauss appears at his conductor of the Zurich Tonhalle was a superb example playful, joyous best in the exploits of folk-hero/prankster of his intelligent musicianship” (The Guardian).

Length: approx. 90' A BBC/Tonhalle Orchestra Zurich co-production Cat. no. A 025 50133 0000 in association with UNITEL CLASSICA

WORLD ORCHESTRA FOR PEACE CONDUCTED BY ROXANNA PANUFNIK Three Paths to Peace RICHARD STRAUSS – symphonic fantasia GUSTAV MAHLER Symphony No. 6 in A minor The World Orchestra for Peace returns with its of its final movement foreshadowing the composer’s own conductor Valery Gergiev for its fourth Proms personal heartbreaks. Roxanna Panufnik’s “Three Paths appearance. This classical supergroup consisting of to Peace”, commissioned by the orchestra, is a reference leading players from the world’s finest orchestras to the words of the orchestra’s founding father Sir Georg celebrates Strauss with the colourful, fairy-tale Solti and a statement for peace, for unity in diversity soundscapes of his operatic masterpiece “Die Frau ohne by “finding and building musical bridges” between the Schatten”. Fantasy gives way to reality in the prescient Christian, Jewish and Muslim faith. tragedy of Mahler’s Sixth Symphony, the glorious agony

Length: approx. 100' A production of BBC/World Orchestra for Peace Ltd. “FROM WAR TO PEACE” Cat. no. A 025 50132 0000 in co-production with WDR and UNITEL CLASSICA ACCOMPANYING DOCUMENTARY SEE PAGE 77

65 ROLANDO VILLAZÓN PRESENTS

Four new of the successful German TV series in which Rolando Villazón presents the new classical music Stars of Tomorrow from singers and pianists to drummers and combos.

EPISODE 13 EPISODE 14 Adam Plachetka Sonya Yoncheva Pumeza Matshikiza Kit Armstrong Trio Karénine Antonio Poli Nemanja Radulovi Die Chorjungen conducted by conducted by Domingo Hindoyan Domingo Hindoyan

Giacomo Puccini “Mi chiamano Mimì” from La Bohème Gioachino Rossini Overture to Soloist: Pumeza Matshikiza (South Africa) Wolfgang Amadeus Mozart Ludwig van Beethoven Piano Trio in D major, Op. 70/1 “Ghost” – “Bald prangt, den Morgen zu verkünden” from Die Zauberflöte Allegro vivace e con brio – Trio Karénine (France) Soloists: Die Chorjungen (Germany), Sonya Yoncheva (Bulgaria) Maurice Ravel Piano Trio in A minor – Pantoum. Assez vif Wolfgang Amadeus Mozart “Ave verum corpus” Trio Karénine (France) Soloists: Die Chorjungen (Germany) Wolfgang Amadeus Mozart “Rivolgete a lui lo squardo” from Francesco Paolo Tosti “Marechiare” Così fan tutte – Soloist: Adam Plachetka () Soloist: Antonio Poli (Italy) Dmitri Shostakovich Romance from The Gadfly “Celui dont la parole” Soloist: Nemanja Radulovic (Serbia/France) Aria of Salomé from Hérodiade – Soloist: Sonya Yoncheva (Bulgaria) Niccolò Paganini Caprices Nos. 24 & 5 Joseph Haydn Piano Concerto in D major, Hob. XVIII:11 Soloist: Nemanja Radulovic (Serbia/France) Rondo all’Ungarese – Soloist: Kit Armstrong (USA) Richard Strauss “Morgen” Francesco Cilea Soloists: Nemanja Radulovic (Serbia/France), Rolando Villazón “È la solita storia del pastore” (Lamento di Federico) from L’ Arlesiana Antonín Dvořák Slavonic Dance in E minor, Op. 72 No. 2 Soloist: Antonio Poli (Italy) Franz Schubert “Erstarrung” from Die Winterreise György Ligeti Fanfares – Soloist: Kit Armstrong (USA) Soloist: Adam Plachetka (Czech Republic) Manuel Penella “Vaya una tarde bonita…Sí! Torero” Qongqothwane (Traditional) Duet of Rafael and Soleá from Il gato montés Soloist: Pumeza Matshikiza (South Africa) Soloists: Sonya Yoncheva (Bulgaria), Rolando Villazón

Length: 46' Length: 53' A production of Salve TV for ZDF/Arte A production of Salve TV for ZDF/Arte in co-production with UNITEL CLASSICA Cat. no. A 055 13437 0013 in co-production with UNITEL CLASSICA Cat. no. A 055 13437 0014

66 Photo: Thomas Ernst

EPISODE 15 EPISODE 16 Andreas Ottensamer Michael Barenboim Kristina Mkhitaryan Inga Fiolia German Hornsound Zhengzhong Zhou Hwayoon Lee Ni Fan conducted by conducted by Patrick Lange Patrick Lange

George Frideric Handel Vivo from Suite No. 1, “Water Music” Felix Mendelssohn Bartholdy Presto from the Piano Concerto No. 1 Soloists: German Hornsound (Germany) in G minor – Soloist: Inga Fiolia () “Care compagne” from “” Giuseppe Verdi “Per me giunto è il dì supremo” from “Don Carlo” Soloist: Kristina Mkhitaryan () Soloist: ZhengZhong Zhou () Prélude “La fille aux cheveux de lin” Wolfgang Amadeus Mozart Rondo in C major Soloist: Andreas Ottensamer (Austria) Soloist: Michael Barenboim (Germany) Georg Philipp Telemann Largo and Presto from Concerto in G major Ney Rosauro Despedida (Farewell) from Concerto for Marimba and Soloist: Hwayoon Lee (Korea) Orchestra – Soloist: Ni Fan (China) Préludes No. 9, 14, 17 & 20 from 24 Préludes, Op. 11 Niccolò Paganini Presto from Caprice No. 16 in G major Soloist: Inga Fiolia (Georgia) Soloist: Hwayoon Lee (Korea) Chanson No. 7 “La Belle Jeunesse” from “Chansons Edward Grieg “Morning Mood” from Peer Gynt Suite No. 1 gaillardes” – Soloist: ZhengZhong Zhou (China) Soloist: Andreas Ottensamer (Austria) Béla Bartók Fuga from Sonata for Solo Violin, Sz. 117 Sergei Rachmaninoff Romance No. 10: “Before my Window” Soloist: Michael Barenboim (Germany) Soloist: Kristina Mkhitaryan (Russia) Tobias Boström Arena – Percussion Concerto No. 1 Giuseppe Verdi “Sempre libera” from “La traviata” Soloist: Ni Fan (China) Soloist: German Hornsound (Germany Carlos Gardel “El día que me quieras” (The day that you love me) Gioachino Rossini La danza from “Les soirées musicales” Soloist: Rolando Villazón, Inga Fiolia (Georgia), Michael Barenboim (Germ.) Soloist: Andreas Ottensamer (Austria) Gioachino Rossini Overture from “Guillaume Tell” Orchestra: Junge Sinfonie Berlin Length: 44' A production of Salve TV for ZDF/Arte in co-production with UNITEL CLASSICA Cat. no. A 055 13437 0015 Length: 65' A production of Salve TV for ZDF/Arte in co-production with UNITEL CLASSICA Cat. no. A 055 13437 0016

67 & MARKUS HINTERHÄUSER Photo: Lukas Beck CHAMBER MUSIC CHAMBER MUSIC

FRANZ SCHUBERT: WINTERREISE MATTHIAS GOERNE, Baritone MARKUS HINTERHÄUSER, Piano visualized by WILLIAM KENTRIDGE “Winterreise” by Franz Schubert engages with its stage and traced newly imagined, deeply moving images. audience in a new and unexpected form: in a creative In short animated films, Kentridge visualises Goerne’s encounter with Schubert’s masterpiece, the celebrated and Hinterhäuser’s sonic contribution. A memorable lieder specialist Matthias Goerne, pianist Markus meeting “of melancholy and magic” (La Marseillaise), Hinterhäuser and South African director, set designer infused by the “virile beauty of Goerne�s powerful and theatre artist William Kentridge joined forces on baritone” (New York Times).

Length: approx. 85' A production of Idéale Audience in co-production with the Festival d’Aix-en-Provence, “A TRIO FOR SCHUBERT” Mezzo and UNITEL CLASSICA in cooperation with Arte France and MUSEEC/medici.tv ACCOMPANYING DOCUMENTARY Cat. no. A 010 50033 with the participation of CNC SEE PAGE 79

BENJAMIN BRITTEN: STRING QUARTETS BELCEA QUARTET BRITTEN String Quartets No. 1 in D major, Op. 25 / No. 2 in C major, Op. 36 / No. 3, Op. 94 The Belcea Quartet is one of the world�s leading know these pieces.” (Süddeutsche Zeitung). The Belcea chamber music ensembles, having won many Quartet succeeds in an outstanding manner in holding international accolades. Now, with the string quartets, the balance between the youthful exuberance of the the musicians have rediscovered a gem of twentieth- first two quartets and the lyrical solemnity and sweet century chamber music. “Here is a composer moving morbidity of the third. Recorded before an audience in gently and magically from the Romantic and Classical the legendary Davout studio in Paris, these musicians canon towards aural visions of lightness, of sublimated display huge sensitivity for Britten�s many nuances. pain and brooding escapism. Shame on those who do not

Length: approx. 90' A production of Heliox Film in co-production Cat. no. A 015 50038 0000 with the Belcea Quartet and UNITEL CLASSICA

TORMENTI E DOLCE OBLIO – UMANE PASSIONI E AFFETTI VOCALI Tempro la cetra, Voglio di vita uscir FRANCESCO CAVALLI Scene dall’Egisto CLAUDIO MONTEVERDI Aria di Ulisse, Dormo ancora TARQINIO MERULA Folle è ben MARC MAUILLION, Tenor • ANGÉLIQUE MAUILLON, Harp FRIEDERIKE HEUMANN, Viola da Gamba – La Serenissima – was long considered the hub During the Festival Monteverdi-Vivaldi the young of the Baroque music world and the birthplace of opera. French tenor Marc Maullion breathes new life into some Composers like Claudio Monteverdi and Francesco of the loveliest arias of that exciting era and whisking Cavalli took the musical life of the city to unprecedented his audience away in the process to the illustrious heights in the sixteenth and seventeenth centuries. surroundings of the Venetian Palazzo Da Mosto.

Length: approx. 70' A production of Heliox Film in co-production with Venetian Centre for Baroque Music and Cat. no. A 005 50036 0000 Making On in association with ClassicAll/M Media, Mezzo and UNITEL CLASSICA

69 RUDOLF BUCHBINDER Photo: Silvia Lelli CHAMBER MUSIC

THE COMPLETE BEETHOVEN PIANO SONATAS RUDOLF BUCHBINDER 1st concert Sonata No. 1 in F minor, Op. 2/1 Sonata No. 10 in G major, Op. 14/2 Sonata No. 13 in E flat major, Op. 27/1, “Sonata quasi una fantasia” Sonata No. 17 in D minor, Op. 31/2, “Der Sturm” Sonata No. 18 in E flat major, Op. 31/3, “Die Jagd” 2nd concert Sonata No. 5 in C minor, Op. 10/1 Sonata No. 12 in A flat major, Op. 26 Sonata No. 22 in F major, Op. 54 Sonata No. 4 E flat major, Op. 7, “Grande Sonate” Sonata No. 14 in C sharp minor, Op. 27/2, “Mondschein-Sonate” 3rd concert Sonata No. 3 in C major, Op. 2/3 Sonata No. 19 in G minor, Op. 49/1 Sonata No. 26 in E flat major, Op. 81a, “Les Adieux” Sonata No. 7 in D major, Op. 10/3 Sonata No. 28 in A major, Op. 101 4th concert Sonata No. 6 in F major, Op. 10/2 Sonata No. 24 in F sharp major, Op. 78 Sonata No. 16 in G major, Op. 31/1 Sonata No. 29 in B flat major, Op. 106, “Hammerklavier-Sonate” 5th concert Sonata No. 2 in A major, Op. 2/2 Sonata No. 9 in E major, Op. 14/1 Sonata No. 15 in D major, Op. 28, “Sonate pastorale” Sonata No. 27 in E minor, Op. 90 Sonata No. 23 in F minor, Op. 57, “Sonata appassionata” 6th concert Sonata No. 11 in B flat major, Op. 22 Sonata No. 20 in G major, Op. 49/2 Sonata No. 8 in C minor, Op. 13, “Grande Sonate pathétique” Sonata No. 25 in G major, Op. 79 Sonata No. 21 in C major, Op. 53, “Waldstein-Sonate” 7th concert Sonata No. 30 in E major, Op. 109 Sonata No. 31 in A flat major, Op. 110 Sonata No. 32 in C minor, Op. 111 Beethoven’s opus of 32 piano sonatas, known as “the is “that of a real master, effortless changing between New Testament of piano music”, is a landmark in piano lightning fast, technically challenging moments and literature. Now, for the first time in its history the tender lyrical passages. Where others can pride complete cycle was performed at the Salzburg Festival. themselves in getting through without any accidents, For this challenge the Festival asked no less than the Buchbinder is a poet, precise in every arpeggio touching world-renowned and influential Beethoven expert and in every keystroke” (Kurier). pianist Rudolf Buchbinder. Buchbinder’s performance

Length: approx. 600' A co-production of ORF, Heliox Film and UNITEL CLASSICA Cat. no. A 045 50038 0000 in cooperation with Salzburg Festival

71 ANNA NETREBKO Photo: Alex Molchanovsky DOCUMENTARIES DOCUMENTARY

“ANNA THE GREAT” A film by DMITRY SAPUN Russia, 2014

A documentary about the great soprano Anna Netrebko with Anna herself, her family, , Piotr by the russian filmmaker Dmitry Sapun which follows her Beczala and many of her supporters such as Valery at home in Russia and New York and on the road as she Gergiev and Peter Gelb. prepares for her performances. It also features interviews

Length: 40' A coproduction of UNITEL CLASSICA Cat. no. A 945 50002 and Fourstudio

“DON GIOVANNI – A NIGHT AT THE OPERA BACKSTAGE” A film by VOLKER HEISE Austria, 2014 Corresponding to A 040 50033 p. 16 This documentary presents a unique insight into the hands bringing together such a live performance. Feel fascinating world of opera: during the live performance the adrenalin and anxiety of the singers, musicians and all of Mozarts famous Don Giovanni at the Salzburg performers and discover that the real night of the opera Festival. Renown helmer Volker Heise filmed backstage is behind the curtain! with four teams the fascinating clockwork of thousand

Length: 180' A production of Servus TV in cooperation with the Cat. no. A 040 50041 Salzburg Festival and UNITEL CLASSICA

“FROM WAR TO PEACE” A film by CHARLES KAYE & CHRISTOPH ENGEL Germany, 2014 Corresponding to A 025 50132 0000 p. 69 This documentary, produced on the occasion of the additional contributions from Irina Bokova (UNESCO World Orchestra for Peace’s 20th anniversary, features Director – General) and many leading players of the rare archive footage of – the orchestra’s World Orchestra for Peace. The film is complemented founder – with Richard Strauss (1949), Solti’s 80th by excerpts from the Concert for Peace at the BBC birthday concert at Buckingham Palace (1992) and Proms.

Length: 56' A production of BBC/World Orchestra for Peace Ltd. Cat. no. A 055 50383 in co-production with WDR and UNITEL CLASSICA

73 NIKOLAUS HARNONCOURT Photo: PhotoWerK DOCUMENTARY

“NIKOLAUS HARNONCOURT – BETWEEN OBSESSION AND PERFECTION” A three part documentary by FELIX BREISACH Austria, 2014 Three documentaries accompanying the development consecutive days, the documentaries not only give an of Nikolaus Harnoncourts’ “The Mozart Da-Ponte in-depth account of Harnoncourt’s vision of Mozart but Cycle” at the “Theater an der Wien” (see page 14). also an intimate portrait of what it’s like to be working Through focusing on the concentrated rehearsals in with him. Harnoncourt’s house in St. Georgen, Austria on six

Length: 3 x 52' A production of Felix Breisach Medienwerkstatt Cat. no. A 045 50033 0000 in co-production with Vereinigte Bühnen Wien, ORF III and UNITEL CLASSICA

“A TRIO FOR SCHUBERT” A film by Christian Leblé France, 2014 Corresponding to A 010 50033 p. 73 Schubert’s masterpiece “Winterreise” through Matthias of the song-cycle, where he worked together with Goerne’ s eyes and voice, captured during the Vienna the world-known South-African visual artist William Premiere and Festival d’Aix en Provence production Kentridge and pianist Markus Hinterhäuser.

Length: 52' A co-production of Idéale Audience, Arte France and UNITEL CLASSICA Cat. no. A 015 50040 in participation with the Festival d’Aix-en-Provence

“NINE SKETCHES OF DVOŘÁK” A film by BARBARA WILLIS SWEETE Czech Republic, 2014 Corresponding to A 985 50004 0000 p. 51 A documentary which follows the “homecoming” of Jiří the atmosphere of change in the Czech Philharmonic Bělohlávek as chief conductor of the Czech Philharmonic. as it is perceived by the players, the conductor and the The film traces the whole recording of Antonín Dvořák's management, all against the backdrop of Dvořák’s life symphonies and concertos throughout one and a half and work. years, from live performances to studio work. It captures

Length: approx. 60' A production of Czech Television, Czech Philharmonic Cat. no. A 980 50002 and UNITEL CLASSICA

75 CHRISTIAN THIELEMANN Photo: Matthias Creutziger DOCUMENTARY

“CHRISTIAN THIELEMANN – MY STRAUSS” A film by ANDREAS MORELL Germany, 2014 On the occasion of Richard Strauss‘s 150th birthday, archive recordings also the human being, the opera conductor Christian Thielemann reflects in an intensive director, the festival founder and careerist in times portrait about his personal relation to the composer. of National Socialism find their place in this gripping While focusing on the composer Strauss with numerous documentary.

Length: approx. 45' A production of 3B-Produktion in co-production with UNITEL CLASSICA Cat. no. A 055 50371 in cooperation with ZDF/3sat

“RICHARD STRAUSS – AT THE END OF THE RAINBOW” A film by ERIC SCHULZ Austria, 2014 Richard Strauss – who regarded himself as the last great the works of Richard Strauss with never-released composer ‘at the end of the rainbow’ – for sure is one of archive material and interview partners such as Brigitte the most interesting artists of his time. This documentary Fassbaender, Klaus König, Raymond Holden, Christian by Eric Schulz (also known for the film “Karajan – The Strauss, Walter Werbeck, Emma Moore and Stefan Second Life”) gives insight into the personality and Mickisch.

Length: approx. 100' A production of Servus TV Cat. no. A 040 50038

“THE SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS IN SOUTH AMERICA” A film by ECKHART QUERNER Germany, 2014 The Bavarian Radio Symphony Orchestra as a cultural went. Filmmaker and cinematographer Eckhart Querner ambassador: On tour through South America the and cameraman Peter Gillemot accompanied the musicians under the baton of Principal Conductor Mariss tour. Their documentary shows the preparations for Jansons gave several concerts in major cities. Rapturous the concerts and the mood and atmosphere with an applause from their South American fans followed unfamiliar audience while giving insight into individual the program consisting of works by Brahms, Berlioz, musicians’ personal experiences. Shostakovich and Adams everywhere the orchestra

Length: approx. 90' A production of BR in cooperation Cat. no. A 050 50213 with UNITEL CLASSICA

77 SALZBURG FESTIVAL 18 JULY – 30 AUGUST 2015

UNITEL CLASSICA IS THE EXCLUSIVE AUDIOVISUAL PARTNER OF THE SALZBURG FESTIVAL UPCOMING PRODUCTIONS AND LIVE EVENTS UPCOMING

We proudly present a fine selection of our upcoming productions and live events for the next six month. Please note that all information is not contractual and subject to change. Please contact us for further details and the full line-up.

10/ 11/ 12 FEBRUARY 2015 – FROM THE BARBICAN HALL, THE SIBELIUS SYMPHONY CYCLE BERLINER PHILHARMONIKER ∙ SIMON RATTLE

21 FEBRUARY 2015 – FROM THE TEATRO ALLA SCALA, MILAN GUISEPPE VERDI: , ANITA RACHVELISHVILI, KRISTIN LEWIS FABIO SARTORI, MATTI SALMINEN, GEORGE GAGNIDZE, CHIARA ISOTTON CORO E ORCHESTRA DEL TEATRO ALLA SCALA conducted by staged by PETER STEIN

4/ 5 MARCH 2015 – FROM THE CONCERTGEBOUW ROYAL CONCERTGEBOUW ORCHESTRA ANNE-SOPHIE MUTTER ∙ ANDRIS NELSONS : Violin Concerto DMITRI SHOSTAKOVICH: Symphony No. 10

8/ 10 MARCH 2015 – FROM THE GOLDENER SAAL, MUSIKVEREIN VIENNA WIENER PHILHARMONIKER, ZUBIN MEHTA, RUDOLF BUCHBINDER JOHANNES BRAHMS – PIANO CONCERTOS NOS. 1 & 2

20 MARCH 2015 – FROM THE CONCERTGEBOUW AMSTERDAM MARISS JANSONS – THE FAREWELL CONCERT THOMAS HAMPSON, ROYAL CONCERTGEBOUW ORCHESTRA, MARISS JANSONS

79 UPCOMING PRODUCTIONS & LIVE EVENTS All information is not contractual and subject to change

6 APRIL 2015 – FROM THE SALZBURG EASTER FESTIVAL : CAVALLERIA RUSTICANA : JONAS KAUFMANN, LIUDMYLA MONASTYRSKA, ANNALISA STROPPA STEFANIA TOCZYSKA, AMBROGIO MAESTRI, STAATSKAPELLE DRESDEN conducted by CHRISTIAN THIELEMANN directed by PHILIPP STÖLZL

23/ 24/ 25 APRIL 2015 – FROM THE PHILHARMONIE BERLIN BERLINER PHILHARMONIKER HÅKAN HARDENBERGER ∙ ANDRIS NELSONS HK GRUBER: Aerial GUSTAV MAHLER: Symphony No. 5

9 JUNE 2015 – FROM THE KONCERTHUSET, COPENHAGEN 150TH BIRTHDAY OF CARL NIELSEN LIVE GALA CONCERT FROM COPENHAGEN OLLI LEPPÄNIEMI, DANISH NATIONAL SYMPHONY ORCHESTRA conducted by JUANJO MENA

19 JUNE 2015 – FROM THE GRAFENEGG FESTIVAL "MIDSUMMER NIGHT’S GALA" ELISABETH KULMAN, PIOTR BECZALA, JULIA FISCHER TONKÜNSTLER-ORCHESTER conducted by YUTAKA SADO

11 JULY 2015 – FROM THE ODEONSPLATZ, MUNICH THE ODEONSPLATZ CONCERT "SPANISH NIGHT" JULIA FISCHER ∙ PABLO HERAS-CASADO SYMPHONIEORCHESTER DES BAYERISCHEN RUNDFUNKS

80 UPCOMING PRODUCTIONS & LIVE EVENTS All information is not contractual and subject to change UPCOMING

24 JULY 2015 – FROM THE BREGENZ FESTIVAL : TURANDOT KATRIN KAPPLUSCH, RICCARDO MASSI, YITIAN LUAN WIENER SYMPHONIKER conducted by PAOLO CARIGNANI directed by

AUGUST 2015 (tbd) – FROM THE SALZBURG FESTIVAL WOLFGANG AMADEUS MOZART: LE NOZZE DI FIGARO LUCA PISARONI, GENIA KÜHMEIER, MARTINA JANKOVA, ADAM PLACHETKA MARGARITA GRITSKOVA, ANN MURRAY WIENER PHILHARMONIKER conducted by DAN ETTINGER directed by SVEN-ERIC BECHTOLF

13 AUGUST 2015 – FROM THE SALZBURG FESTIVAL LUDWIG VAN BEETHOVEN: JONAS KAUFMANN, , TOMASZ KONIECZNY LUDOVIC TÉZIER, HANS-PETER KÖNIG WIENER PHILHARMONIKER conducted by FRANZ WELSER-MÖST directed by CLAUS GUTH

16 AUGUST 2015 – FROM THE SALZBURG FESTIVAL WIENER PHILHARMONIKER ANNE-SOPHIE MUTTER ∙ PYOTR I. TCHAIKOVSKY: Concert for Violin and Orchestra in D major, Op. 35 JOHANNES BRAHMS: Symphony No. 2 in D major, Op. 73

81 INDEX

All numbers refer to pages of this catalogue – “Upcoming” and “Documentaries” are excluded

COMPOSERS: A Ayal Adler 69 B Johann Sebastian Bach 49 ∙ Béla Bartók 43, 64 ∙ Ludwig van Beethoven 63, 67, 69, 75 ∙ Hector Berlioz 45 ∙ Johannes Brahms 49, 54, 57 ∙ Benjamin Britten 73 ∙ Anton Bruckner 63 C Francesco Cavalli 73 D Gaetano Donizetti 8 ∙ Antonín Dvořák 51, 69 F Benedetto Ferrari 73 ∙ Marius Flothuis 54 G HK Gruber 10 H Joseph Haydn 63 J Leoš Janáček 12 K Emmerich Kálmán 59 M Gustav Mahler 53, 64, 69 ∙ Pietro Mascagni 43 ∙ Felix Mendelssohn Bartholdy 63 ∙ Tarquinio Merula 73 ∙ Claudio Monteverdi 73 ∙ Wolfgang Amadeus Mozart 14, 20, 43, 45, 67, 69 P Roxanna Panufnik 69 ∙ Sergei Prokofiev 43, 53 ∙ Giacomo Puccini 43 ∙ Henry Purcell 64 R Sergei Rachmaninoff 43 ∙ Maurice Ravel 67, 69 ∙ Aribert Reimann 18 ∙ 43 ∙ Wolfgang Rihm 60 ∙ Gioachino Rossini 20, 53 Kareem Roustom 69 S Franz Schubert 22, 67, 73 ∙ Robert Schumann 49, 67 ∙ Dmitri Shostakovich 53, 54, 64 ∙ Richard Strauss 24, 26, 28, 30, 45, 54, 57, 60, 69 ∙ Igor Stravinsky 67 T Pyotr Ilyich Tchaikovsky 40, 43 V Giuseppe Verdi 32, 34, 36 W 43

CONDUCTORS: A Antonello Allemandi 8 B Daniel Barenboim 57, 67, 69 ∙ Andrea Battistoni 36 ∙ Jiří Bělohlávek 51 C Will Crutchfield20 D Gustavo Dudamel 45, 57 E Christoph Eschenbach 20 F Gabriele Ferro 28 ∙ Asher Fisch 34 ∙ Christopher Franklin 43 G Rumon Gamba 26 John Eliot Gardiner 63 ∙ Daniele Gatti 32 ∙ Valery Gergiev 69 ∙ HK Gruber 10 H Bernard Haitink 63 ∙ Daniel Harding 63 ∙ Nikolaus Harnoncourt 14, 45 ∙ Pablo Heras-Casado 60 ∙ Domingo Hindoyan 70 I Alexander Ingram 40 J Mariss Jansons 53, 64 L Patrick Lange 105 M Cornelius Meister 43 Juanjo Mena ∙ 47 Ingo Metzmacher 22 N Andris Nelsons 43, 53, 54 ∙ David Newman 47 ∙ Yannick Nézet- Séguin 64 R Simon Rattle 49 ∙ Donald Runnicles 12 S Stanley Sperber 43 T Christian Thielemann 24, 59, 60 W Franz Welser-Möst 30 Y Simone Young 18 Z David Zinman 69

SINGERS: A Ildar Abdrazakov 47 ∙ Kate Aldrich 8 ∙ Rubén Amoretti 28 B Maite Beaumont 14 ∙ Piotr Beczala 47 ∙ Daniel Behle 24 ∙ Lena Belkina 20 Nicola Beller Carbone 28 ∙ Benjamin Bernheim 22 ∙ Pavol Breslik 60 ∙ Ingela Brimberg 26 C William Corrò 36 ∙ Lucy Crowe 63 D Ildebrando D'Arcangelo 20 ∙ Angela Denoke 47 ∙ Albert Dohmen 24 ∙ Plácido Domingo 32 ∙ Katija Dragojevic 14 ∙ Ruben Drole 14 E Ilse Eerens 10 Ladislav Elgr 12 ∙ Mojca Erdmann 30 ∙ Mari Eriksmoen 14 ∙ Adrian Eröd 30, 47 F Renée Fleming 24 ∙ Elisabetta Fiorillo 36 ∙ Juan Diego Flórez 60 Chiara Fracasso 28 ∙ Anett Fritsch 20 ∙ Giovanni Furlanetto 8 G Alain Gabriel 8 ∙ Serena Gamberoni 36 ∙ Elīna Garanča 59 ∙ Christian Gerhaher 49 ∙ Renato Girolami 34 ∙ Christine Goerke 60 ∙ Matthias Goerne 73 ∙ Günther Groissböck 30, 63 H Thomas Hampson 24, 47 Anja Harteros 34, 60 ∙ Will Hartmann 12 ∙ Hui He 36 ∙ Dietrich Henschel 28 ∙ Evelyn Herlitzius 59 J Jennifer Johnston 63 K Yosep Kang 59 ∙ Christiane Karg 59 Vesselina Kasarova 47 ∙ Jonas Kaufmann 34, 43 ∙ Michaela Kaune 12 ∙ Angelika Kirchschlager 10 ∙ Julia Kleiter 22 ∙ Christine Knorren 28 Sophie Koch 30 ∙ Vitalij Kowaljow 34 ∙ Magdalena Kožená 49 ∙ Nadia Krasteva 34 ∙ Genia Kühmeier 63 ∙ Elisabeth Kulman 14, 63 ∙ Hellen Kwon 18 ∙ Magnus Kyhle 26 L Thomas Lander 26 ∙ Jennifer Larmore ∙ 12 Erwin Leder 18 ∙ Topi Lehtipuu 49 ∙ Marie-Nicole Lemieux 32 Susanna Levonen 26 ∙ Christina Landshamer 59 ∙ Raffaella Lupinacci 20 M Pumeza Matshikiza 70 ∙ Marc Mauillon 73 ∙ Waltraud Meier 59 Francesco Meli 32, 36 ∙ Kristina Mkhitaryan 105 ∙ Hanna-Elisabeth Müller 24 ∙ Hanno Müller-Brachmann 63 N Valentina Naforniţa 20 Anna Netrebko 32, 59 ∙ Randy Newman 47 ∙ Camilla Nylund 60 O Jennifer O’Loughlin 47 ∙ Kristine Opolais 43 P Mark Padmore 49, 63 ∙ René Pape 59 ∙ Albert Pesendorfer 10 ∙ Mauro Peter 14 ∙ Katja Pieweck 18 ∙ Luca Pisaroni 20, 47 ∙ Adam Plachetka 70 ∙ Antonio Poli 70 ∙ Jessica Pratt 20 Anna Prohaska 53 R Max Raabe 88 ∙ Ildikó Raimondi 14 ∙ Dempsey Rivera 20 ∙ Dorothea Röschmann 22 ∙ Lenneke Ruiten 20 S Luca Salsi 36 Maria Sarra 28 ∙ Michael Schade 22 ∙ Christine Schäfer 14 ∙ Daniel Schmutzhard 10 ∙ Jörg Schneider 10 ∙ Andrè Schuen 14 ∙ Anne Schwanewilms 59 Hanna Schwarz 12 ∙ Bo Skovhus 14, 18 ∙ Marie-Bénédicte Souquet 8 ∙ Toby Spence 63 ∙ Michael Spyres 20 ∙ Siobhan Stagg 18 ∙ Andrew Staples 45 ∙ Cassandra Steen 47 ∙ Krassimira Stoyanova 30 T Ludovic Tézier 8, 34 ∙ Camilla Tilling 49 ∙ Ingrid Tobiasson 26 V Frank van Aken 59 ∙ Ramón Vargas 47 ∙ Lauri Vasar 18 ∙ Rolando Villazón 70, 105 ∙ Sergio Vitale 20 ∙ Anke Vondung 10 W Sebastian Wartig 59 Markus Werba 14 ∙ David B. Whitley 47 ∙ Roderick Williams 49 Y Pretty Yende 43 ∙ Shi Yijie 8 ∙ Sonya Yoncheva 70 Z Georg Zeppenfeld 22 ∙ Bernd Zettisch 59 ∙ ZhengZhong Zhou 105

INSTRUMENTALISTS: A Martha Argerich 67 ∙ Kit Armstrong 70 B Daniel Barenboim 57, 67 ∙ Michael Barenboim 105 ∙ Antonii Baryshevskyi 43 ∙ Rudolf Buchbinder 75 C Seong-Jin Cho 43 ∙ Die Chorjungen 70 F Ni Fan 105 ∙ Inga Fiolia 105 ∙ Julia Fischer 69 ∙ David Fung 43 G German Hornsound 105 H Friederike Heumann 73 ∙ Markus Hinterhäuser 73 ∙ Gregor Horsch 54 L Hwayoon Lee 105 ∙ Steven Lin 43 M Angélique Mauillon 73 O Alexei Orgintchouk 54 ∙ Andreas Ottensamer 105 P Liviu Prunaru 54 R Roman Rabinovich 43 ∙ Nemanja Radulovic 70 S Gil Shaham 64 T Terem Quartet 63 ∙ Jean-Yves Thibaudet 47 ∙ Omar Tomasoni 54 ∙ Trio Karénine 70 ∙ Daniil Trivonov 43 V Vilém Veverka 43 W Yuja Wang 53

UNITEL Avant Première Catalogue 2015 Editorial Team: Burkhard Grote, Konrad von Soden ∙ Layout: mmessner.de All information is not contractual and subject to change without prior notice. Date of print: 23 January 2015 Unitel GmbH & Co. KG Gruenwalder Weg 28d, 82041 Oberhaching, Germany Geschäftsführer: Jan Mojto – AG München HRA 83109 All trademarks used herein are the property of their respective owners. Front cover: Anna Netrebko in G. Verdi’s "Il trovatore", Salzburg Festival – Photo: Karl Forster © Unitel 2015 ∙ All Rights reserved

82 STILL HAVEN’T FOUND WHAT YOU WERE LOOKING FOR?

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Tel. +49.30.30306464 [email protected] MAX RAABE &PALAST ORCHESTER A NIGHT IN BERLIN Max Raabe, the “wry, unsmiling and nonchalantly charismatic vocalist” (New York Times) who heads the Palast Orchester of Berlin, is internationally renowned for entertainment at its best. A Night in Berlin blends his hit interpretations from the 1920’s classics with new songs that are immediately catchy, written by Annette Humpe and himself. And of course, Max Raabe made sure, that this concert recording is no run-of-the-mill recording, but pure indulgence.

Length: 89' & 43' (German version) 47' (English version)' Cat. no. A 055 50373 0000

A production of UNITEL CLASSICA and in co-production with RBB and BR in cooperation with Arte Photo: Marcus Hoehn