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

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Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018

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Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com

All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved

Front cover: Alicia Amatriain & Friedemann Vogel in ’s “Onegin” / Photo: Stuttgart ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES

LEONARD BERNSTEIN 1918 – 1990

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

In addition to his role as conductor, composer, educator and performing artist, Bernstein was one of the early pioneers in bringing the arts to television. As such, he became one of the most internationally recognized musical personalities in the world. Leonard Bernstein, who died in 1990, would have celebrated his 100th birthday on August 25th 2018.

Thanks to the exclusive partnership, Unitel presents today around 200 programmes with and about Leonard Bernstein, among them 27 new episodes of his world famous TV series Young People’s Concerts and the two , by , and A Quiet Place, by Bernstein himself. The range goes from the legendary recordings of Bernstein’s Mahler and Beethoven Cycles to West Side Story – The Making of a Recording and the historic performance of the Ode to Freedom following the fall of the Berlin Wall, from Bernstein’s rehearsals in Salzau to the intimate portraits Larger than Life, Reaching for the Note and The Gift of Music. Photos: Unitel AVAILABLE FOR THE FIRST TIME FOR GLOBAL DISTRIBUTION

YOUNG PEOPLE’S CONCERTS – 2ND SEASON 27 NEW EPISODES AVAILABLE

Awarded four Emmys and hailed by Variety as “a rare In 27 “new” episodes of this legendary series, Bernstein moment in the symbiosis of the arts and broadcasting”, presents famous masterpieces like Mussorgsky’s Pictures Leonard Bernstein’s Young People’s Concerts left their at an Exhibition, music from , unusual instruments mark on television history. Aired on CBS from 1958 and young talented performers such as 16-year-old cellist to 1972, these 52 one-hour programmes were written Lynn Harrell (later one of the most famous cellists in the and hosted by Leonard Bernstein. With the New York world …). Philharmonic and guest artists providing the live music, these programmes brought musical concepts and music Length: 27 x approx. 55' history to life for generations of viewers. Cat. no. A 035 05124 0000

RICHARD WAGNER: TRISTAN UND ISOLDE Wagner’s Tristan und Isolde is one of Bernstein’s finest from the Herkulessaal in Munich, Bernstein conducts the recordings and still considered exemplary. It presents the Symphonieorchester des Bayerischen Rundfunks. top Wagner singers of the time: Peter Hofmann and Hildegard Behrens in the title roles as well as Yvonne Minton (Brangäne), (Kurwenal) and Hans Length: approx. 264' Sotin (King Marke). In this semi-staged performance Cat. no. A 050 05284

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

PLUS SOME EXCITING RECORDINGS & DOCUMENTARIES TO COME IN 2018 Photo: Ralph Larmann CATALOGUE 2018

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

7 CATALOGUE 2018

CONCERT Gala Concerts – The Inaugural Concert 62 Hollywood in Vienna – A Tribute to Danny Elfman 65 & Yusif Eyvazov – The Waldbühne Concert 65 Bartabas & The Académie Equestre de Versailles 65 BBC Proms First Night of (BBC Symphony / Levit / Gardner) 66 City of Symphony Orchestra, Leila Josefowicz, Allan Clayton & Mirga Gražinytė-Tyla 67 Schoenberg: Gurrelieder ( Symphony Orchestra / Rattle) 68 & 69 Salzburg Festival Camerata Salzburg, Sergey Khachatryan & Lorenzo Viotti 70 Mozart: (musicAeterna & Chorus / Currentzis) 71 Berliner Philharmoniker Adams & Dvořák (McAllister / Dudamel) 73 Adams: The Gospel According to the Other Mary (Rattle) 73 Czech Philharmonic Martinů, Strauss & Janáček (Baborák / Bělohlávek) 74 Il pomo d’oro In War and Peace – Harmony Through Music (DiDonato / Emelyanychev) 74 Handel – Women’s Loves and Lives (Ciofi / Leon / Emelyanychev) 74 Münchner Philharmoniker The Odeonsplatz Concert – Yuja Wang & 77 Prokofiev: The Complete Symphonies (Gergiev) 77 Prokofiev: Peter and the Wolf (Gergiev) 77 NDR Elbphilharmonie Orchester Brahms: The Complete Symphonies (Hengelbrock) 78 Elgar: (Harding) 79 Royal Orchestra Debussy & Stravinsky (Gatti) 80 Haydn & Mahler (Gatti) 80 Beethoven & Brahms (Zimmermann / Gatti) 80 Mozart & Dvořák (Damrau / Hengelbrock) 83 Schubert & Mozart (Hengelbrock) 83 Bach: in B minor (Herreweghe) 83 Staatskapelle Berlin Beethoven: Symphony No. 9 (Damrau / von der Damerau / Fritz / Pape / Barenboim) 84 Bruckner & Mozart (Barenboim) 84

8 CATALOGUE 2018

Staatskapelle Dresden Beethoven, Bach & Bruckner (Schiff / Blomstedt) 86 Bruckner: Symphony No. 1 (Thielemann) 86 Festive Gala at the Dresden – 100 Years UFA Film Classics (Thielemann) 88 Festive Advent Concert at the Frauenkirche Dresden (Thielemann) 88 Symphonieorchester des Bayerischen Rundfunks The Odeonsplatz Concert – Martin Grubinger & Manfred Honeck 90 Sommer, Mahler & Rachmaninoff (Romberger / Jansons) 90 Beethoven & Prokofiev (Barenboim / Jansons) 90 West-Eastern Divan Orchestra Strauss & Tchaikovsky (Soltani / Manasherov / Barenboim) 92 RECITAL & Bach: The Well-Tempered Clavier, Book 1 (Schiff) 93 Woodlands and Beyond… – Hélène Grimaud at the Elbphilharmonie 94 Bartók: The Complete String Quartets (Quatuor Diotima) 95 Rameau: Symphonies for two Harpsichords (Hantaï / Sempé) 96 Saal Opening Concert (Boulez Ensemble / Barenboim) 97 Schubert: The Complete Sonatas (Barenboim) 98 The Christmas Tree Concert (Argerich / Barenboim) 100 Haydn, Ligeti & Dvořák (Belcea Quartet) 101 DOCUMENTARY Short Rides with John Adams 102 Arnold Schönberg – Who I Am 103 Saimir Pirgu – My Truth in Music 104 Barenboim or The Power of Music 105 The Elbphilharmonie – Hamburg’s New Landmark 106 Moving in Three Acts – A Building Site Opera 106 I Am Carmen 106 Karajan – The and his Festival 108 Markus Hinterhäuser – An Artist Runs the Salzburg Festival 109 SERIES & SPECIAL Pagliardi: Caligula (Le Poème Harmonique / Dumestre) 110 Lecture Concert with Sir András Schiff – Bach: Goldberg Variations 111 40 Years Ensemble Intercontemporain 112 Stars of Tomorrow 114

9 STUTTGART BALLET STUTTGART

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

th

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

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

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

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

MF MF JOHN CRANKO’S

ROMEOAND BALLET STUTTGART JULIET

Music by Choreography by JOHN CRANKO Set & Costume Design by JÜRGEN ROSE

Juliet ELISA BADENES • Romeo DAVID MOORE • Lord Capulet REID ANDERSON Lady Capulet MELINDA WITHAM • Tybalt ROBERT ROBINSON • Count Paris ROMAN NOVITZKY Juliet’s Nurse MARCIA HAYDÉE • Lord Montague MATTEO CROCKARD-VILLA • Lady Montague JULIA BERGUA ORERO Mercutio MARTÍ FERNÁNDEZ PAIXÀ • Benvolio ADHONAY SOARES DA SILVA Duke of Verona ROLANDO D’ALESIO • Friar Laurence EGON MADSEN Rosaline ROCIO ALEMAN et al.

Conductor JAMES TUGGLE • Orchestra STATE ORCHESTRA STUTTGART Video Director MICHAEL BEYER

MF Photos: Stuttgart Ballet costumes conjure up images of the sunlit streets of Verona. streets sunlit of the images up conjure costumes and sets Rose’s magnificent Jürgen stage. on tolife Renaissance brings ensemble Stuttgart the scenes, ensemble colourful and swordfights fierce deux, de pas ( sensitivity” greatest the with love his “expressing is who aRomeo dances Moore David partner her Juliet”, while spontaneous and natural entirely fresh, “youthful, as shines Badenes Elisa top-notchthe soloists: for roles dramatic offers feuds, families’ their in caught star-crossed two lovers, about story Shakespeare’s William Prokofiev, Sergei by score superb tothe Set ensemble. his for and Juliet especially of Romeo choreography the created 1973, in death his until 1961 from Ballet Stuttgart the led who Cranko, John time. of all story love famous most the totell stage the share dancers young talented highly and timeless production, experienced Cranko-performers stunning, of the performance anniversary this In to fame. rise meteoric company’s the Miracle”, Ballet “Stuttgart the for foundations the laid which choreography Cranko’sJohn Romeo and Juliet legendary revisits Ballet Stuttgart the premiere, its after years 55 occasion of her 80 of her occasion the On Ballet. Stuttgart of the long-time director and Cranko’s muse John by telling the ballerina’s captivating story. captivating ballerina’s the telling by Marcia Haydée – for many the “primadonna assoluta” of the 20 of the assoluta” “primadonna the many –for Haydée Marcia WOETZEL BY HAROLD A FILM SEDUCTIONTHE OF DANCE HAYDÉEMARCIA – Cat. no. A 055 50815 A055 no. Cat. Length: 45' Length: Der NeueDer Merker th th birthday, Harold Woetzel pays homage to this unique artist artist unique tothis homage pays Woetzel Harold birthday,

). With breathtaking ). breathtaking With – the very very –the distributed by UNITEL by distributed SWR of A Production this performance as Julia’s nurse, celebrating her 80 her celebrating Julia’s nurse, as performance this in participates Ballet, Stuttgart of the director artistic as Cranko followed who Haydée, Juliet. acclaimed highly first, very the was ballerina, prima and muse Marcia Haydée, Cranko’s John another anniversary: of Romeo and Juliet production This This is a revelation.” ( arevelation.” is This Romeo and you’ve Juliet seen think you “If Capulet. Lord as Anderson Reid Director Artistic and Lawrence Friar as ensemble, Haydée’s former dance Egon Madsen partner of the stars other two by joined is She stage. on birthday th century, century, Daily Express Daily BALLET MIRACLE”

A production of UNITEL in co-production with with co-production in UNITEL of A production SWR/ “THE GERMAN “THE ARTE – New York Times – Cat. no. A 050 50435 A050 no. Cat. , NHK and Stuttgart Ballet Stuttgart and , NHK ) Length: 127' Length: is marked by yet yet by marked is again. , think th

MF STUTTGART BALLET JOHN CRANKO’S ONEGIN BALLET STUTTGART

Music by arranged and orchestrated by KURT-HEINZ STOLZE Choreography by JOHN CRANKO Set & Costume Design by JÜRGEN ROSE

Onegin FRIEDEMANN VOGEL • Tatiana ALICIA AMATRIAIN • Lensky DAVID MOORE Olga ELISA BADENES • Prince Gremin JASON REILLY • Madame Larina MELINDA WITHAM Tatiana and Olga’s Nurse MARCIA HAYDÉE Conductor JAMES TUGGLE • Orchestra STATE ORCHESTRA STUTTGART Video Director MICHAEL BEYER

MF J here why they are deemed the elite of the dance world: world: dance of the elite the deemed are they why here –demonstrate accolades and prizes international with showered been have who Ballet Stuttgart of the couple leading –the Amatriain Vogel Alicia and Friedemann Seoul. in Ballet Universal the and of China Ballet National the Theatre, Ballet American Teatro Scala, of the alla Ballet the Ballet, protagonists’ emotional turmoil. Set to sweeping music by by music tosweeping Set turmoil. emotional protagonists’ the in up caught hopelessly itself finds audience the scene, final the by that nuanced superbly so and crafted skillfully Tatiana and so is Onegin between encounters main in Onegin climax its finds deux de pas of the art of the mastery Cranko’s absolute John him. loves still secretly she although Onegin Tatiana rejects ballet, of classical all in scenes wrenching heart most the of one In love. his toconfess out her seeks Onegin when emotions her with battle must Gremin, toPrince married and matured Tatiana, now loving. by worth ever was who and him loved truly ever who woman only the away threw he her in – that later years again her meeting – upon torealize Tatiana only girl country naïve of the love the rejects who Onegin aristocrat weary world and arrogant novel verse dramatic Pushkin’s Alexander on Based . 20 of the half second of the repertoire choreographic ohn Cranko’s Onegin Eugen Onegin th occasion of Marcia Haydée’s 80 Haydée’s ofMarcia occasion century as one of the few original full-length full-length original few of the one as century Reid and Anderson Tamas Detrich on the A conversation with Marcia Haydée, Marcia with A conversation Moderated by Vivien Arnold Vivien by Moderated , the ballet tells the story of the of the story the tells ballet , the 20 of great pantheon the in place his With ballets. length full- of dramatic, lovers for a must Onegin Rose, Jürgen by Royal Ballet in London, the Bolshoi Bolshoi the London, in Ballet Royal the Ballet, Opera Paris the including world, the in company ballet leading every of almost repertoire the entered has ballet the years, 50 last later. the years Over two ballet the revised and 1965 –in Director was he – of which Ballet Stuttgart the for work act three the created and costumes evoking 19 evoking costumes and Kurt-Heinzby Stolze), sets with and (orchestrated Tchaikovsky I. Pyotr th Cat. no. A 055 50730 A055 no. Cat. century choreographers. He holds a special place in the the in place aspecial holds Onegin Length: 88' Length: , where each of the three three of the each , where STUTTGART BALLET TALKS BALLET STUTTGART , John Cranko secured secured Cranko , John th birthday. th century century is is

Photos: Stuttgart Ballet elegiac Onegin of all times” ( times” of all Onegin elegiac most elegant, Vogel most be. “the is never can which love of a awareness mature heart-rending, tothe naïve and youthful from passionate, todesperately arrogant and cold from characters individual of their development the portray masterfully Tatiana and they Onegin As stages Onegin Alongside Ballet: Stuttgart the at of Cranko’s masterpieces three presenting is UNITEL ( show!” Broadway any “ boundless joy!” ( pit: Tuggle. “And the in James himself, Ballet Stuttgart of the director music the is rostrum the On one. current the Tatiana meets original the when moment touching atruly is it and throughout palpable are ensemble the and Haydée between bonds close the nurse; as stars guest she now first Tatiana, very the tobe her chose Cranko Once magic: night’s special the creates who Haydée Marcia is it but Gremin, Prince majestic as impresses Reilly Jason Olga. and Lensky as performance outstanding an give who Badenes Elisa and Moore David in matches their Onegin Marcia Haydée and Reid Anderson on the the on Anderson Reid and Haydée Marcia PERFECT BALLET” occasion of Jürgen Rose’s 80 ofJürgen occasion Shrew. Taming the of The as well as Julia and Romeo is so good, that it can easily hold its own against against own its hold easily can it that good, so is “ONEGIN IS THE A conversation with Jürgen Rose, Rose, Jürgen with A conversation Moderated by Vivien Arnold Vivien by Moderated – Marcia Haydée – Südwest Presse Südwest Cat. no. A 055 50728 A055 no. Cat. A production of UNITEL in co-production with NHK NHK with co-production in UNITEL of A production Newsday Length: 102' Length: Südwest Presse Südwest and Stuttgart Ballet and Stuttgart ) ) Cat. no. A 050 50527 A050 no. Cat. th Length: 96' birthday. Cranko’s company ). They meet meet ). They MF STUTTGART BALLET

MATTHIAS GOERNE ASMIK GRIGORIAN JOHN DASZAK MAURO PETER GERHARD SIEGEL JENS LARSEN WIENER PHILHARMONIKER CONDUCTED BY VLADIMIR JUROWSKI

STAGED BY WILLIAM KENTRIDGE OPERA

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

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

Length: 102' Cat. no. A 040 50082

Photos: Ruth Walz

17

GAËLLE ARQUEZ • DANIEL JOHANSSON SCOTT HENDRICKS • ELENA TSALLAGOVA

WIENER SYMPHONIKER CONDUCTED BY PAOLO CARIGNANI

STAGED BY KASPER HOLTEN SET DESIGN BY ES DEVLIN OPERA

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

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

Photos: Karl Forster / Ralph Larmann

19

Juan Diego Flórez Michele Pertusi Adam Plachetka Valentina Naforniţă Orchester der Wiener Staatsoper Conducted by Evelino Pidò

Staged by Irina Brook OPERA

Conductor Evelino Pidò Orchestra Orchester der Wiener Staatsoper Chorus Chor der Wiener Staatsoper Chorus Master Martin Schebesta Stage Director Irina Brook After four decades, Donizetti’s Don Pasquale returns to the renowned in a cheeky, highly entertaining Don Pasquale Michele Pertusi new staging by Irina Brook. As if to make up for the neglect from Ernesto Juan Diego Flórez which the work has been suffering, Brook’s “opera-cartoon” Die( Malatesta Adam Plachetka Presse) with its opulent, colourful setting features a splendid cast, Norina Valentina Naforniță led by star tenor Juan Diego Flórez.

Video Director Verena Kalenda Flórez (Ernesto), “without a doubt the leading tenor of today, places his legendary, sheer impeccable high notes in all their splendour” (Die Presse). Miming a Latin Lover right out of Las A production of Wiener Staatsoper live at home Vegas, his beautiful ‘Com’è gentil’ “is the evening’s highlight in in co-production with ORF III in cooperation with UNITEL every respect” (Bachtrack). Valentina Naforniță gives her spirited role debut as Norina. Accompanying the lively scences on the richly decorated stage, the orchestra of the Vienna State Opera Length: 130' under conductor Evelino Pidò performs playfully and with relish. Cat. no. A 040 50062 Irina Brook, daughter of legendary director Peter Brook, sets Donizetti’s plot in the present day. The Italian composer’s opera buffa tells the story of the old bachelor Don Pasquale who is eager to get married but is tricked. To punish his rebellious nephew Ernesto, he wants to marry him off to a wealthy woman. Ernesto however is in love with the young widow Norina. Since she is not willing to give up her lover easily, a plan is formed which leads to much confusion and hilarity. In Brook’s production “the jokes and punchlines are arranged masterfully and taken to extremes in accordance with the musical farce that is Donizetti’s score.” (Die Presse) “Applause for a likeable, entertaining staging!” (Der Standard)

Photos: Michael Pöhn, Ashley Taylor 21 ANDREA CHÉNIER • • GEORGE PETEAN BAYERISCHES STAATSORCHESTER CONDUCTED BY MARCO ARMILIATO

STAGED BY PHILIPP STÖLZL OPERA

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

A production of Bayerische Staatsoper and UNITEL

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

Photos: Wilfried Hösl

23 Roméo et Juliette

Juan Diego Flórez · Aida Garifullina Rachel Frenkel · Rosie Aldridge Orchester der Wiener Staatsoper Conducted by Plácido Domingo

Staged by Jürgen Flimm OPERA

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

Photos: Michael Pöhn

25 INTERNATIONALE HÄNDEL-FESTSPIELE KARLSRUHE

GEORGE FRIDERIC HANDEL

Max Emanuel Cencic • Lauren Snouffer Gaia Petrone • Juan Sancho

Armonia Atenea conducted by George Petrou Staged by Max Emanuel Cencic OPERA

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

Photos: Felix Gruenschloß

27 INTERNATIONALE HÄNDEL-FESTSPIELE KARLSRUHE

GEORGE FRIDERIC HANDEL SEMELE Jennifer France • Ed • Katharine Tier • Terry Wey Deutsche Händel-Solisten conducted by Christopher Moulds Staged by Floris Visser OPERA

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

Length: 175' Cat. no. A 050 50433

Photos: Falk von Traubenberg

29 GEORGE FRIDERIC HANDEL

SerseGAËLLE ARQUEZ LAWRENCE ZAZZO ELIZABETH SUTPHEN LOUISE ALDER TANJA ARIANE BAUMGARTNER BRANDON CEDEL FRANKFURTER OPERN- UND MUSEUMSORCHESTER Conducted by

Staged by TILMANN KÖHLER OPERA

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

Staged by TILMANN KÖHLER

Photos: Barbara Aumüller

31 LEOŠ The JANÁČEK Cunning LittleVixen

Roman Trekel Paolo Rumetz Hyuna Ko Orchester der Wiener Staatsoper Conducted by Tomáš Netopil

Staged by OPERA

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

Photos: Michael Pöhn

33 SIR MONTEVERDI CHOIR ENGLISH BAROQUE SOLOISTS

On the occasion of the 450th anniversary of ’s audience into a world of love, loss, anger, hope and desolation, with birth, an international cast of soloists together with members of the the aid of the soloists who are constantly interacting with each other. Monteverdi Choir and the English Baroque Soloists under the baton of Krystian Adam especially impresses as , doing his role of the their artistic director Sir John Eliot Gardiner commemorate the Italian demi-god credit. Hana Blažiková stands out in her role as Eurydice and composer. Gianluca Buratto gives his Neptune an incredible depth. Furio Zanasi (Ulisse) impressively conveys the longing of the broken hero alongside Gardiner’s lifelong examination of Monteverdi’s work makes him an extremely expressive Lucile Richardot as Penelope. Kangmin Justin uniquely qualified to celebrate the composer in all his glory with the Kim enchants in his role as Nerone. opera trilogy L’Orfeo, Il ritorno d’Ulisse in patria and L’incoronazione di Poppea. Combining the untamed sound of period instruments with “Anyone who has had trouble to access Monteverdi’s music so far, passionate and virtuosic playing, the English Baroque Soloists have should listen to this trilogy. A whole world will open up for him or her.” long been established as one of the world’s leading period instrument (FAZ) . They regularly team up with Gardiner’s Monteverdi Choir, which is consistently being hailed as one of the best choirs in the world: “If there were a Nobel Prize for choirs, the Monteverdi Choir should Hana Blažikova • Gianluca Burrato • Lucile Richardot be its laureate” (Le Monde). Together they tour the surviving trilogy Krystian Adam • Furio Zanasi • of Monteverdi’s great operas in and the US, their celebrated Gareth Treseder • Michał Czerniawski • Anna Dennis Francesca Boncompagni • Marianna Pizzolato • Carlo Vistoli performance at ’s La Fenice being one of the tour’s highlights. Conductor & Chorus Master Sir John Eliot Gardiner In the semi-staged production of L’Orfeo, Il ritorno d’Ulisse in patria Orchestra English Baroque Soloists • Chorus Monteverdi Choir and L’incoronazione di Poppea, the orchestra takes centre-stage, Video Director Sébastien Glas surrounding its conductor with its exotic and beautifully crafted period instruments. They are vital to the story-telling process, leading the achieve their amorous goals and social ambitions amidst to alliances dissolve and form protagonists the how Monteverdi’s Monteverdi’s history, in operas first of the one be to Considered L’Orfeo L’Orfeo from apart itself sets decidedly swan-song operatic Monteverdi’s morality, and of reason expense the at triumphing ambition and love of carnal Acelebration queen. acknowledged his to opera follows Poppea’s progression from Nero’s mistress The motifs. mythological of illustrating instead events historical retelling to Venice in –turns season carnival L’incoronazione di Poppea opera, final Monteverdi’s time, its for move unusual an In journey, of Ulysses’ turns and twists the retraces which three suitors to regain his kingdom. Monteverdi’s opera, the out drives and identity true of his Penelope convince to manages eventually Ulysses gods, quarrelling the by hindered occasionally and Aided husband. new as of them one take to urged is and suitors three by besieged being is Penelope, queen, faithful his that discovers of Ithaka, King Ulysses, Trojan wars, the from Odyssey: Back of Homer’s patria in d’Ulisse ritorno Il Monteverdi’s love, and fidelity by overcome eventually deception, and of treachery A tale of operas performed frequently most of the one was L’Orfeo Monteverdi, by music’ in ‘a fable Called himself. of understanding deeper and new to a coming finally and growing also but of suffering grief, violence the in himself loses dead. of the world the to return to forced is bride his around, turning from himself prevent cannot he Since world. living the to back him follows she when Eurydice at back look to allowed not is Orpheus condition: vital one fulfil to fails he But underworld. the to descends Orpheus life, to back Eurydice, bride, dead his bring to attempt an In Eurydice. and of Orpheus saga L’INCORONAZIONE POPPEA DI IL RITORNO D’ULISSE IN PATRIA L’ORFEO (1639/40) draws its motifs from the second half half second the from motifs (1639/40) its draws L’Orfeo (1607) re-enacts the tragic Greek Greek tragic the re-enacts (1607) – first performed in the 1642/43 1642/43 the in performed –first and and Il ritorno d’Ulisse ritorno Il A production of Ozango and Monteverdi Choir & Orchestras in co-production with UNITEL UNITEL with co-production in &Orchestras Choir Monteverdi and Ozango of A production in association with ClassicAll/M_Media with the participation of France with the participation in Télévisions with ClassicAll/M_Media association . It explores explores . It

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

Photo: Ruth Walz 35 OPERA LA CLEMENZA DI TITO

Russell Thomas • Golda Schultz • Christina Gansch Marianne Crebassa • Jeanine De Bique • musicAeterna • musicAeterna Chorus conducted by Staged by OPERA

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

Photos: Ruth Walz, Roman Zach-Kiesling 37 LUIGI NONO PROMETEO TRAGEDIA DELL’ASCOLTO

LIVIA RADO • ALDA CAIELLO • MARCO RENCINAI KATARZYNA OTCZYK • SILVIA REGAZZO

ENSEMBLE PROMETEO FILARMONICA ARTURO TOSCANINI CONDUCTED BY MARCO ANGIUS OPERA

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

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

Photos: Roberto Ricci

39

The Sleeping Beauty

Angela Nisi · Shoushik Barsoumian Antonio Gandía · Vincenzo Taormina

Conducted by Donato Renzetti

Staged by Leo Muscato OPERA

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

A production of Unitel Rennaissance” (La Stampa). in cooperation with Teatro Lirico di Cagliari Fondazione

Length: 98' Cat. no. A 000 50046

Photos: Priamo Tolu

41 LE COMTE ORY PHILIPPE TALBOT • JULIE FUCHS • GAËLLE ARQUEZ ORCHESTRE DES CHAMPS-ÉLYSÉES CONDUCTED BY LOUIS LANGRÉE STAGED BY DENIS PODALYDÈS OPERA

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

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

Photos: Vincent Pontet

43 GIOACHINO ROSSINI MOSÈ IN EGITTO Andrew Foster-Williams • Mandy Fredrich Sunnyboy Dladla • Clarissa Costanzo • Goran Jurić

Wiener Symphoniker Conducted by Staged by Lotte de Beer OPERA

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

Photos: Karl Forster

45 GIOACHINO ROSSINI OTELLO

John Osborn • Nino Machaidze Dmitry Korchak • Juan Francisco Gatell Conducted by Gabriele Ferro Staged by Amos Gitai OPERA

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

Photos: Luciano Romano

47 FESTIVE REOPENING OF

ROBERT SCHUMANN Szenen aus Goethes Faust ROMAN TREKEL∙ELSA DREISIG∙RENÉ PAPE∙KATHARINA KAMMERLOHER

STAATSKAPELLE BERLIN CONDUCTED BY DANIEL BARENBOIM STAGED BY JÜRGEN FLIMM SET DESIGN BY MARKUS LÜPERTZ OPERA

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

Length: 152' Cat. no. A 050 50506

Photos: Hermann & Clärchen Baus

49 PYOTR ILYICH TCHAIKOVSKY

Erin Caves·Rebecca von Lipinski Vladislav Sulimsky·Shigeo Ishino·Torsten Hofmann Staatsorchester Stuttgart Conducted by Sylvain Cambreling Staged by Jossi Wieler & Sergio Morabito OPERA

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

Photos: A.T. Schaefer

51 AIDA

ANNA NETREBKO LUCA SALSI EKATERINA SEMENCHUK WIENER PHILHARMONIKER CONDUCTED BY STAGED BY SHIRIN NESHAT OPERA

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

Photos: Salzburg Festival/Monika Rittershaus

53 FROM THE ROMAN THEATRE OF ORANGE

GIUSEPPE VERDI

LEO NUCCI CELSO ALBELO NADINE SIERRA MARIE-ANGE TODOROVITCH

ORCHESTRE PHILHARMONIQUE DE RADIO FRANCE CONDUCTED BY MIKKO FRANCK

STAGED BY CHARLES ROUBAUD OPERA

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

Video Director Andy Sommer

A coproduction of CLC, Chorégies d’Orange and Radio France in cooperation with France Télévisions, medici.tv and UNITEL with support of CNC

Length: approx. 130' Cat. no. A 010 50073

Photos: Philippe Gromelle, Christian Bernateau

55 50 YEARS SALZBURG EASTER FESTIVAL RE-CREATION OF ’S ORIGINAL PRODUCTION

RICHARD WAGNER DIE WALKÜRE Seiffert • Zeppenfeld • Kowaljow • Harteros • Kampe • Mayer Staatskapelle Dresden conducted by

Staged by OPERA

Conductor Christian Thielemann Orchestra Staatskapelle Dresden Stage Director Vera Nemirova

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

Photos: OFS/Forster

57 FROM THE ROMAN THEATRE AT POMPEII PABLO PICASSO AT POMPEII ERIK SATIE IGOR STRAVINKSY PARADE PULCINELLA Choreography by Léonide and Lorca Massine Sets and Costumes by Pablo Picasso Corps de Ballet of the Teatro dell‘Opera di Roma Staged by Eleonora Abbagnato BALLET

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

Photos: Luciano Romano

59 LE BALLET ROYAL DE LA NUIT SEAN PATRICK MOMBRUNO LUCILE RICHARDOT VIOLAINE LE CHENADEC CAROLINE WEYNANTS ILEKTRA PLATIOPOULOU CAROLINE DANGIN-BARDOT DEBORAH CACHET ENSEMBLE CORRESPONDANCES CONDUCTED BY SÉBASTIEN DAUCÉ

CHOREOGRAPHY BY FRANCESCA LATTUADA THÉÂTRE DE CAEN

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

Music by JEAN DE CAMBEFORT LOUIS CONSTANTIN MICHEL LAMBERT A unique and extravagant spectacle at the crossroads of opera, ballet and FRANCESCO CAVALLI artistry, captured on film for the very first time: Conductor Sébastien Daucé ANTOINE BOËSSET recreates the Sun King’s opulent Ballet royal de la nuit and, together with LUIGI ROSSI et al. his orchestra Ensemble Correspondance, evokes the splendour of the 17th century’s French court at the Théâtre de Caen. Harpsichordist and cembalist Daucé had to delve deep into the archives to Stage Director/Choreographer Francesca Lattuada unearth this gem of musical history from 1653. In a clever strategic move, Conductor Sébastien Daucé Cardinal Mazarin had commissioned a titanic ballet production back then Orchestra & Chorus Ensemble Correspondances for the French high nobility to take part in. It had but one political objective – to establish and secure the power of the king. And the Ballet royal de la Sun King Sean Patrick Mombruno nuitwas a powerful promotional tool indeed: Louis XIV, age 15, most notably danced the part of the Sun, earning him the title with which he has been Night, Italian Venus Lucile Richardot immortalized, “Sun King”. An Hour, Cynthia, To recreate this total work of art, which brings together music and imagery, A French Grace Violaine Le Chenadec lavish decorations and opulent costumes, Daucé enlists the help of 20 Eurydice, A French Grace Caroline Weynants singers, twelve acrobats and three jugglers as well as dancer Sean Patrick Juno Ilektra Platiopoulou Mombruno and the musicians of Ensemble Correspondance, distinguished Venus, Silence Caroline Dangin-Bardot specialists in the music of the French Grand Siècle. Under their founder’s Pasithea, Mnemosyne Judith Fa inspired guidance, the ensemble showcases exceptional cohesion and delivers a sensitive interpretation of a multifaceted, dazzling work of music. While the The Moon, Dejanira, choirs are “simply prodigious” (Le Monde), the soloists excel with declamatory A French Grace Deborah Cachet strength when performing the original compositions of Jean de Cambefort, , Aurora David Tricou Michel Lambert and contemporaries, but equally shine when accentuating Endymion Davy Cornillot the dramatic hyperbole of . By interweaving excerpts from the Sleep Etienne Bazola very first operas that were performed in France, namely Francesco Cavalli’s Renaud Bres Ercole armante and Luigi Rossi’s Orfeo, Daucé creates a rich musical Grand Sacrificer Nicolas Brooymans tapestry. The outstanding work of Francesca Lattuada, who is in charge of the striking stage effects and period costumes as Video Director François-René Martin well as the spellbinding choreography, provides for an equally exciting visual counterpart. A co-production of CLC Productions, Théâtre de Caen, And when Ballet royal de la nuit culminates in the Radio France with the participation of France Télévisions, rise of the radiating Sun, there’s nothing left but Mezzo, medici.tv, Unitel and with support from CNC “unreserved admiration” (Le Monde) for this “exquisite ” (Welt.de). “A king-like, no, a veritable Sun-King-like delight!” (br.de) Length: approx. 210' Cat. no. A 010 50076

Photos: Philippe Delval

61 Photo: Michael Zapf CONCERT

CONCERTS

ELBPHILHARMONIE HAMBURG THE INAUGURAL CONCERT HANNA-ELISABETH MÜLLER Soprano · Alto · PAVOL BRESLIK Tenor · SIR Bass-Baritone NDR ELBPHILHARMONIE ORCHESTER conducted by

The Elbphilharmonie, the “hall of wonders” (The Guardian), several top-class soloists. In different instrumentation the is undoubtedly the new landmark of Hamburg, a monumental NDR Elbphilharmonie Orchester explores the possibilities synthesis of breath-taking architecture, a unique location of the Elbphilharmonie’s Grand Hall and its acoustics with and a world-class concert hall. Here time becomes space! an exciting programme that includes works by Brahms, The Elbphilharmonie opens its doors with an inaugural Beethoven, Wagner and Messiaen. It culminates in a concert of the NDR Elbphilharmonie Orchester, the brand-new commissioned work by the most important living Ensemble Praetorius and the choirs of NDR and BR under German composer, Wolfgang Rihm. “A striking building, a the baton of Principal Conductor Thomas Hengelbrock and scintillating concert!” (The New York Times)

Length: 112' Produced by NDR, distributed by UNITEL Cat. no. A 055 50610 0000 under license by Studio Hamburg Enterprises GmbH

63 Photo: Roehr ZDF/Jule YUSIF EYVAZOV & ANNA NETREBKO HOLLYWOOD IN VIENNA A TRIBUTE TO DANNY ELFMAN

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

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

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

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

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

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

65 Photo: Chris Christodoulou Christodoulou Photo: Chris IGOR LEVIT

FIRST NIGHT OF THE PROMS BBC SYMPHONY ORCHESTRA, IGOR LEVIT & EDWARD GARDNER TOM COULT St John’s Dance Piano Concerto No. 3 in C minor, Op. 37 JOHN ADAMS Harmonium LUDWIG VAN BEETHOVEN & Ode to Joy (Arr. Igor Levit) (Encore)

The BBC Symphony Orchestra and Igor Levit, conducted (The Independent). For the grand finale, John Adams’s by Edward Gardner, excelled at the First Night of the Harmonium receives “a glowing performance” (The Daily Proms at London’s Royal Albert Hall, combining an Telegraph) by its gargantuan chorus: alongside the BBC exciting new work by a British artist, Tom Coult’s St John’s SO under Edward Gardner, seven choirs, among them Dance, with a repertoire classic – Beethoven’s Piano the BBC Symphony Chorus and the BBC Proms Youth Concerto No. 3 – and a topical piece such as John Adams’s Choir, make up the choral forces, doing “formidable” in Harmonium, marking the composer’s 70th birthday. Igor “this stratospherically high, rhythmically difficult, super- Levit performs Beethoven “with rare grace and intimacy” exposed job.” (The Observer)

Length: 91' A co-production of BBC and UNITEL Cat. no. A 025 50367 0000

66 CONCERT Photo: Chris Christodoulou Photo: Chris LEILA JOSEFOWICZ & MIRGA GRAŽINYTĖ-TYLA

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA, LEILA JOSEFOWICZ, ALLAN CLAYTON & MIRGA GRAŽINYTĖ-TYLA LUDWIG VAN BEETHOVEN “Leonore” No. 3, Op. 72 · Symphony No. 5 in C minor, Op. 67 IGOR STRAVINSKY Violin Concerto in D major GERALD BARRY Canada Rising star conductor Mirga Gražinytė-Tyla returns with – “on the podium a combination of flamboyance and the City of Birmingham Symphony Orchestra to the steely poise” (Financial Times) – explores the theme of Royal Albert Hall, setting Beethoven’s Fifth Symphony political and artistic freedom in their concert: Beethoven’s against a world premiere by Gerald Barry. Leila Josefowicz Overture “Leonore” No. 3 celebrates the triumph of excels as the soloist in Stravinsky’s Violin Concerto. Mirga truth over tyranny in music of radiant beauty while his Gražinytė-Tyla has been the youngest female conductor to Fifth rewrites the rules for the Classical symphony. Allan take over one of the world’s leading orchestras: Together Clayton's rendition of Canada, composed by Gerald Barry, with the CBSO, the Music Director from Lithuania completes the programme. “Irresistible!” (The Guardian)

Length: 88' A co-production of BBC and UNITEL Cat. no. A 025 50369 0000

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

ARNOLD SCHOENBERG: GURRELIEDER LONDON SYMPHONY ORCHESTRA & SIR SIMON RATTLE EVA-MARIA WESTBROEK Soprano · KAREN CARGILL Mezzo-Soprano PETER HOARE, SIMON O’NEILL Tenor · CHRISTOPHER PURVES Bass-Baritone THOMAS QUASTHOFF Speaker Sir Simon Rattle starts his tenure as the London Symphony CBSO Chorus, and Orfeó Català meet the LSO and a Orchestra’s new Music Director with a concert at superb line-up of soloists, led by Rattle. The conductor is the prestigious BBC Proms – 40 years after his first reunited with his long-term collaborator Chorus Master appearance with the LSO, in October 1977 at the age of , putting on “a brilliantly blazing show” 22. The Royal Albert Hall’s cavernous space provides the (The Daily Telegraph). Their BBC Proms performance perfect surroundings for this supersize scale performance is “an intoxicating embrace of the gigantic ebb and flow of Arnold Schoenberg’s Gurrelieder. The force of over five of Schoenberg’s score … an ecstatic celebration!” (The hundred voices from the London Symphony Chorus, the Guardian)

Length: 109' A co-production of BBC and UNITEL Cat. no. A 020 50115

68 CONCERT Photo: Chris Christodoulou Christodoulou Photo: Chris DANIEL BARENBOIM

STAATSKAPELLE BERLIN & DANIEL BARENBOIM PERFORM BIRTWISTLE & ELGAR SIR HARRISON BIRTWISTLE Deep Time SIR Symphony No. 2 in E flat major, Op. 63

Daniel Barenboim and the Staatskapelle Berlin, returning They earn praise for playing his Opus 63 “with heroic heroes of the BBC Proms, give the UK premiere of Sir sweep and heart-melting beauty” (The Spectator). The Harrison Birtwistle’s Deep Time at the Royal Albert Hall night is dedicated to celebrate European culture in all its in London. They contrast the contemporary piece with the diversity: the German orchestra under Barenboim, who is Second Symphony by Sir Edward Elgar, thus reaffirming a passionate advocate of international understanding, gives their special relationship with the revered British composer: a “superb performance of Britain’s finest symphonies and “The Staatskapelle, driven by Barenboim, has become its greatest living composer, each first and foremost part probably the world’s best Elgar-orchestra.” (Die Welt) of a wider European tradition.” (The Guardian)

Length: 91' A co-production of BBC and UNITEL Cat. no. A 025 50368 0000

69 Photo: Roman Zach-Kiesling SERGEY KHACHATRYAN & LORENZO VIOTTI

CAMERATA SALZBURG, SERGEY KHACHATRYAN & LORENZO VIOTTI PERFORM BEETHOVEN & SCHUMANN LUDWIG VAN BEETHOVEN Violin Concerto in D major, Op. 61 ROBERT SCHUMANN Symphony No. 3 in E flat major, Op. 97 “Rhenish” Lorenzo Viotti, who is considered one of the most talented the young and wild” (ARD), they rise to the challenge that conductors of his generation, returns to the Salzburg is Beethoven’s Violin Concerto: After all, Beethoven’s work Festival, which proved to be a stepping stone for the was deemed too difficult whilst not being virtuosic enough young Swiss: After he won the festival’s Young Conductors when it premiered in 1806. Khachatryan demonstrates Award, leading the renowned Camerata Salzburg, he took his extensive skills, producing “celestially delicate sounds” the classical world by storm. Reunited with the Camerata, (drehpunktkultur.at). Viotti’s treatment of the “Rhenish”, Viotti is joined by Sergey Khachatryan in the picturesque Robert Schumann’s Third Symphony, is “youthful and brisk” Großer Saal of the Stiftung Mozarteum. In their “debut of (Kronenzeitung).

Length: 91' A co-production of BR, ARTE and UNITEL Cat. no. A 045 50082 0000 in cooperation with Salzburg Festival

70 CONCERT Photo: Roman Zach-Kiesling TEODOR CURRENTZIS

WOLFGANG AMADEUS MOZART: REQUIEM MUSICAETERNA & TEODOR CURRENTZIS ANNA PROHASKA Soprano · KATHARINA MAGIERA Alto MAURO PETER Tenor · TAREQ NAZMI Bass MUSICAETERNA & CHORUS WOLFGANG AMADEUS MOZART Requiem in D Minor, K. 626 Teodor Currentzis and his Russian ensemble musicAeterna black cassocks and afoot throughout the concert, perform give their long awaited Salzburg Festival debut at the with full verve and complement each other perfectly: Felsenreitschule with an exhilarating interpretation of “compelling and in its greatness hardly comparable” Wolfgang Amadeus Mozart’s Requiem. The Greek- (Kronen Zeitung). The young quartet of excellent soloists Russian star conductor, “visually the rock star amongst - Anna Prohaska, Katharina Magiera, Mauro Peter and all conductors” (Kleine Zeitung), is for many today’s most Tareq Nazmi - is “smoothly blending in with the ensemble” exciting Mozart conductor. The musicAeterna orchestra (Salzburg.com). The “phenomen Teodor Currentzis sets and its fabulous chorus, completely dressed in solemn Salzburg on fire!” Kleine( Zeitung)

Length: approx. 55' A co-production of ZDF/3sat, ORF and UNITEL Cat. no. A 040 50081 in cooperation with Salzburg Festival

71 GUSTAVO

Photo: Monika Rittershaus CONCERT

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

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

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

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

Length: 155' A production of Berlin Phil Media and UNITEL Cat. no. A 050 50428

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

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

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

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

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

Length: 86' A co-production of Ozango, Badisches Staatstheater Karlsruhe, Cat. no. A 055 50677 0000 ClassicAll/M_Media, Szenik and UNITEL

74 CONCERT Photo: Javier Del Real : JOYCE DiDONATO 75 Photo: Marcus SchlafPhoto: Marcus VALERY GERGIEV & YUJA WANG CONCERT

THE ODEONSPLATZ CONCERT YUJA WANG & VALERY GERGIEV YUJA WANG Piano Piano Concerto No. 1 in D minor, Op. 15 Pictures at an Exhibition (Orchestration: ) with encores by SERGEI PROKOFIEV, FAZIL SAY & , PYOTR ILYICH TCHAIKOVSKY and

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

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

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

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

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

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

Length: 38' A co-production of the Münchner Philharmoniker and Telmondis in association with medici.tv and Cat. no. A 055 50618 UNITEL and with the support of CNC

77 Photo: Grandidier Grandidier Photo: Florence THOMAS HENGELBROCK

JOHANNES BRAHMS: THE COMPLETE SYMPHONIES CONDUCTED BY THOMAS HENGELBROCK JOHANNES BRAHMS Symphonies Nos. 1–4

Conductor Thomas Hengelbrock and his NDR Elb- composing,” says Hengelbrock, “a wonderful journey philharmonie Orchester tackle a Brahms marathon, through four completely different resonance-chambers of performing all four symphonies of the Hamburg-born Brahms’s soul.” “Extremely expressive – a show of strength composer in the historic Laeiszhalle. Brahms’s music has that paid off!” Klassik.com( ) always played an important role for the orchestra, today their interpretations of the symphonies by Brahms and Also available is the accompanying Lecture Concert Bruckner have become its artistic trademark. “Every “Discovering Brahms” with Thomas Hengelbrock (43' / symphony shows us a different aspect of Brahms’s Cat. no. A 055 50661).

Length: 167' A production of doclights for NDR Cat. no. A 055 50589 0001-4 in cooperation with ARTE Concert and UNITEL

78 CONCERT Photo: Chau-Cuong/Lê Lucas Hans DANIEL HARDING

SIR EDWARD ELGAR: THE DREAM OF GERONTIUS CONDUCTED BY DANIEL HARDING MAGDALENA KOŽENÁ Mezzo-Soprano · ANDREW STAPLES Tenor · JOHN RELYEA Bass CHŒUR DE L’ORCHESTRE DE PARIS The Dream of Gerontius, Sir Edward Elgar’s striking called the “English ”, is considered a national gem. musical meditation on life after death, showcases superb Even though George Bernard Shaw had no doubt that choral writing and Wagnerian inflections. Daniel Harding Elgar’s music was to be immortal, it took some time to leads the Orchestre and Chœur de Paris with great prove that he was right. The powerful work, which keeps commitment. Mezzo-soprano Magdalena Kožená very in tradition with greats like Beethoven, was rarely heard movingly performs as Guardian Angel alongside Andrew outside ’s borders but is now revered throughout Staples, “a force of nature” (Diapason), and the impressive the world and receives a stellar performance in the beautiful John Relyea. Created in 1900, this great oratorio, often Philharmonie de Paris.

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

79 CONDUCTS DEBUSSY & STRAVINSKY Prélude à l'après-midi d'un faune · La mer IGOR STRAVINSKY Le sacre du printemps

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

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

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

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

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

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

Length: approx. 110' A co-production of RCO, Avrotros and UNITEL Cat. no. A 865 50043 0000

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

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

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

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

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

Length: 102' A co-production of RCO, Avrotros, Mezzo and UNITEL Cat. no. A 860 50018

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

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

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

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

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

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

84 Photo: Thomas Bartilla 85 CONCERT SIR ANDRÁS SCHIFF & HERBERT BLOMSTEDT PERFORM BEETHOVEN, BACH & BRUCKNER LUDWIG VAN BEETHOVEN Piano Concerto No. 1 in C major, Op. 15 JOHANN SEBASTIAN BACH Italian Concerto, BWV 971. Allegro ANTON BRUCKNER Symphony No. 4 in E flat major “Romantic”

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

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

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

Length: 55' A production of UNITEL Cat. no. A 050 50520

86 CHRISTIAN THIELEMANN CHRISTIAN

Photo: Matthias Creutziger 87 CONCERT FESTIVE GALA AT THE SEMPEROPER DRESDEN 100 YEARS UFA FILM CLASSICS ANGELA DENOKE Soprano · ELISABETH KULMAN Mezzo-Soprano · DANIEL BEHLE Tenor conducted by CHRISTIAN THIELEMANN

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

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

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

Length: 48' A production of ZDF in co-production with UNITEL Cat. no. A 055 50695 0000

88 SEMPEROPER DRESDEN

Photo: Matthias Creutziger 89 CONCERT THE ODEONSPLATZ CONCERT MARTIN GRUBINGER & MANFRED HONECK MARTIN GRUBINGER Percussion TAN DUN The Tears of Nature, Concerto for Percussion and Orchestra, I. Summer JOHN CORIGLIANO Conjurer, Concerto for Percussion and String Orchestra, II. Metal BRUNO HARTL Concerto for Percussion and Orchestra, Op. 23, Movements I + II CARL MICHAEL ZIEHRER “Hereinspaziert!” (Waltz Op. 518) from Der Schatzmeister ANTONÍN DVOŘÁK “ Fantasy”, Suite from Rusalka, Op. 114 (arr. by Manfred Honeck) Suite for Variety Orchestra with encores by LEROY ANDERSON & RICHARD STRAUSS Martin Grubinger is the star of Munich’s Odeonsplatz Performing at a breakneck pace, Grubinger, “a virtuoso Concert, one of the open-air highlights of the year beyond believe” (Süddeutsche Zeitung), challenges the in the heart of the historic city centre. The Austrian Symphonieorchester des Bayerischen Rundfunks under multi-percussionist is credited for turning classical solo the baton of Manfred Honeck to a percussion duel at percussion into an event. He demonstrates his versatility the highest level. Pieces by Antonín Dvořák and Dmitri with works by Bruno Hartl, John Corigliano and Tan Dun, Shostakovitch complete the programme. who wrote The Tears of Nature specifically for him.

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

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

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

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

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

Length: 90' A production of BR in co-production with UNITEL Cat. no. A 055 50732 0000 in association with Mezzo

90 DANIEL BARENBOIM & JANSONS MARISS

Photo: BR/Peter Meisel 91 CONCERT Photo: Manuel Vaca Photo: Manuel

DANIEL BARENBOIM CONDUCTS STRAUSS & TCHAIKOVSKY KIAN SOLTANI Cello · MIRIAM MANASHEROV Viola RICHARD STRAUSS , Op. 35 PYOTR ILYICH TCHAIKOVSKY Symphony No. 5 in E minor, Op. 64 with encores by CAMILLE SAINT-SAËNS & MIKHAIL GLINKA On the occasion of the Festival de Música y Reflexión play Tchaikovsky’s Symphony No. 5 and Richard Strauss’s at the Teatro Colón in Buenos Aires, Daniel Barenboim Don Quixote, enlisting the help of Kian Soltani and returns to his native city to perform with the West- Miriam Manasherov. The soloists unite effortlessly with Eastern Divan Orchestra, who every year “exceed all Barenboim’s orchestra, which famously brings together expectations” (FAZ) with their festival programme. During young Israeli and Arab players from the warring states of their summer residency at the magnificent theatre, they the Middle East in a model of peaceful harmony.

Length: 105' A production of arteAR and UNITEL Cat. no. A 835 50010 0000 in cooperation with WEDO and Teatro Colón

92 CHAMBER MUSIC Photo: Chris Christodoulou Photo: Chris SIR ANDRÁS SCHIFF

JOHANN SEBASTIAN BACH: THE WELL-TEMPERED CLAVIER (BOOK 1) PERFORMED BY SIR ANDRÁS SCHIFF Often heralded as one of the finest Bach interpreters interpretations” (Bachtrack). His recital of the first today, Sir András Schiff embarks on Book I of Johann volume at the BBC Proms is “one of those unforgettable Sebastian Bach’s The Well-Tempered Clavier at the revelations” (Observer). Bach expert Sir András Schiff, prestigious BBC Proms – a supreme technical challenge who will perform Book 2 of the Well-Tempered Clavier in for any performer and an astonishing experience for 2018, also features in UNITEL’s catalogue with his critically every listener, especially when they are played with the acclaimed rendition of the Goldberg Variations at the BBC mastery and “gracious lucidity” (ArtsDesk) of Sir András Proms and a lecture concert on the Goldberg Variations Schiff. Schiff, “travelling deeper into the inexplicable from Berlin’s new Pierre Boulez Saal. mysteries of Bach’s music” (Observer), provides “masterly

Length: 111' A co-production of BBC and UNITEL Cat. no. A 020 50116

93 Photo: Claudia Hoehne Photo: Claudia HÉLÈNE GRIMAUD

WOODLANDS AND BEYOND… HÉLÈNE GRIMAUD AT THE ELBPHILHARMONIE HÉLÈNE GRIMAUD Piano · MAT HENNEK Photo Installation works by • NITIN SAWHNEY • TŌRU TAKEMITSU • GABRIEL FAURÉ MAURICE RAVEL • ISAAC ALBÉNIZ • FRANZ LISZT • LEOŠ JANÁČEK • CLAUDE DEBUSSY Together with photographer Mat Hennek, French star With works by such diverse composers as Luciano Berio, pianist Hélène Grimaud comes up with a multimedia concert Nitin Sawhney, Tōru Takemitsu, Franz Liszt and Claude project at the Grand Hall of Hamburg’s Elbphilharmonie. Debussy, Grimaud leads her audience into the enchanting Grimaud’s virtuoso piano performance is accompanied by world of those various Woodlands and even beyond ... Hennek’s highly praised photo series Woodlands, which “Grimaud is completely at ease, showing flawless clarity depicts genuine portraits of trees, the results of numerous in her interpretations” (Die Welt). hikes through various forests in Europe and the USA.

Length: 60' A production of Camera Lucida, Cat. no. A 055 50696 0000 UNITEL and medici.tv

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

Photo: Patrick Tourneboeuf 95 CHAMBER MUSIC PIERRE HANTAÏ & SKIP SEMPÉ THE CONCERT Photo: NHK

JEAN-PHILIPPE RAMEAU: SYMPHONIES FOR TWO HARPSICHORDS PERFORMED BY PIERRE HANTAÏ & SKIP SEMPÉ At the Chikurin Banquet Hall of Tokyo’s famous Gajoeng Hantaï and Sempé, two artists situated at the forefront of Hotel, Pierre Hantaï and Skip Sempé present their today’s musical personalities in Renaissance and Baroque successful chamber music programme of Rameau’s music, create a stunning atmosphere in this private recital. “Symphonies for two Harpsichords”. It comprises Recorded in the picturesque surrounding of extravagant transcriptions compiled from nine different works, among Japanese-style murals and artworks preserved from the them Rameau’s first operaHippolyte et Aricie, as well old Gajoen buildings – which used to be one of ’s first as Dardanus, Les Indes galantes, and the composer’s wedding complexes back in the 1930s –, this concert is a instrumental masterwork Pièces de clavecin en concert. pleasure for both the eye and the ear.

Length: approx. 70' A production of NHK Cat. no. A 070 50006 in cooperation with Unitel

96 lyrical scene a sleepwalker” ( a sleepwalker” of sureness the with plays “who Barenboim, Daniel join kind” ( kind” of its –“a masterpiece Berlin in Akademie Barenboim-Said of the highlight architectural new the Saal, Boulez Pierre Gehry’s of Frank concert opening the for together comes by Daniel headed A Barenboim, stellar lineup of artists, KIAN SOLTANI JÖRG WIDMANN WIDMANN JÖRG ALBAN BERG WOLFGANG MOZART AMADEUS SCHUBERT FRANZ DANIEL BARENBOIM PIERRE BOULEZ BOULEZ ENSEMBLE PIERRE BOULEZ SAAL OPENING CONCERT PIERRE SAAL BOULEZ The New YorkerThe Der Hirt auf dem Felsen dem auf Hirt Der Cat. no. A 055 50612 0000 50612 A055 no. Cat. Instruments 13 Wind with Violin and Piano for Concerto Chamber Süddeutsche ZeitungSüddeutsche Cello · Initiale Length: 155' Length: Fantasie for Clarinet solo Clarinet for Fantasie ). Anna Prohaska and Jörg Widmann Widmann Jörg and Prohaska ). Anna Piano and Clarinet Soprano, for D965, Felsen, dem auf Hirt Der conducted by by conducted JÖRG WIDMANN WIDMANN JÖRG , Incises ·sur KARIM SAID SAID KARIM , while the latter also also latter the , while DANIEL BARENBOIM ), for Schubert’s ), Schubert’s for Piano Quartet in E flat major,K. 493 Eflat in Quartet Piano Piano Clarinet · Clarinet · MICHAEL BARENBOIM ANNA PROHASKA beautiful!” ( beautiful!” “Absolutely percussionists. three and harps, three , three for Incises, sur and fanfare-like Initiale Boulez’ by bookended is programme The Clarinet. Solo for Fantasy own his performs Widmann and Concerto, Berg’s Chamber and Barenboim take Said Michael Karim on Piano Quartet. Mozart’s in strings Ensemble’s Boulez the with partners FAZ in cooperation with ARTE and Pierre Boulez Saal Boulez Pierre and ARTE with cooperation in ) Violin A co-production of UNITEL and RBB RBB and UNITEL of A co-production Soprano · YULIA DEYNEKA DEYNEKA YULIA

Viola Viola

Photo: Peter Adamik 97 CHAMBER MUSIC Photo: Peter AdamikPhoto: Peter DANIEL BARENBOIM CHAMBER MUSIC

FRANZ SCHUBERT THE COMPLETE PIANO SONATAS DANIEL BARENBOIM

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

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

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

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

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

Length: 355' A production of Heliox Films in co-production with UNITEL in cooperation with Pierre Boulez Saal Cat. no. A 055 50658 0000 in association with medici.tv and with the support of CNC

99 Photo: Peter AdamikPhoto: Peter

THE CHRISTMAS TREE CONCERT & DANIEL BARENBOIM GEORGES BIZET Jeux d’enfants, Op. 22 MAURICE RAVEL Ma Mère l’Oye FRANZ LISZT Weihnachtsbaum

Long-time artistic partners and close friends Martha floor around the piano for their performance ofWeih- Argerich and Daniel Barenboim bring their extraordinary nachtsbaum, it is in the spirit of Christmas, when families artistry to the Pierre Boulez Saal in a piano duo recital, which come together, and reminiscent of the work’s premiere: features Bizet’s charming Jeux d’enfants alongside Ravel’s First performed in a Rome hotel room on Christmas Day work for four hands Ma Mère l’Oye and Liszt’s rarely heard 1881 by Liszt’s granddaughter Daniela, the suite of 12 pieces Weihnachtsbaum suite, an arrangement of Christmas brought the composer a family reunion with his beloved carols written for his granddaughter. When Argerich and daughter and granddaughter. Barenboim invite the children in the audience to sit on the

Length: approx. 105' A production of UNITEL Cat. no. A 055 50795 0000

100 CHAMBER MUSIC Photo: Peter AdamikPhoto: Peter

THE BELCEA QUARTET PERFORMS HAYDN, LIGETI & DVOŘÁK CORINA BELCEA, AXEL SCHACHER Violin KRZYSZTOF CHORZELSKI Viola · ANTOINE LEDERLIN Cello JOSEPH HAYDN String Quartet in D Major, Hob. III:34 "Alla zingarese" GYÖRGY LIGETI String Quartet No. 1 "Métamorphoses nocturnes" ANTONÍN DVOŘÁK String Quartet No. 12 in F Major, Op. 96 "American" with an encore by THOMAS ADÈS

The Belcea Quartet, one of the world’s leading chamber followed by Ligeti’s String Quartet No. 1 and an atmospheric music ensembles, lights up the Pierre Boulez Saal in Berlin rendition of Dvořák’s so-called “American Quartet”. The with their exciting programme consisting of three string musicians’ journey through the history of string quartets is quartets from three different centuries. The hall with rounded off by the encore “O Albion”, the sixth movement its perfect acoustics specifically caters to the needs of of contemporary English composer Thomas Adès’s String performers of chamber music and provides an intimate Quartet Op. 12 “Arcadiana”. “The Belcea Quartet searches setting for the multinational quartet, here beautifully and finds the essence of this music” Der( Tagesspiegel). captured on film. Haydn’s 18th century masterpiece is

Length: 84' A production of UNITEL and Heliox Films in co-production with Belcea Quartet in association with Cat. no. A 055 50704 0000 Pierre Boulez Saal and ClassicAll/M_Media with the support of CNC

101 SHORT RIDES WITH JOHN ADAMS Photo: Berlin Phil MediaPhoto: Phil Berlin

SHORT RIDES WITH JOHN ADAMS A DOCUMENTARY BY MAGDALENA ZIĘBA-SCHWIND & DANIEL FINKERNAGEL John Adams, one of the most influential and most popular documents both on and off stage encounters with musicians US composers, is known for his irresistible music in which of the Berliner Philharmoniker, old friends and associates minimalism is mixed with imaginative orchestration and jazzy such as Sir Simon Rattle, Peter Sellars, Gustavo Dudamel verve. Film makers Magdalena Zięba-Schwind and Daniel and star violinist Leila Josefowicz (“I call him Johnny”). The Finkernagel accompanied the composer for a year on his rehearsals and the concert of the oratorio The Gospel explorations and “short rides” in Berlin, when Adams was According to the Other Mary form the emotional highlight the first ever composer to be Artist in Residence of the of the documentary. A film not only for connaisseurs and Berliner Philharmoniker. The film, shot in Berlin and L.A., admirers – just like the music of John Adams.

Length: 45' A production of Berlin Phil Media in co-production with UNITEL Cat. no. A 055 50705

102 DOCUMENTARY Photo: picture alliance_dpa_Arnold Center Schnönberg

ARNOLD SCHÖNBERG – WHO I AM A FILM BY PAOLO FARONI & CHRISTIAN GIUFFRIDA

The documentary Arnold Schönberg – Who I Am by one of the most prominent and controversial musical Paolo Faroni and Christian Giuffrida shows the numerous figures of the 20th century. With the help of musicologist faces of a genius: the composer, the painter, the father Hartmut Krones and Therese Muxeneder, head of archive and the human Arnold Schönberg. Leading through the of the Arnold Schönberg Center in Vienna, they paint an documentary is Nuria Schoenberg Nono, the daughter of intriguing picture of an often misunderstood musician, who the great Viennese composer, who together with Daniel was despised at the time, but is now regarded as a pioneer Barenboim, worldwide famous interpreter and supporter of today’s music. of Schönberg’s music, embarks on a journey to discover

Length: 57' A production of Classica Italia HD Cat. no. A 000 50047 in cooperation with UNITEL

103 Photo: Paul Scala

SAIMIR PIRGU – MY TRUTH IN MUSIC A FILM BY PAOLO ALEOTTI AND PAOLA NESSI “Music is my life. Singing, playing, listening – breathing!” in the inner mind of an artist? How is great talent discovered Based on this passionate statement, the documentary and nurtured? The storyline follows Saimir Pirgu’s personal Saimir Pirgu – My Truth in Music follows the key moments reminiscences, replenished with live performances and of Albanian-Italian tenor Saimir Pirgu’s flourishing musical intimate backstage moments. It depicts his work with grand career. It is a journey to the world’s most renowned opera like Abbado, Harnoncourt, Muti and Jansons, and houses – from Salzburg and Vienna to London, features interviews with top names of the contemporary and New York – and at the same time gives insight into the music world: , Paolo Gavazzeni, Dominique hidden chambers of the art of singing. What really happens Meyer, Ferzan Ozpetek and Nicoletta Pavarotti.

Length: 55' A production by SPM in association with Unitel Cat. no. A 000 50060

104 DOCUMENTARY

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

BARENBOIM OR THE POWER OF MUSIC A PORTRAIT BY SABINE SCHARNAGL

On the occasion of the 75th birthday of Daniel Barenboim, behind the scenes of two milestone events in Berlin: the one of the most renowned conductors and pianists of opening of the Pierre Boulez Saal and the grand re-opening our times, the first ever all-embracing portrait of this of the Staatsoper Unter den Linden, where Barenboim outstanding musical personality has been created. Shot performs together with the Staatskapelle Berlin. Martha in Buenos Aires, Ramallah, Munich, Berlin and London, Argerich, , Waltraud Meier, his son Michael the film accompanies Maestro Barenboim for rehearsals Barenboim, director Wim Wenders and many more give and performances with his West-Eastern Divan Orchestra a very personal insight into the experiences they shared at the Teatro Colón and the Waldbühne Berlin. It looks with Daniel Barenboim throughout the years.

Length: 45'/90' A co-production of BR, RBB and UNITEL Cat. no. A 050 50439

105 THE ELBPHILHARMONIE – HAMBURG’S NEW LANDMARK A DOCUMENTARY BY THORSTEN MACK & ANNETTE SCHMALTZ The Elbphilharmonie is undoubtedly the new landmark of the building over the course of ten years. From the initial of Hamburg, a monumental synthesis of breathtaking plans to the rehearsals just before the opening ceremony architecture, a unique location and a world-class concert they show a story of enthusiasm and disappointment, of hall. For this documentary Thorsten Mack and Annette hard work and triumph. Schmaltz closely followed the entire development process

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

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

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

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

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

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

106 Photo: ORF Photo: NDR 107 Photo: MovingAngel DOCUMENTARY KARAJAN THE MAESTRO AND HIS FESTIVAL

KARAJAN – THE MAESTRO AND HIS FESTIVAL A DOCUMENTARY BY HANNES M SCHALLE Herbert von Karajan is the world’s most famous and starts in Nice, France, in 1957, when Eliette and Herbert commercially most successful conductor ever. Inspired by von Karajan met for the first time. The film follows their his wife’s book My Life at His Side, Hannes M. Schalle’s life until July 1989 and documents Karajan’s legacy, such film covers new aspects of Karajan’s career, focusing on as the Salzburg Easter Festival. A very personal story, told the maestro’s work in London, Berlin, New York, Vienna, by Madame Eliette von Karajan. Salzburg and Saint-Tropez. Shot on these locations, it

Length: 52' A Moonlake Entertainment production in co-production with the Eliette und Herbert von Karjan Cat. no. A 045 50078 Institut, ORF and UNITEL in cooperation with and Salzburg Easter Festival

108 DOCUMENTARY Photo: Salzburger Festspiele/Franz Neumayr Photo: Festspiele/Franz Salzburger

MARKUS HINTERHÄUSER – AN ARTIST RUNS THE SALZBURG FESTIVAL A FILM BY BETTINA EHRHARDT He is one of them: Markus Hinterhäuser, the new director and William Kentridge and observes how the director of the Salzburg Festival, is an artist himself. That might be solves problems and how he celebrates with his team. the reason why he communicates so effortless with the On a stroll through Salzburg’s picturesque alleys, Markus protagonists of the festival. To create an in-depth portrait Hinterhäuser delivers insight into his past; archive footage of Hinterhäuser, Bettina Ehrhardt followed the Austrian brings the flashbacks to life. In the rapid alternation of the around the clock, compiling snap-shots of his life. The film documentary scenes, which are punctuated by moments of accompanies him to the rehearsals for Jedermann, meets reflection, the artist and the human Markus Hinterhäuser renowned artists such as Peter Sellars, Shirin Neshat reveals himself.

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

109 110 Dumestre and his ensemble ensemble his and Dumestre Vincent by emperor, accompanied Roman mad of the tale captivating a tell to marionettes magnificent uses staging spectacular Rübner’s Alexandra Cuticchio’s and Mimmo “excellent musicians” ( musicians” “excellent “” Pagliardi’s history, Maria opera Giovanni Baroque of treasure ahidden unearthed d’Arras Théâtre The CAROLINE MENG THÉÂTRE D’ARRAS LE POÈME HARMONIQUE JAN VAN ELSACKER GIOVANNI PAGLIARDI: MARIA CALIGULA Caligula Cat. no. A 010 50072 A010 no. Cat. Length: 83' SOPHIE JUNKER JUNKER , SOPHIE Le Monde Le , and breathed new life into it: into life new breathed , and , SERGE GOUBIOUD Le PoèmeLe Harmonique conducted by conducted ), specialized in vocal and and vocal in ), specialized Soprano

VINCENT DUMESTRE VINCENT Tenor . The . The · JEAN-FRANÇOIS LOMBARD · FLORIAN GÖTZ GÖTZ · FLORIAN under any circumstances!” ( circumstances!” any under ( space? and This time in travel to “Want marionettes. the tovoice stage of the side either exquisite as the next” ( next” the as exquisite as one “each singers, six support They energy. overflowing its with score versatile the for suited better be not could century, 18th early 17th and of the music instrumental Télérama A co-production of CLC Productions and Arcal with the participation of France Télévisions and and Télévisions France of participation the with Arcal and Productions CLC of A co-production ) “A show for young and old, not to be missed missed tobe not old, and ) “A young for show Baritone UNITEL and with support of CNC of support with and UNITEL Mouvement Haute-Contre Mouvement Caligula ), who are positioned on on positioned ), are who is made for you!” you!” for made is )

Photo: CLC Productions SERIES & SPECIAL & SERIES Photo: Peter AdamikPhoto: Peter SIR ANDRÁS SCHIFF

LECTURE CONCERT WITH SIR ANDRÁS SCHIFF JOHANN SEBASTIAN BACH: GOLDBERG VARIATIONS One of the most important Bach interpreters of our Schiff “is a gifted teacher” Süddeutsche( Zeitung), guiding time dedicates himself to a work that is one of the most the audience on his excursion that takes him “from serenity fascinating compositions of the entire pre-Classical era: In to serenity, with highpoints and pauses for contemplation this lecture concert at the Pierre Boulez Saal Sir András along the way.” (The Arts Desk) How Schiff commands Schiff takes the audience on a journey to discover Bach’s the “smaller-scale architectures is just as impressive as Goldberg Variations in word and sound. Originally published his mastery of the whole 30-variation span … its cogency as “Aria with various alterations”, the 30 variations have and integrity are peerless … A spellbinding account of the become an epitome of the Baroque period. Sir András Goldberg Variations!” (The Guardian)

Length: approx. 140' A production of UNITEL Cat. nos. A 055 50690 0000/A 055 50691 0000 in cooperation with Pierre Boulez Saal

111 40 YEARS ENSEMBLE Photo: Urbain Christophe INTERCONTEMPORAIN 5 CONCERTS / 23 FILMS

The Ensemble Intercontemporain, which was founded subject. In Celestial Mechanics the music reflects on natural by Pierre Boulez, is one of the world’s most renowned phenomena like the sky, the wind, and the evanescence of contemporary music ensembles. It consists of 31 soloists, all living things. Rothko Chapel is a musical evening dedicated who all share a strong passion for 20th and 21st century to the visual arts, while in Flexible Silence, dancers and music. The major aims of the Ensemble are performance musicians give an approach to music as a sculpture which and creation, but also the musical education of young is born on the spot, which keeps moving and disappearing. musicians and the general public. Under the artistic Genesis has especially been commissioned on the occasion direction of Matthias Pintscher the musicians work in of the Ensemble’s 40th anniversary and aims to examine close collaboration with composers, exploring instrumental the concept of creation in various nuances. The Grand techniques and developing innovative projects that Soir Stravinsky is dedicated to the legendary 20th century interweave music, dance, theatre, film, video and visual arts. composer and features his pocket-size opéra- ballet Renard. In the year of its 40th anniversary, the Ensemble Intercontemporain presented five very special programmes The single works performed in the 5 concerts are also at the Cité de la Musique and the Théâtre de Chaillot in available as 23 individual films. Paris, each one of them dealing with its own particular

CELESTIAL MECHANICS

JEAN-CHRISTOPHE VERVOITTE Horn · CLÉMENT SAUNIER Trumpet conducted by MATTHIAS PINTSCHER RAMON LAZKANO Errobi-2 · Izarren hautsa · Egan-3 · Egan-4 MATTHIAS PINTSCHER Sonic eclipse CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Length 79’ / Cat. no. A 015 50092 0000

112 ROTHKO CHAPEL

EVAN HUGHES Baritone · SOPHIE CHERRIER Flute conducted by GREGOR A. MAYRHOFER JAY SCHWARTZ M MATTHIAS PINTSCHER Beyond (a system of ) SPECIAL & SERIES GREGOR A. MAYRHOFER Grand Hommage à l’Âge de la Technique BENJAMIN ATTAHIR Et nous tournions autour de ces fontaines hallucinées MORTON FELDMAN Rothko Chapel CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Length 92’ / Cat. No. A 015 50093 0000 FLEXIBLE SILENCE

RIKA KATO · MARIA CHIARA MEZZADRI · RIHOKO SATO · ERI WANIKAWA Dancers ODILE AUBOIN Alto · FRÉDÉRIQUE CAMBRÉLING Harp · JÉRÔME COMTE Clarinet GILLES DUROT Percussion · HIDEKI NAGANO Piano · EMMANUELLE OPHÈLE Flûte SEXTUOR D’ONDES MARTENOT DU CONSERVATOIRE NATIONAL SUPÉRIEUR DE MUSIQUE ET DE DANSE DE PARIS Choreography by SABURO TESHIGAWARA Music by TŌRU TAKEMITSU · OLIVIER MESSIAEN THÉÂTRE DE CHAILLOT, PARIS Length 106’ / Cat. no. A 015 50094 0000 GENESIS

conducted by MATTHIAS PINTSCHER CHAYA CZERNOWIN 1st Day: On the Face of the Deep MARKO NIKODIJEVIC 2nd Day: dies secundus FRANCK BEDROSSIAN 3rd Day: Vayehi erev vayehi boker ANNA THORVALDSDOTTIR 4th Day: Illumine JOAN MAGRANÉ FIGUERA 5th Day: Marines i boscatges STEFANO GERVASONI 6th Day: Eufaunique MARK ANDRÉ 7th Day: riss 1 CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Length 77’ / Cat. no. A 015 50095 0000

GRAND SOIR STRAVINSKY

MARTIN MITTERRUTZNER, YVES SAELENS Tenor · LEIGH MELROSE Baritone JÉRÔME VARNIER Bass · JÉRÔME COMTE Clarinet · CLÉMENT SAUNIER Trumpet conducted by DUNCAN WARD IGOR STRAVINSKY Trois pièces pour clarinette · Renard, Histoire burlesque chantée et jouée JONATHAN HARVEY Bhakti RICHARD AYRES No. 31 (NONcerto for trumpet) UNSUK CHIN Gougalon (Scenes from a Street Theater) CITÉ DE LA MUSIQUE – PHILHARMONIE DE PARIS Length 116’ / Cat. no. A 015 50096 0000

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

113 ROLANDO VILLAZÓN PRESENTS

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

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

EMMANUEL TJEKNAVORIAN Violin SALAPUTIA BRASS LOUISE ALDER Soprano JULIA LANGE Guitar MARIE HAUZEL Piano GAËLLE ARQUEZ Mezzo-Soprano ILKER ARCAYÜREK Tenor ASYA FATEYEVA Saxophone JUNGE SINFONIE BERLIN JUNGE SINFONIE BERLIN conducted by ELIAS GRANDY conducted by ELIAS GRANDY Works by WOLFGANG AMADEUS MOZART Works by DÖRPINGHAUS, MARKUSSON, DYENS, THE WHITE STRIPES, BIZET, MILHAUD, BACH, DE FALLA, BORODIN

Length: 24 x approx. 40' A production of Salve TV for ZDF/ARTE in cooperation with UNITEL Cat. nos. A 055 13437 0025-0028

114 ULTRA HD

ONEGIN Our first production shot in UHD High Range (HDR)

Following the principles set up by Dr. Leo Kirch and 2160 Herbert von Karajan to produce in the best technical 4K ULTRA HD quality available, Unitel has started to produce in 4K Ultra High Definition – four times the quality of today’s standard Full HD. With about 50 available 1080 productions from venues such as the Salzburg FULL HD Festival, Teatro alla Scala, Bayerische Staatsoper, 720 Semperoper Dresden, Wiener Staatsoper, Teatro 490 HD Regio Torino and the Stuttgart Ballet, Unitel, once SD again, is taking classical music to the next stage. 640 1280 1920 3840

The Unitel catalogue features some of the world’s greatest and finest moments of classical music from the last half a century of classical music – fundamental works of art shot on 35 mm film that have inspired generations of music lovers all over the world, landmark productions and bestsellers, to this day. We have started to make these unique 35 mm productions available in true 4K Ultra High Definition, offering a visual experience never before seen on the home screen.

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