ANTONIO PAPPANO ORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA CORO DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

BENJAMIN BRITTEN War ANTONIO PAPPANO ORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA CORO DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

Conductor Antonio Pappano “Intensive, touching… a deeply moving plea for peace” (News) – Orchestra Orchestra dell’Accademia ’s marks the composer’s 100th birthday Nazionale di Santa Cecilia with a stellar Salzburg Festival cast: Anna Netrebko, Ian Bostridge and Chorus Coro dell’Accademia Nazionale Thomas Hampson in the solo parts, accompanied by the Orchestra dell’Accademia Nazionale di Santa Cecilia under the baton of Antonio di Santa Cecilia Pappano. A “truly moving” performance, according to La Stampa Chorus Master Ciro Visco newspaper.

Soprano Anna Netrebko Composed in memory of victims of World War II and premiered in Tenor Ian Bostridge Coventry Cathedral in 1962, the War Requiem occupies a special place in Britten’s musical oeuvre. Despite orchestral forces that are Baritone Thomas Hampson larger than what Britten usually called for, the composer succeeds in achieving an intimacy in this work capable of expressing the suffering Produced by ORF and misery of the war in all its graphic horror – “a delicate yet Video Director Henning Kasten monumental memorial to war” (Wiener Zeitung).

This is the first time that Anna Netrebko has sung 20th-century music Length: approx. 95' at the Salzburg Festival and she wins us over right from the outset: Shot in HDTV 1080/50i “Anna Netrebko’s Rex tremendae is profoundly ominous, her Sanctus Cat. no. A04050013 full of passion, her Lacrimosa overflows with tortuous transcendence – a complex tour de force” (Süddeutsche Zeitung). Ian Bostridge “provided the poignant moments” and “gave a profound impression of the creative impact of the War Requiem” (Die Presse). The Kurier newspaper recognises in Thomas Hampson a “profoundly touching baritone, unparalleled in this fach”, and continues: “Each soloist is ideally cast – that’s the way we want a music festival.”

Antonio Pappano conducts the Orchestra dell’Accademia Nazionale di Santa Cecilia “with utmost transparency and maximum dynamics, awesome and enchantingly tender” (Frankfurter Allgemeine Zeitung) and never allows the tension to flag. The Coro dell’Accademia Nazionale di Santa Cecilia never sounds too heavy, accurately adheres to the score and is supported by the “excellently rehearsed children’s chorus of the A co-production of ORF and UNITEL Salzburg Festival” (Kronen Zeitung). All this, then, adds up to a musical in cooperation with interpretation “inspired by such incredible dignity that it must go down Salzburg Festival and CLASSICA in the Festival’s history” (Frankfurter Allgemeine Zeitung).

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