CATALOGUE 2018 CATALOGUE 2018

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Front cover: Alicia Amatriain & Friedemann Vogel in ’s “Onegin” / Photo: 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 to 1972, these 53 one-hour programmes were written cellist Lynn Harrell (later one of the most famous cellists and hosted by Leonard Bernstein. With the New York in the 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 performance from the Herkulessaal in Munich, Bernstein recordings and still considered exemplary. It conducts the Symphonieorchester des Bayerischen presents the top Wagner singers of the time: Peter Rundfunks. Hofmann and Hildegard Behrens in the title roles as well as Yvonne Minton (Brangäne), (Kurwenal) Length: approx. 264' and Hans Sotin (King Marke). In this semi-staged 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 opera A Quiet Place in Vienna. It contains singable late garden – the “quiet place” –, they find that their hostility romantic melodies as well as Broadway musical sounds, has 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: ( / Wiener Philharmoniker / Jurowski / Kentridge) 16 Bizet: (Bregenz Festival / Wiener Symphoniker / Carignani / Holten) 18 Donizetti: Don Pasquale (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: Semele (Händel-Festspiele, Karlsruhe / Deutsche Händel-Solisten / Moulds / Visser) 28 Handel: Serse (Oper Frankfurt / Carydis / Köhler) 30 Janáček: The Cunning Little Vixen (Wiener Staatsoper / Netopil / Schenk) 32 Monteverdi 450 (Teatro La Fenice / Monteverdi & English Baroque Soloists / Gardiner) 34 Mozart: (Salzburg Festival / musicAeterna / Currentzis / Sellars) 36 Nono: Prometeo (Teatro Farnese / Ensemble Prometeo & Filarmonica / Angius) 38 Puccini: La Bohème (Royal Opera House, / Pappano / Jones) 40 Puccini: Madama Butterfly (Royal Opera House, London / Pappano / Leiser & Caurier) 42 Respighi: La bella dormente nel bosco (Teatro Lirico di Cagliari / Renzetti / Muscato) 44 Rossini: Le Comte Ory (Opéra Comique, Paris / Orch. des Champs-Élysées / Langrée / Podalydès) 46 Rossini: Mosè in Egitto (Bregenz Festival / Wiener Symphoniker / Mazzola / de Beer) 48 Rossini: Otello (Teatro di San Carlo, Naples / Ferro / Gitai) 50 Schumann: Szenen aus Goethes (Staatsoper Unter den Linden, Berlin / Barenboim / Flimm) 52 Tchaikovsky: Pique Dame (Oper Stuttgart / Cambreling / Wieler & Morabito) 54 Verdi: Aida (Salzburg Festival / Wiener Philharmoniker / Muti / Neshat) 56 Verdi: Il Trovatore (Royal Opera House, London / Farnes / Bösch) 58 Verdi: Otello (Royal Opera House, London / Pappano / Warner) 60 Verdi: Rigoletto (Chorégies d’Orange / Orch. Philharmonique de Radio France / Franck / Roubaud) 62 Wagner: Die Walküre (Salzburg Easter Festival / / Thielemann / Nemirova) 64 BALLET Richter: Woolf Works (, London / McGregor) 66 Tchaikovsky: The Sleeping Beauty (The Royal Ballet, London / Petipa) 68 Satie/Stravinsky: Parade & Pulcinella (Corps de Ballet of the Teatro dell’Opera di Roma / Massine) 70 Le Ballet Royal de la Nuit (Théâtre de Caen / Ensemble Correspondances / Daucé / Lattuada) 72

7 CATALOGUE 2018

CONCERT Gala Concerts Elbphilharmonie Hamburg – The Inaugural Concert 75 Hollywood in Vienna – A Tribute to Danny Elfman 77 & Yusif Eyvazov – The Waldbühne Concert 77 Bartabas & The Académie Equestre de Versailles 77 BBC Proms First Night of (BBC Symphony / Levit / Gardner) 78 City of Birmingham Symphony Orchestra, Leila Josefowicz, Allan Clayton & Mirga Gražinytė-Tyla 79 Schoenberg: Gurrelieder (London Symphony Orchestra / Rattle) 80 Staatskapelle Berlin & 81 Salzburg Festival Camerata Salzburg, Sergey Khachatryan & Lorenzo Viotti 82 Mozart: (musicAeterna & Chorus / Currentzis) 83 Berliner Philharmoniker Adams & Dvořák (McAllister / Dudamel) 85 Adams: The Gospel According to the Other Mary (Rattle) 85 Czech Philharmonic Martinů, Strauss & Janáček (Baborák / Bělohlávek) 86 Il pomo d’oro In War and Peace – Harmony Through Music (DiDonato / Emelyanychev) 86 Handel – Women’s Loves and Lives (Ciofi / Leon / Emelyanychev) 86 Münchner Philharmoniker The Odeonsplatz Concert – Yuja Wang & 89 Prokofiev: The Complete Symphonies (Gergiev) 89 Prokofiev: Peter and the Wolf (Gergiev) 89 NDR Elbphilharmonie Orchester Brahms: The Complete Symphonies (Hengelbrock) 90 Orchestre de Paris Elgar: (Harding) 91 Royal Concertgebouw Orchestra Debussy & Stravinsky (Gatti) 92 Haydn & Mahler (Gatti) 92 Beethoven & Brahms (Zimmermann / Gatti) 92 Mozart & Dvořák (Damrau / Hengelbrock) 95 Schubert & Mozart (Hengelbrock) 95 Bach: (Herreweghe) 95 Staatskapelle Berlin Beethoven: Symphony No. 9 (Damrau / von der Damerau / Fritz / Pape / Barenboim) 96 Bruckner & Mozart (Barenboim) 96

8 CATALOGUE 2018

Staatskapelle Dresden Beethoven, Bach & Bruckner (Schiff / Blomstedt) 98 Bruckner: Symphony No. 1 (Thielemann) 98 Festive Gala at the Dresden – 100 Years UFA Film Classics (Thielemann) 100 Festive Advent Concert at the Frauenkirche Dresden (Thielemann) 100 Symphonieorchester des Bayerischen Rundfunks The Odeonsplatz Concert – Martin Grubinger & Manfred Honeck 102 Sommer, Mahler & Rachmaninoff (Romberger / Jansons) 102 Beethoven & Prokofiev (Barenboim / Jansons) 102 West-Eastern Divan Orchestra Strauss & Tchaikovsky (Soltani / Manasherov / Barenboim) 104 RECITAL & CHAMBER MUSIC Bach: The Well-Tempered Clavier, Book 1 (Schiff) 105 Woodlands and Beyond… – Hélène Grimaud at the Elbphilharmonie 106 Bartók: The Complete String Quartets (Quatuor Diotima) 107 Rameau: Symphonies for two Harpsichords (Hantaï / Sempé) 108 Saal Opening Concert (Boulez Ensemble / Barenboim) 109 Schubert: The Complete Sonatas (Barenboim) 111 The Christmas Tree Concert (Argerich / Barenboim) 112 Haydn, Ligeti & Dvořák (Belcea Quartet) 113 DOCUMENTARY Short Rides with John Adams 114 Arnold Schönberg – Who I Am 115 Saimir Pirgu – My Truth in Music 116 Barenboim or The Power of Music 117 The Elbphilharmonie – Hamburg’s New Landmark 118 Moving in Three Acts – A Building Site Opera 118 I Am Carmen 118 Karajan – The Maestro and his Festival 120 Markus Hinterhäuser – An Artist Runs the Salzburg Festival 121 SERIES & SPECIAL Pagliardi: Caligula (Le Poème Harmonique / Dumestre) 122 Lecture Concert with Sir András Schiff – Bach: Goldberg Variations 123 40 Years Ensemble Intercontemporain 124 Stars of Tomorrow 126 INDEX 128

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

n the occasion of John Cranko’s 90th birthday and legendary new works he helped to renew the genre of Marcia Haydée’s 80th birthday, UNITEL, NHK, the full-length narrative ballet: Romeo and Juliet (1962), BALLET STUTTGART OSWR and and the Stuttgart Ballet team Onegin (1965, new version 1967) and The Taming of the up 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

11 JOHN CRANKO’S ROMEOAND 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 Photos: Stuttgart Ballet Verona. Verona. of sets streets sunlit the magnificent of images up Rose’s conjure costumes and Jürgen stage. Renaissance on brings life to ensemble Italy Stuttgart the scenes, ensemble colourful and swordfights fierce deux, de pas John Cranko’s legendary legendary Cranko’s John revisits Ballet Stuttgart the premiere, its after years 55 dances a Romeo who is “expressing his love with the the with love greatest his ( sensitivity” “expressing is who Romeo a dances Moore David partner her while Juliet”, spontaneous and natural entirely fresh, “youthful, as shines Badenes Elisa feuds, o feuds, families’ their in caught lovers, star-crossed two about story Shakespeare’s William Prokofiev, Sergei by score Juliet and of choreography the created 1973, in death his John Cranko, who Ballet from 1961 led the until Stuttgart time. of all story love famous most the tell to stage the share dancers young talented highly and Cranko-performers experienced production, timeless the for of the stunning, performance to fame. In this anniversary foundations rise meteoric company’s the the Miracle”, Ballet “Stuttgart laid which choreography on rnos ue n ln-ie ietr f h Sutat Bal Stuttgart the of 80 her director of occasion long-time and muse Cranko’s John by telling the ballerina’s captivating story. captivating ballerina’s the telling by aca ade fr ay h “rmdna soua o te 20 the of assoluta” “primadonna the many for – Haydée Marcia SEDUCTIONTHE OF DANCE HAYDÉEMARCIA – A FILM BY HAROLD WOETZEL BY HAROLD A FILM ff ers dramatic roles for the top-notch soloists: soloists: top-notch the for roles dramatic ers especially for his ensemble. Set to the superb superb the to Set ensemble. his for especially Cat. no. A 055 50815 A055 no. Cat. Length: 45' Length: Der Der Neue Merker th th birthday, Harold Woetzel pays homage to this unique artist artist unique this to homage pays Woetzel Harold birthday, oe ad Juliet and Romeo

). With breathtaking – the very very the – Romeo Romeo A Production of SWR distributed by by distributed SWR of A Production hs efrac a Jlas us, eertn hr 80 her celebrating nurse, Julia’s as performance in as this participates Ballet, Cranko Stuttgart the followed of director who highly artistic first, Haydée, very Juliet. the was acclaimed ballerina, Cranko’s prima and John muse Haydée, Marcia anniversary: another of production This This is a revelation.” ( arevelation.” is This “If you think you’ve seen you’ve think you “If Capulet. Lord as Anderson Reid Director Artistic and Lawrence Friar as Madsen Egon partner dance Haydée’s former ensemble, the of stars other two by joined is She stage. on birthday let. On the the On let. th century, century, UNITEL oe ad Juliet and Romeo Daily Express Daily BALLET MIRACLE” BALLET A production of UNITEL in co-production with with co-production in UNITEL of A production Romeo and Juliet and Romeo SWR/ “THE GERMAN ARTE – Cat. no. A 050 50435 A050 no. Cat. , NHK and Stuttgart Ballet Stuttgart and , NHK ) New York Times Length: 127' Length: is marked by yet yet by marked is , think again. again. think , – th

13 STUTTGART BALLET JOHN CRANKO’S ONEGIN

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

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

15 STUTTGART BALLET

MATTHIAS GOERNE ASMIK GRIGORIAN JOHN DASZAK MAURO PETER 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.” ()

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 Ra elsberger ff 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 Drum 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 soprano Asmik Grigorian as Marie was “the discovery of the evening” with “her rich, bright voice that possesses enough steely edge to communicate this gritty personality” (Bachtrack). The Wiener Philharmoniker, led with adamant restraint by Vladimir Jurowski, were “virtuosic”, “acting as A production of UNITEL an enhancer and interlocutor”. “The audience in cooperation with ARTE, medici.tv and Salzburg Festival seemed stunned at the end, yet grateful.” (New York Times)

Length: 102' Cat. no. A 040 50082

Photos: Ruth Walz

17

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 House Zuniga Sébastien Soulès in Covent Garden. Set Designer Es Devlin, who already designed sets Lillas Pastia Stefan Wallraven for pop stars like Adele, U2, Take That, the Pet Shop Boys and Kanye Carmen as a Child Efsa Topal West, has created a set construction with an impressive height of 21 metres. The playing cards, which seem to hover between two massive Video Director Felix Breisach hands, are not only part of the scene but also serve as projection surfaces.

A co-production of ORF, SRF, tpc, UNITEL, ZDF The Telegraph is full of praise: “The lake- and 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 Bel Canto 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 aria ‘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 UMBERTO GIORDANO ANDREA CHÉNIER • ANJA HARTEROS • 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 verismo opera, casts light upon the turbulent times Andrea Chénier Jonas Kaufmann of the French Revolution, and doesn’t shy away from its dark side. Embedded in Maddalena di Coigny Anja Harteros the great historical panorama, which is being laid out before the spectator, are the Carlo Gérard George Petean personal fates of the opera’s protagonists. Star soprano Anja Harteros sings the Bersi Rachael Wilson young aristocrat Maddalena di Coigny, “a role that seems to be tailored to her” Countess di Coigny Helena Zubanovich (FAZ). When Maddalena loses everything in the upheaval of the revolution and is Madelon Larissa Diadkova in grave danger as aristocrat, she turns to the young poet Andrea Chénier for help, who had impressed her with his criticism of the nobility’s mercilessness before. Roucher Andrea Borghini Chénier, sung by star tenor Jonas Kaufmann “with a dark, alluring, longing timbre” Pierre Fléville Johannes Kammler (Süddeutsche Zeitung), falls in love with her, but is being arrested and accused of Fouquier-Tinville Christian Rieger high treason by Carlo Gérard. George Petean is utterly convincing in his role as Mathieu Tim Kuypers Chénier’s rival. Now a powerful member of the Revolutionary tribunal, Gérard 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 Julie!e 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 Gertrude Rosie Aldridge eye in the house, when Flórez delivers his final monologue at Julia’s grave. Equally moving is his counterpart: Aida Garifullina, the young Russian Le Duc Alexandru Moisiuc soprano of Tatar origin, leaves no doubt about Julia’s strength, while Paris Igor Onishchenko simultaneously excelling with a voice that “seems as if it was weightless and Grégorio Ayk Martirossian made of ivory” (Die Presse). She masters the coloraturas and Gounod’s Benvolio Martin Müller espressivos – “this Julia is enchanting!” (Kronen Zeitung). The dramatic lighting design of English artist Patrick Woodroffe is used to great effect in Video Director Jasmina Eleta the trendy staging by Jürgen Flimm, who creates memorable moods and scenes, such as the starry sky over Verona. Friends and foes of the lovers are sung by a supportive cast, with Rachel Frenkel as adolescent Stéphano, 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, warmth and fervour as well as light-footed liveliness” (Der Standard). In A production of Wiener Staatsoper this extraordinary staging of Charles Gounod’s opera, the dream team in co-production with UNITEL Domingo, Flórez and Garifullina tell a tale of “tragic love that has the air of Hollywood about it!” (Die Presse) Length: 163' Cat. no. A 040 50080

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

GEORGESEMELE FRIDERIC HANDEL

Jennifer France • Ed Lyon • 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 oratorio”, 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

Serse GAËLLE ARQUEZ LAWRENCE ZAZZO ELIZABETH SUTPHEN LOUISE ALDER TANJA ARIANE BAUMGARTNER BRANDON CEDEL FRANKFURTER OPERN- UND MUSEUMSORCHESTER Conducted by CONSTANTINOS CARYDIS

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 “singers’ competition with only winners” (Frankfurter Neue Presse). Frankfurt’s excellent Opern- and Museumsorchester contributes “all sorts A production of UNITEL of refinements” to this “musical smash hit” (Deutschlandfunk). All in all, the in co-production with NHK “spectacular staging” by Tilmann Köhler offers completely “new ways of hearing and seeing Handel” (FAZ). Length: 180' Cat. no. A 050 50409

Photos: Barbara Aumüller

31 LEOŠ The JANÁČEK Cunning LittleVixen

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

Staged by Otto Schenk 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 JOHN ELIOT GARDINER 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 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 • Kangmin Justin Kim ł of Monteverdi’s great operas in Europe and the US, their celebrated Gareth Treseder • Micha Czerniawski • Anna Dennis Francesca Boncompagni • Marianna Pizzolato • Carlo Vistoli performance at Venice’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 how the protagonists form and dissolve alliances to to alliances amidst dissolve ambitions social and and goals amorous their achieve form protagonists the how of Homer’s of Homer’s patria Monteverdi’s love, and fidelity by overcome eventually deception, and treachery of tale A which retraces the twists and turns of Ulysses’ journey, journey, Ulysses’ of turns and twists the retraces which opera, Monteverdi’s kingdom. his regain to suitors three the out drives and identity true to his of Penelope convince manages eventually Ulysses gods, quarrelling the by hindered of and them as occasionally Aided new husband. to is and one urged take suitors by three besieged is being King of that Ithaka, discovers his Penelope, queen, faithful n h voec o gif su grief, of violence the in himself loses Orpheus dead. of the world to the to return forced is bride his around, turning from himself prevent cannot he Since world. when living the to back Eurydice him follows at she 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 history, bring to attempt an In Eurydice. and in Orpheus of saga operas first the of Monteverdi’s one be to Considered nly oig o nw n dee udrtnig of Monteverdi, understanding by music’ in deeper fable ‘a Called and himself. new a to coming finally a oe f h ms feunl promd prs of operas performed frequently most the of one was itself apart from from apart itself and reason sets swan-song operatic decidedly Monteverdi’s morality, of expense the at triumphing ambition and love carnal of celebration A queen. acknowledged his to The mistress Nero’s from motifs. progression Poppea’s follows opera mythological illustrating of instead historical events retelling to turns – Venice in season carnival di L’incoronazione Poppea opera, final Monteverdi’s time, its for move unusual an In L’INCORONAZIONE DI POPPEA DI L’INCORONAZIONE PATRIA IN D’ULISSE RITORNO IL L’ORFEO (1639/40) draws its motifs from the second half half second the from motifs its draws (1639/40) Odyssey L’Orfeo L’Orfeo L’Orfeo : Back from the Trojan wars, Ulysses, Ulysses, Trojan the wars, from : Back (1607) re-enacts the tragic Greek Greek tragic the re-enacts (1607) – first in performed the 1642/43 and and ff Il ritorno d’Ulisse ritorno Il ering but also growing and and growing also but ering A production of Ozango and Monteverdi Choir & Orchestras in co-producti in &Orchestras Choir Monteverdi and Ozango of A production in association with ClassicAll/M_Media with the participation of Fr of participation the with ClassicAll/M_Media with association in Il ritorno d’Ulisse in in d’Ulisse ritorno Il . It explores explores It . L’Orfeo

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

Photo: Ruth Walz

35 OPERA LA CLEMENZA DI TITO

Russell Thomas • Golda Schultz • Christina Gansch Marianne Crebassa • Jeanine De Bique • Willard White musicAeterna • musicAeterna Chorus conducted by Teodor Currentzis Staged by Peter Sellars OPERA

Orchestra musicAeterna Peter Sellars, having made history with his 1998 staging of the opera Saint Conductor Teodor Currentzis François d’Assise by in the Felsenreitschule, returns to Salzburg Chorus musicAeterna Chorus to stage and direct for TV Mozart’s opera seria La clemenza di Tito. In the pit is Chorus Master Vitaly Polonsky his comrade-in-arms and long-time collaborator, Greek-Russian star conductor 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 Clarinet Florian Schüle with a chorus of citizen-refugees, displaced by a catastrophe. The story is driven by Sesto, Marianne Crebassa “in a star-making performance” (New York Times), here a disrupted terrorist, torn by the painful demands of the necessary violence Stage and Video Director Peter Sellars 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 conductor right now” (Süddeutsche Zeitung), translates Sellars’ intercultural Length: approx. 170' 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 Teatro Regio di Parma concept. It comes into its own in a rare performance at the spectacular Baroque Chorus Master Martino Faggiani cultural monument Teatro Farnese, conducted by Marco Angius.

Sopranos Livia Rado For the Italian avant-garde composer Luigi Nono (1924–1990), the central task Alda Caiello of art is to “wake up the ear, the eyes, the human thinking” and his visionary work Altos Katarzyna Otczyk Prometeo – Tragedia dell’ascolto, created in the SWR Experimental Studio in 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 libretto, 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 LA BOHÈME NICOLE CAR ∙ MICHAEL FABIANO SIMONA MIHAI ∙ MARIUSZ KWIECIEŃ ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY SIR

STAGED BY RICHARD JONES OPERA

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

Photos: Catherine Ashmore

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

STAGED BY MOSHE LEISER & PATRICE CAURIER OPERA

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

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

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

43 OTTORINO RESPIGHI

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 Bell), another operatic masterpiece by Respighi available in the The Blue Fairy Shoushik Barsoumian UNITEL catalogue, its team enjoyed a fulminant success which even The King/The Ambassador Vincenzo Taormina met response on the other side of the ocean – the production became The Queen/The Frog/ part of the New York City 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- Rennaissance” (La Stampa). A production of Unitel in cooperation with Teatro Lirico di Cagliari Fondazione

Length: 98' Cat. no. A 000 50046

Photos: Priamo Tolu

45 LE COMTE ORY PHILIPPE TALBOT • • 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 Actors 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

47 MOSÈGIOACHINO IN ROSSINIEGITTO

Andrew Foster-Williams • Mandy Fredrich Sunnyboy Dladla • Clarissa Costanzo • Goran Jurić

Wiener Symphoniker Conducted by Enrique Mazzola 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

49 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 John Osborn, who shines in the Chorus Master Marco Faelli highly difficult title role, and Nino Machaidze as outstanding Desdemona. Stage Director Amos Gitai Gabriele Ferro conducts the flawless orchestra and chorus of the Teatro San Carlo. Otello John Osborn Now largely eclipsed by the fame of Verdi’s opera of the same name, Desdemona Nino Machaidze Rossini’s finely crafted work Otello with its romantic and tragic atmosphere th Rodrigo Dmitry Korchak was considered one of the composer’s masterpieces throughout the 19 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, William Shakespeare’s play Othello and Verdi’s opera, particularly in that it elevates the character Rodrigo to a major role alongside Otello and Iago, having earned the work the nickname “the opera of the three ”. In his performance of the demanding title role, American John Osborn demonstrates coloratura dexterity and dramatic insight. As Desdemona, Georgian soprano Nino Machaidze showcases radiant technique and clarity, fusing sweetness and despair in her stage presence. Rodrigo is sung by Dmitry Korchak with an A co-production of Teatro di San Carlo impressively flexible technique. The trio of tenors is completed by Juan 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 Gabriella Pescucci, who contrasts the beautiful flowing dresses of the women with the tenors’ dark, uniform-like attire. An Otello that “evokes modern dramas” (Formiche) with “standing ovations for Machaidze and Osborn!” (Corriere del mezzogiorno)

Photos: Lucano Romano

51 FESTIVE REOPENING OF

ROBERT SCHUMANN Szenen ausGoethes 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, Orchestra Staatskapelle Berlin the Staatsoper Berlin is back in its place of origin – Unter den Linden! For the 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

53 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 this Pique Dame A co-production of ZDF, 3sat and Unitel unique. Schneiderman is joined by baritone Vladislav Sulimsky (Count in cooperation with Oper Stuttgart Tomsky), who makes a brilliant debut at the Opera Stuttgart, and Stine Marie Fischer. As Polina, she “causes a stir with a lot of presence on Length: 172' stage” (Stuttgarter Nachrichten). Cat. no. A 050 50451 “Every leading opera stage, every opera festival in the world would be adorned by this production.” (Faustkultur)

Photos: A.T. Schaefer

55 AIDA

ANNA NETREBKO FRANCESCO MELI ROBERTO TAGLIAVINI LUCA SALSI EKATERINA SEMENCHUK WIENER PHILHARMONIKER CONDUCTED BY RICCARDO MUTI 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 the New York Times about her Chorus Master Ernst Raffelsberger highly anticipated debut as Aida, while the Neue Zürcher Zeitung praised Stage Director Shirin Neshat Netrebko’s “perfection and immaculacy”. 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 sopranos” (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 Amonasro Luca Salsi fullness; tangy winds; bursts of ideally round and peppery brasses.” (New 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

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

STAGED BY DAVID BÖSCH OPERA

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

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

Photos: Catherine Ashmore:

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

STAGED BY KEITH WARNER OPERA

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

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

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

61 FROM THE ROMAN THEATRE OF ORANGE

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 Avignon which inevitably leaves you speechless” (ForumOpéra). Chorus Master Aurore Marchand In the extraordinary open air performance of Rigoletto, staged by Stage Director Charles Roubaud Charles Roubaud on a monumental scale, much-loved Leo Nucci 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, led by Mikko Franck who became the orchestra’s Musical Director Marullo Igor Gnidii in 2015. The joint forces of the Choirs of the Operas of Avignon, Borsa Christophe Berry Monte-Carlo and Nice add to the vibrant nocturnal atmosphere in Count Ceprano Jean-Marie Delpas Orange’s picturesque amphitheatre. A staging of Rigoletto “charged Countess Ceprano Amélie Robins with adrenaline!” (ForumOpéra) Court Usher Vincenzo Cristofoli Page Violette Polchi

Video Director Andy Sommer

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

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

Photos: Philippe Gromelle, Christian Bernateau 63 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 Christa Mayer On the occasion of its 50th anniversary, the Salzburg Easter Festival presents Gerhilde Johanna Winkel a very particular staging of Richard Wagner’s opera Die Walküre under the Ortlinde Brit-Tone Müllertz baton of Artistic Director Christian Thielemann: a “Re-creation” of Herbert von Karajan’s musico-theatrical vision of the 19th century masterwork, with Waltraute Christina Bock which the legendary Maestro opened the very first Easter Festival in 1967. Schwertleite Katharina Magiera The top-ranking ensemble of Wagner singers includes Anja Harteros, Peter Helmwige Alexandra Petersamer Seiffert, Christa Mayer, Vitalij Kowaljow and Anja Kampe. They perform in Siegrune Stepanka Pucalkova the faithfully reconstructed scenery of the original production. Grimgerde Katrin Wundsam Christian Thielemann, who has been assistant of Karajan in his beginnings, Roßweiße Simone Schröder counts among the world’s foremost Wagner conductors. His brilliant anniversary performance with the Staatskapelle Dresden – which has Video Director Tiziano Mancini an equally outstanding relationship to Richard Wagner as their former ‘’ – and with the experienced singers on stage appears as “a declaration of love to Wagner, Karajan, Salzburg, and to the international audiences” (Dresdner Neueste Nachrichten). Directed by Vera Nemirova, the new staging of the Walküre with its majestic, timeless sets, created by visionary Günther Schneider-Siemssen, brings a part of theatrical history back to life but equally raises the question of how it may be reinterpreted for our time. This second opera of Wagner’s tetralogy A production of UNITEL deals with central topics of human existence and still in co-production with ORF/3Sat and NHK has to tell us a lot about family, brotherhood, moral and honour – and about in cooperation with Salzburg Easter Festival the difficult decision one has to make between money, power and love. The critics are full of praise for this “musically ravishing Walküre” (Frankfurter Length: 235' Allgmeine) and its “excellent ensemble of soloists”. As Sieglinde, Anja Cat. no. A 040 50067 Harteros is “enchanting and elegant”, Peter Seiffert “amazingly presents a steady and expressive Siegmund”, Christa Mayer “shows off as irresistible, throroughbred Fricka” and Anja Kampe is celebrated as “outstanding Brünnhilde” (Süddeutsche Zeitung).

Photos: OFS/Forster 65 THE ROYAL BALLET WOOLF WORKS A TRIPTYCH INSPIRED BY THE WORKS OF VIRGINIA WOOLF ORCHESTRA OF THE ROYAL OPERA HOUSE CHOREOGRAPHY BY WAYNE MCGREGOR MUSIC BY MAX RICHTER CONDUCTED BY KOEN KESSELS BALLET

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

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

Length: 103' Cat. no. A 020 50103

Photos: ROH/Tristram Kenton 67 PYOTR I. TCHAIKOVSKY THE SLEEPING BEAUTY MARIANELA NUÑEZ ∙ KRISTEN MCNALLY ∙ CLAIRE CALVERT ORCHESTRA OF THE ROYAL OPERA HOUSE CONDUCTED BY KOEN KESSELS

CHOREOGRAPHY BY MARIUS PETIPA BALLET

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

Length: 138' Cat. no. A 020 50106

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

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

Photos: Luciano Romano

71 LE BALLET 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 Italian opera. By interweaving excerpts from the Sleep Etienne Bazola very first operas that were performed in France, namely Francesco Cavalli’s Hercules Renaud Bres Ercole armante and Luigi Rossi’s Orfeo, Daucé creates a rich musical 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 coporduction of CLC Productions, Théâtre de Caen, And when Ballet royal de la nuit culminates in the Radio France with the participation of France Télévisions, rise of the radiating Sun, there’s nothing left but Mezzo, medici.tv, Unitel and with support from CNC “unreserved admiration” (Le Monde) for this “exquisite Gesamtkunstwerk” (Welt.de). “A king-like, no, a veritable Sun-King-like delight!” (br.de) Length: approx. 210' Cat. no. A 010 60076

Photos: Philippe Delval 73 Photo: Michael Zapf CONCERT

CONCERTS

ELBPHILHARMONIE HAMBURG THE INAUGURAL CONCERT HANNA-ELISABETH MÜLLER Soprano · WIEBKE LEHMKUHL Alto PHILIPPE JAROUSSKY Countertenor · PAVOL BRESLIK Tenor · SIR BRYN TERFEL Bass-Baritone NDR ELBPHILHARMONIE ORCHESTER conducted by

The Elbphilharmonie, the “hall of wonders” (The Guardian), is several top-class soloists. In different instrumentation the 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

75 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 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 Award Winner and four-time-Oscar-nominee Danny shine in La La Land, while Insingizi & Friends sweep the Elfman. The ORF Vienna Radio Symphony Orchestra audience in the Vienna Concert hall away with their Lion under the baton of James Shearman discovers with Beauty King medley. In the second part, conductor John Mauceri that there’s an enchanted prince hiding within the fearsome and the orchestra perform the highlights from Danny Beast, explore the mysterious world to which the wardrobe Elfman’s impressive back catalogue such as The Nightmare in The Chronicles of Narnia leads to and accompany the before 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 Gianni Schicchi to life. The emotional opera duets the most beautiful arias and duets from Italian Opera at the and the contemporary love songs, specifically written for Waldbühne Berlin. For a magical night at the spectacular this “dream team of the opera” (Berliner Morgenpost) by amphitheatre, the Russian star soprano is joined by Yusif Russian composer Igor Krutoy, blend perfectly in the Eyvazov. Being not only her partner on stage but also in joyful and romantic atmosphere of this musical summer life, the internationally acclaimed Azerbaijani tenor shines night’s dream by Netrebko and Eyvazov, who “took Berlin in beloved arias such as “Nessun dorma” from Turandot, by storm” (Opera Wire).

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

BARTABAS & THE ACADÉMIE ÉQUESTRE DE VERSAILLES AT THE FELSENREITSCHULE SALZBURG GENIA KÜHMEIER Soprano · ELISABETH KULMAN Alto JULIEN BEHR Tenor · CHARLES DEKEYSER Bass LES MUSICIENS DU LOUVRE conducted by MARC MINKOWSKI 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, into a and theatrical genius Bartabas presents Wolfgang Amadeus new theatrical context. It is Bartabas himself who opens the Mozart’s Requiem. Horses and riders from the formidable “poetic dance” (Süddeutsche Zeitung) on his splendid stallion Académie Équestre de Versailles join forces with the Caravage, tracing the musical rhetoric of the Requiem in a Musiciens du Louvre, conducted by Mark Minkowski, the “profound and touching” manner. “A piece of art with an Salzburger Bachchor and four excellent soloists (Genia exceptional power of attraction” (Schwäbische Zeitung). Kühmeier, Elisabeth Kulman, Julien Behr and Charles

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

77 Photo: Chris Christodoulou 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 , 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

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

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

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

79 SIR , EVA-MARIA WESTBROEK, KAREN CARGILL, Photo: Chris Christodoulou , 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 Chorus, and Orfeó Català meet the LSO and a superb line- Orchestra’s new Music Director with a concert at the up of soloists, led by Rattle. The conductor is reunited with prestigious BBC Proms – 40 years after his first appearance his long-term collaborator Chorus Master Simon Halsey, with the LSO, in October 1977 at the age of 22. The putting on “a brilliantly blazing show” (The Daily Telegraph). Royal Albert Hall’s cavernous space provides the perfect Their BBC Proms performance is “an intoxicating embrace surroundings for this supersize scale performance of Arnold of the gigantic ebb and flow of Schoenberg’s score … an Schoenberg’s Gurrelieder. The force of over five hundred ecstatic celebration!” (The Guardian) voices from the London Symphony Chorus, the CBSO

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

80 CONCERT Photo: Chris Christodoulou 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 in night is dedicated to celebrate European culture in all its 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

81 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 Großer Saal of the Stiftung Mozarteum. In their “debut of brisk” (Kronenzeitung).

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

82 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 “compelling and in its greatness hardly comparable” (Kronen of Wolfgang Amadeus Mozart’s Requiem. The Greek- Zeitung). The young quartet of excellent soloists - Anna Russian star conductor, “visually the rock star amongst Prohaska, Katharina Magiera, Mauro Peter and Tareq Nazmi all conductors” (Kleine Zeitung), is for many today’s most - is “smoothly blending in with the ensemble” (Salzburg. exciting Mozart conductor. The musicAeterna orchestra com). The “phenomen Teodor Currentzis sets Salzburg on and its fabulous chorus, completely dressed in solemn 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

83 GUSTAVO DUDAMEL

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- conductor also performs Dvořák’s Ninth Symphony. meration of sophisticated solos, that pays homage to Premiered in New York, the colourful work with the film noir with its title but also with its sinister and sensual byname “From the New World” brilliantly fuses American sound language. Gustavo Dudamel leads the Berliner impressions and symphonic music. While the Largo can Philharmoniker “with lots of humour and real swing “hardly be imagined in a more noble way”, the Scherzo through the brilliantly instrumented urban jungle.” (Berliner bursts with great energy, making the endless expanses Morgenpost) Saxophonist Timothy McAllister shines with of the Midwest “almost physically tangible in the swirling a soulful solo. In an exciting juxtaposition, the Venezuelan 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 lead the powerful biblical oratorio The Gospel According to the through the narrative. A stunning highlight is Lazarus’s aria, Other Mary by John Adams, one of the most renowned sung by tenor Peter Hoare – “grand!” (Berliner Zeitung). contemporary composers. The sophisticated score with a But at the heart of the piece are Mary Magdalene and libretto by acclaimed theatre director Peter Sellars comes 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

85 BOHUSLAV JIŘÍ BĚLOHLÁVEK CONDUCTS MARTINŮ, MARTINŮ STRAUSS & JANÁČEK SYMPHONY RADEK BABORÁK French Horn 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 the and serenity, internal war and peace, and the challenges pressing topical questions that Joyce DiDonato asks in her which they provide for every citizen of the world. Together powerful work In War and Peace –Harmony through Music. with the period-instrument ensemble Il Pomo d’Oro under The Grammy Award winning mezzo-soprano fashions an Maxim Emelyanychev, the singer creates a dramatic intense semi-staged concert production, including works atmosphere on the stage of the Gran Teatre del Liceu in by George Frideric Handel and Henry Purcell. Organizing Barcelona. In the music of Handel, DiDonato achieves a a set of Baroque arias along thematic lines, DiDonato “purity that enhances the composer’s signature formula” contemplates the interwoven worlds of external conflict (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 PATRIZIA CIOFI & 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 coloratura soprano 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

86 CONCERT Photo: Javier Del Real : JOYCE DiDONATO Photo: Marcus Schlaf 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 & ARCADI VOLODOS, PYOTR ILYICH TCHAIKOVSKY and MIKHAIL GLINKA

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

89 Photo: Florence Grandidier : 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

90 CONCERT Photo: Chau-Cuong/Lê Hans Lucas 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 musical “English ”, is considered a national gem. Even though meditation on life after death, showcases superb choral George Bernard Shaw had no doubt that Elgar’s music was writing and Wagnerian inflections. Daniel Harding leads the to be immortal, it took some time to prove that he was right. Orchestre and Chœur de Paris with great commitment. The powerful work, which keeps in tradition with greats like Mezzo-soprano Magdalena Kožená very movingly performs Beethoven, was rarely heard outside England’s borders but as Guardian Angel alongside Andrew Staples, “a force is now revered throughout the world and receives a stellar of nature” (Diapason), and the impressive John Relyea. performance in the beautiful Philharmonie de Paris. Created in 1900, this great oratorio, often called the

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

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

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

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

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

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

92 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 Il re 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 informed performance practice. Diana Damrau’s “L’amerò, Hengelbrock and – for the first time ever – by German star sarò costante” is a sincere declaration of love while the soprano Diana Damrau. Together they perform well-loved concert aria “Bella mia fiamma, addio” is a dramatic farewell arias and orchestral works by Wolfgang Amadeus Mozart, letter to a loved one which the singer performs with great as well as Antonín Dvořák’s Symphony No. 8. Dedicated to passion. The programme is rounded off by Dvořák’s Eighth the genius of Mozart, the first half of the concert kicks off Symphony, an exuberant ode to the great outdoors. with the overture to Don Giovanni, played with gusto by the RCO and Thomas Hengelbrock, an expert in historically

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

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

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

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

Length: 105' A co-production of RCO, Avrotros, Mezzo and UNITEL Cat. no. A 860 50018

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

WOLFGANG AMADEUS MOZART Sinfonia Concertante for Violin, 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

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

98 CHRISTIAN THIELEMANN CHRISTIAN

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

The Festive Gala at the Semperoper Dresden brings in the first half of the 20th century, UFA productions back the splendour of UFA Film for one scintillating night were marked by the predominant political climate, which full of famous melodies. Christian Thielemann and his meant, that in the 1930s and 1940s, they were tailored to Staatskapelle Dresden together with the three outstanding the purposes of propaganda und subject to NS film politics. singers Angela Denoke, Elisabeth Kulman and Daniel Many musical artists, who contributed to UFA films, were Behle pay homage to the hit songs of the so-called dream forced to emigrate, e.g. Friedrich Hollaender. Some, like factory, which produced film classics like Metropolis, The Hans May, found fame abroad, creating memorable film Three from the Filling Station and The Blue Angel. Created 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 Trumpet CHOIR OF THE SÄCHSISCHE STAATSOPER conducted by CHRISTIAN THIELEMANN The Festive Advent Concert has become a much loved German star soprano Diana Damrau with her “gorgeous and tradition in Dresden and one of German TV’s biggest richly coloured timbre” (Sächsische Zeitung), the “brilliant” classical music success stories. Christian Thielemann and Helmut Fuchs on trumpet and the “very impressive” his Staatskapelle Dresden present a programme ranging Choir of the Sächsische Staatsoper (Dresdner Neueste from the overture of Bach’s Orchestra Suite in D major Nachrichten) create a festive concert experience together. to Mendelssohn Bartholdy’s Christmas Cantata “Vom The clear, enchanting soprano of Tuuli Takala blends Himmel hoch”, Mozart’s Laudate Dominum, excerpts of perfectly with the beautiful, high baritone of Benjamin Appl, Haydn’s Die Schöpfung () and traditionals. winner of the Gramophone Young Artist of the Year Award.

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

100 SEMPEROPER DRESDEN

Photo: Matthias Creutziger 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 “Rusalka Fantasy”, Suite from Rusalka, Op. 114 (arr. by Manfred Honeck) DMITRI SHOSTAKOVICH Suite for Variety Orchestra with encores by LEROY ANDERSON & RICHARD STRAUSS Martin Grubinger is the star of Munich’s Odeonsplatz breakneck pace, Grubinger, “a virtuoso beyond believe” Concert, one of the open-air highlights of the year in (Süddeutsche Zeitung), challenges the Symphonieorchester the heart of the historic city centre. The Austrian multi- des Bayerischen Rundfunks under the baton of Manfred percussionist is credited for turning classical solo percussion Honeck to a percussion duel at the highest level. Pieces into an event. He demonstrates his versatility with works by Antonín Dvořák and Dmitri Shostakovitch complete by Bruno Hartl, John Corigliano and Tan Dun, who wrote the programme. The Tears of Nature specifically for him. Performing at a

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

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

The Symphonieorchester des Bayerischen Rundfunks 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 and praised Symphonieorchester des Bayerischen Rundfunks Sergei Rachmaninoff’s Symphonic Dances, the evening’s shines “bright under their chief conductor Mariss Jansons. programme revolves around the subjects of death, 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

102 DANIEL BARENBOIM & MARISS JANSONS JANSONS MARISS & BARENBOIM DANIEL

Photo: BR/Peter Meisel CONCERT Photo: Manuel Vaca

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 Miriam returns to his native city to perform with the West- Manasherov. The soloists unite effortlessly with Barenboim’s Eastern Divan Orchestra, who every year “exceed all orchestra, which famously brings together young Israeli and expectations” (FAZ) with their festival programme. During Arab players from the warring states of the Middle East in their summer residency at the magnificent theatre, they 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

104 RECITAL& CHAMBER MUSIC Photo: Chris Christodoulou 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 today, (Observer), provides “masterly interpretations” (Bachtrack). Sir András Schiff embarks on Book I of Johann Sebastian His recital of the first volume at the BBC Proms is “one of Bach’s The Well-Tempered Clavier at the prestigious BBC those unforgettable revelations” (Observer). Bach expert Sir Proms – a supreme technical challenge for any performer András Schiff, who will perform Book 2 of the Well-Tempered and an astonishing experience for every listener, especially Clavier in 2018, also features in UNITEL’s catalogue with when they are played with the mastery and “gracious his critically acclaimed rendition of the Goldberg Variations lucidity” (ArtsDesk) of Sir András Schiff. Schiff, “travelling at the BBC Proms and a lecture concert on the Goldberg deeper into the inexplicable mysteries of Bach’s music” Variations from Berlin’s new Pierre Boulez Saal.

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

105 Photo: Claudia Hoehne 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 world of those various Woodlands and even beyond ... by 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

106 restricted restricted supply of tonal colours – voices of which four Bartók to Limited thinking. compositional his of summaries shortest the are 1939, and 1908 between captured on film in 4K. sixBartók’s string quartets, time first the for - quartets entir string Bartók’s the Béla of cycle performing of challenge the meets Diotima At the atmospheric Théâtre des At Théâtre Bou the atmospheric the “brilliant ensemble” ( ensemble” “brilliant the FRANCK CHEVALIER CHEVALIER FRANCK BÉLA BÉLA BARTÓK YUN PERFORMED BY QUARTETS STRING COMPLETE THE BARTÓK: BÉLA - PENG ZHAO Cat. no. A 015 50074 0000 A015 no. Cat. String Quartets Nos. 1–6 Nos. Quartets String Length: 169' Length: Violin SüddeutscheZeitung Viola

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PIERRE MORLET MORLET PIERRE ff es es du Nord in Paris, ) Quatuor Quatuor ) written makes and a and Violoncello e Violin Violin poetic finesse and precision.” ( precision.” and finesse poetic depth, activity, inner captivating commitment, promising Quartet performs Bartók’s demanding chamber music w Diotima “The ensembles. in-demand most world’s the of de Musique de Paris, the Diotima Quartet has become 1996 by laureates of the Conservatoire National Sup turns every listening into a voyage of discovery. F full use – they are of enormous richness and densit A production of Heliox Films in association with UNITEL and ClassicAll/ and UNITEL with association in Films Heliox of A production

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Photo: Patrick Tourneboeuf 107 RECITAL & CHAMBER MUSIC PIERRE HANTAÏ & SKIP SEMPÉ THE TOKYO 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 opera Hippolyte et Aricie, as well old Gajoen buildings – which used to be one of Japan’s first as Dardanus, Les Indes galantes, and the composer’s wedding complexes back in the 1930s –, this concert is a instrumental masterwork Pièces de clavecin en concert. pleasure for both the eye and the ear.

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

108 scene sleepwalker” ( sleepwalker” a of sureness the with plays “who Barenboim, Daniel join kind” ( Barenboim-Said Akademie in Berlin – “a masterpiece the of highlight architectural new the Saal, Boulez Pierre comes together for the of concert opening Frank Gehry’s Baren Daniel by headed artists, of lineup stellar A KIAN SOLTANIKIAN JÖRG WIDMANN DANIEL BARENBOIM DANIEL ALBAN BERG MOZART AMADEUS WOLFGANG SCHUBERT FRANZ BOULEZ ENSEMBLE PIERRE BOULEZ PIERRE PIERRE BOULEZ SAAL OPENING CONCERT OPENING SAAL BOULEZ PIERRE Der Hirt auf dem Felsen The The New Yorker Cat. no. A 055 50612 0000 50612 A055 no. Cat. SüddeutscheZeitung Chamber Concerto for Piano and Violin with 13 Wind Instruments 13 Wind with Violin and Piano for Concerto Chamber Cello Cello Initiale Length: 155' Length: ). Anna Prohaska and Jörg Widmann Fantasie for Clarinet solo Clarinet for Fantasie Der Hirt auf dem Felsen, D 965, for Soprano, Clarinet and Piano Piano and Clarinet Soprano, for D965, Felsen, dem auf Hirt Der · conducted by by conducted

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Photo: Peter Adamik 109 RECITAL & CHAMBER MUSIC Photo: Peter Adamik DANIEL BARENBOIM RECITAL& 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 Romantic spirit, these works stand at the centre of the piano most 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

111 Photo: Peter Adamik

THE CHRISTMAS TREE CONCERT MARTHA ARGERICH & 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 the floor around the piano for their performance of Weih- 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, come together, and reminiscent of the work’s premiere: which features Bizet’s charming Jeux d’enfants alongside First performed in a Rome hotel room on Christmas Day Ravel’s work for four hands Ma Mère l’Oye and Liszt’s rarely 1881 by Liszt’s granddaughter Daniela, the suite of 12 pieces heard 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

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

112 RECITAL& CHAMBER MUSIC Photo: Peter Adamik

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

113 SHORT RIDES WITH JOHN ADAMS Photo: Berlin Phil Media

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”). Finkernagel accompanied the composer for a year on his The 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

114 DOCUMENTARY Photo: picture alliance_dpa_Arnold Schnönberg Center

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

115 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 maestros like Abbado, Harnoncourt, Muti and Jansons, and houses – from Salzburg and Vienna to London, Moscow features interviews with top names of the contemporary and New York – and at the same time gives insight into the music world: James Conlon, 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

116 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

117 THE ELBPHILHARMONIE ! HAMBURG’S NEW LANDMARK A DOCUMENTARY BY THORSTEN MACK & ANNETTE SCHMALTZ The Elbphilharmonie is undoubtedly the new landmark of the building over the course of ten years. From the initial of Hamburg, a monumental synthesis of breathtaking plans to the rehearsals just before the opening ceremony 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 A 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 was much loved by star tenor, tailor, musician and stage a blink of an eye in the history of the house, but a long cleaner alike. For them, working at the opera, is much more period of insecurity for the Staatsoper family, the people than just a job: it’s a passion, a life, a home. A film about who work there. Film maker Anne Osterloh documented a construction site where hopes and desires meet and a the works over the years, her film Moving in Three Acts – 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 and Don José and also touch upon the role of women in Es 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

118 Photo: ORF Photo: MovingAngel Photo: NDR 119 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 von Karajan met for the first time. The film follows their by 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

120 DOCUMENTARY Photo: Salzburger Festspiele/Franz Neumayr

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

121 122 “excellent musicians” ( musicians” “excellent Dumestre and his ensemblehis andDumestre tale of the mad Roman emperor, by accompanied Vincen acaptivating totell marionettes magnificent uses staging Baroque spectacular Rübner’s Alexandra and Cuticchio’s Mimmo Pagliardi’s Maria of “melodrama” Giovanni treasure hidden history, a opera unearthed d’Arras Théâtre The CAROLINE MENG THÉÂTRE D’ARRAS LE POÈME HARMONIQUE JAN VANJAN ELSACKER GIOVANNI MARIA PAGLIARDI: CALIGULA PAGLIARDI: MARIA GIOVANNI Caligula Cat. no. A 010 50072 A010 no. Cat. Length: 83' Length: , SOPHIE JUNKER JUNKER SOPHIE Le Monde Le , and breathed new life into it: it: into life new breathed and , , SERGE GOUBIOUD GOUBIOUD SERGE Le Poème HarmoniquePoème Le ), specialized in vocal and and vocal in ),specialized conducted by conducted Soprano

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Photo: CLC Productions SERIES & SPECIAL Photo: Peter Adamik 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

123123123 4 0 Y E A R S ENSEMBLE Photo: Christophe Urbain 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 burlesque 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

C E L E ST I A L M E C H A N I CS

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

124 ROTHKO CHAPEL

EVAN HUGHES Baritone · SOPHIE CHERRIER Flute conducted by GREGOR A. MAYRHOFER JAY SCHWARTZ M

MATTHIAS PINTSCHER Beyond (a system of passing) SERIES & SPECIAL 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) 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

125125125 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 Tuba LUCIE HORSCH Recorder KIAN SOLTANI Cello ADRIEN LA MARCA Viola JUNGE SINFONIE BERLIN JUNGE SINFONIE BERLIN conducted by GIEDRĖ ŠLEKYTĖ conducted by GIEDRĖ ŠLEKYTĖ Works by NIELSEN, GIMÉNEZ & NIETO, Works by RACHMANINOFF, DONIZETTI, VIVALDI, MENDELSSOHN BARTHOLDY, DVOŘÁK, BLOCH, SCARLATTI, VAN EYCK, BONONCINI VAUGHAN WILLIAMS, HAYDN, BIZET, VERDI

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 13473 0025-0028

126 U L T R A H D

ONEGIN Our first production shot in UHD High Dynamic 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.

Unitel GmbH & Co. KG ∙ Tel: +49.89.673469-613 · [email protected]

127 AVANT PREMIÈRE CATALOGUE 2018 INDEX

SINGERS

A KRYSTIAN ADAM 34 • MARIA AGRESTA 60 • SOHINI ALAM 77 • CELSO ALBELO 62 • LOUISE ALDER 30, 126 • ROSIE ALDRIDGE 24 • ILKIN ALPAY 29 • FRÉDÉRIC ANTOUN 60 • BENJAMIN APPL 100 • ILKER ARCAYÜREK 126 • GAËLLE ARQUEZ 18, 30, 46, 118, 126 • THOMAS ATKINS 61 • ODILE AUBOIN 125 B WOLFGANG BANKL 25 • THOMAS BARNARD 41, 61 • SHOUSHIK BARSOUMIAN 44 • DILARA BAŞTAR 29 • JANA BAUMEISTER 19 • TANJA ARIANE BAUMGARTNER 30 • DANIEL BEHLE 100 • JULIEN BEHR 77 DMITRY BELOSSELSKIY 57 • GABRIEL BERMÚDEZ 25 • CHRISTOPHE BERRY 63 • VITALIY BILYY 58 • HANA BLAŽIKOVA 34, 95 CHRISTINA BOCK 65 • PATRICK BOLLEIRE 47 • FRANCESCA BONCOMPAGNI 34 • ANDREA BORGHINI 23 • CARLO BOSI 43 • JEAN-SÉBASTIEN BOU 47 • HANNAH BRADBURY 29 • PAVOL BRESLIK 75 • DANIEL BUBECK 85 • GIANLUCA BURRATO 34 C ALDA CAIELLO 38 • KAREN CARGILL 80 • NICOLE CAR 40 • CONSTANTINOS CARYDIS 30 • ERIN CAVES 54 • BRANDON CEDEL 30 • MAX EMANUEL CENCIC 26 • FRANCESCA CHIEJINA 59 • PATRIZIA CIOFI 86 • ALLAN CLAYTON 79 • KEVIN CONNERS 23 • CLARISSA COSTANZO 48 • MARIANNE CREBASSA 36 • VINCENZO CRISTOFOLI 63 • BRIAN CUMMINGS 85 MICHAŁ CZERNIAWSKI 34 D OKKA VON DER DAMERAU 96 • DIANA DAMRAU 95, 96, 100 • JOHN DASZAK 16 • LOUISE DEARMAN 77 • JEANINE DE BIQUE 36 • CHARLES DEKEYSER 77 • JEAN-MARIE DELPAS 63 • ANNA DENNIS 34 • JOSEPH DENNIS 33 ANGELA DENOKE 100 • WOLFRAM IGOR DERNTL 33 • ELIZABETH DESHONG 42 • JODIE DEVOS 47 • LARISSA DIADKOVA 23 JOYCE DIDONATO 8 • SUNNYBOY DLADLA 48 • ELSA DREISIG 52 • DAN PAUL DUMITRESCU 25 E NICOLA EBAU 45 • MARION ECKSTEIN 95 • EMILY EDMONDS 43 • DONNA ELLEN 33 • JAN VAN ELSACKER 122 • SIMEON ESPER • 19 YUSIF EYVAZOV 77 F MICHAEL FABIANO 40 • THOMAS FAULKNER 31 • RAFAEL FINGERLOS 19 • STINE MARIE FISCHER • 55 JONATHAN FISHER 59 JUAN DIEGO FLÓREZ 20, 24 • ANDREW FOSTER-WILLIAMS 48 • JENNIFER FRANCE 28 • MANDY FREDRICH 48 RACHEL FRENKEL 24 • BURKHARD FRITZ 96 • JULIE FUCHS 46 G ANTONIO GANDÍA 44 • CHRISTINA GANSCH 36 • AIDA GARIFULLINA 24 • JUAN FRANCISCO GATELL 50 • EDWARD GAUNTT 29 • IGOR GNIDII 63 • MATTHIAS GOERNE 16 HEINZ GÖHRIG 17 FLORIAN GÖTZ 122 • SERGE GOUBIOUD 122 • ASMIK GRIGORIAN 16 H LIANNA HAROUTOUNIAN 58 • ANJA HARTEROS 22, 64 • SCOTT HENDRICKS 18, 42 • PETER HOARE 80, 85 • TORSTEN HOFMANN 54 • ANUSH HOVHANNISYAN 67 ÉVE-MAUD HUBEAUX 47 I SEÇIL ILKER 33 • SHIGEO ISHINO 54 • SIMINA IVAN 33 • ENRICO IVIGLIA 51 J ERMONELA JAHO 42 PHILIPPE JAROUSSKY 75 • DANIEL JOHANSSON 18 • SOPHIE JUNKER 122 • GORAN JURIĆ 48 K YUKO KAKUTA 55 • KATHARINA KAMMERLOHER 52 • JOHANNES KAMMLER 23 • ANJA KAMPE 64 • JONAS KAUFMANN 22, 60 • ILSEYAR KHAYRULLOVA 33 KANGMIN JUSTIN KIM 34 • KONU KIM 126 • JULIA KLEITER 92 • BENEDIKT KOBEL 33 • STEFAN KOCAN 63 • HYUNA KO 32 DMITRY KORCHAK 50 • VITALIJ KOWALJOW 64 • MAGDALENA KOŽENÁ 91 • ALEKSANDRA KUBAS-KRUK 27 • GENIA KÜHMEIER 77 • ELISABETH KULMAN 77, 100 • GREGORY KUNDE 58 • TIM KUYPERS 23 • MARIUSZ KWIECIEŃ 40 L JENS LARSEN 16 MARION LEBÈGUE 19 • WIEBKE LEHMKUHL 75 • JEAN-FRANÇOIS LOMBARD 122 • ED LYON 28 M MATTEO MACCHIONI 49 • NINO MACHAIDZE 50 • ANDREW MACNAIR 41 • KATHARINA MAGIERA 65, 83 • AYK MARTIROSSIAN 25 CHRISTA MAYER 64 • REINHARD MAYR 95 • NATHAN MEDLEY 85 • FRANCESCO MELI 56 • LEIGH MELROSE 125 • CAROLINE MENG 122 • DOROTHEE MIELDS 95 • SIMONA MIHAI 40 • MARTIN MITTERRUTZNER 125 • ALEXANDRU MOISIUC 25 JOZEFINA MONARCHA 33 • HUW MONTAGUE RENDALL 17 • JOHN MORRISSEY 41 • HANNA-ELISABETH MÜLLER 75 MARTIN MÜLLER 25 • BRIT-TONE MÜLLERTZ 65 • TAMARA MUMFORD 85 N VALENTINA NAFORNIŢĂ 20 • MICHAEL NAGL 55 TAREQ NAZMI 83 • GERGELY NÉMETI 55 • ANNA NETREBKO 56, 77 • ANGELA NISI 44 • EVELIN NOVAK 53 • LEO NUCCI 62 O ANDREW O’CONNOR 59 • KELLEY O’CONNOR 85 • CORNELIA ONCIOIU 63 • SIMON O’NEILL 80 • IGOR ONISHCHENKO 25 • GYULA ORENDT 53 • JOHN OSBORN 50 • CARLOS OSUNA 25 • KATARZYNA OTCZYK 38 P MIRCO PALAZZI 51 • NICOLA PAMIO 51 • RENÉ PAPE 52, 96 • FRANCES PAPPAS 17 • MARCUS PELZ 33 • WYN PENCARREG 41 • DARIUSZ PERCZAK 19 MICHELE PERTUSI 20 • GEORGE PETEAN 22 • MAURO PETER 16, 83 • ALEXANDRA PETERSAMER 65 • GAIA PETRONE 26, 27, 51 • VETA PILIPENKO 45 • SAIMIR PIRGU 116 • MARIANNA PIZZOLATO 34 • ADAM PLACHETKA 20 • VIOLETTE POLCHI 63 ALEX POTTER 95 • NIKOLAUS PRAUSE 33 • ANNA PROHASKA 83, 109 • STEPANKA PUCALKOVA 65 • MARCELO PUENTE 42 CHRISTOPHER PURVES 80 Q ADRIANE QUEIROZ 53 R ANITA RACHVELISHVILI 58 • LIVIA RADO 38 • SILVIA REGAZZO 38 TAYLAN REINHARD 49 • CHEN REISS 32 • RAPHAEL REITER 33 • JOHN RELYEA 91 • MARCO RENCINAI 38 ULRICH RESS 23 • LUCILE RICHARDOT 34 • CHRISTIAN RIEGER 23 • AMÉLIE ROBINS 63 • GERHILD ROMBERGER 102 • LARA ROTILI 45 STEPHAN RÜGAMER 53 • PAOLO RUMETZ 32 • KAI RÜÜTEL 61 S YVES SAELENS 125 • FATMA SAID 126 • SAMUEL SAKKER 59 LUCA SALSI 56 • JUAN SANCHO 26 • DARA SAVINOVA 49 • TOBIAS SCHABEL 17 • HELENE SCHNEIDERMAN • 55 SIMONE SCHRÖDER 65 • FLORIAN SCHÜLE 37 • GOLDA SCHULTZ 36 • PETER SEIFFERT 64 • EKATERINA SEMENCHUK • 56 FLORIAN SEMPEY 41 • SIMON SHIBAMBU 61 • KRISTINA ŠIBENIK 55 • GERHARD SIEGEL 16 • NADINE SIERRA 62 • NATALIA SKRYCKA 53 • WOJTEK SMILEK 63 • LAUREN SNOUFFER 26 • SÉBASTIEN SOULÈS 19 • ANDREW STAPLES 91 • DAVID STEFFENS 55 KREŠIMIR STRAŽANAC 95 • KATJA STUBER 95 • VLADISLAV SULIMSKY 54 • IN SUNG SIM 61 • ELIZABETH SUTPHEN 30 T ROBERTO TAGLIAVINI 56 • TUULI TAKALA 100 • PHILIPPE TALBOT 46 • VINCENZO TAORMINA 44 • SIR BRYN TERFEL 75 RUSSELL THOMAS 36 • KATHARINE TIER 28 • LUCA TITTOTO 41 • BROR MAGNUS TØDENES 57 • MARIE-ANGE TODOROVITCH 62 • EFSA TOPAL 19 • BENEDETTA TORRE 57 • ROMAN TREKEL 32, 52 • NATHAN TRENT 77 • GARETH TRESEDER 34 • ROBIN TRITSCHLER 95 • ELENA TSALLAGOVA 18 • ALEXANDER TSYMBALYUK 59 U MARIA THERESA ULLRICH 55 • CLAUDIA URRU 45 V CARLO VISTOLI 34 • REBECCA VON LIPINSKI 54 • MARCO VRATOGNA 60 W STEFAN WALLRAVEN 19 • ANDREAS WELLER 95 EVA-MARIA WESTBROEK 80 • TERRY WEY 28 • JEREMY WHITE 43 • WILLARD WHITE 36 • OWEN WILLETTS 27 • RACHAEL WILSON 23 • JOHANNA WINKEL 65 • KATRIN WUNDSAM 65 X YANG XU 29 Y YURIY YURCHUK 43 Z FURIO ZANASI 34 • ENRICO ZARA 45 LAWRENCE ZAZZO 30 • HEINZ ZEDNIK 33 • GEORG ZEPPENFELD 64 • HELENA ZUBANOVICH 23

128 AVANT PREMIÈRE CATALOGUE 2018 INDEX

COMPOSERS

A JOHN ADAMS 85, 78 • THOMAS ADÈS 113 • ISAAC ALBÉNIZ 106 • LEROY ANDERSON 102 • MARK ANDRÉ 125 • BENJAMIN ATTAHIR 125 • RICHARD AYRES 125 B JOHANN SEBASTIAN BACH 95, 98, 105, 123, 126 • GERALD BARRY 79 • BÉLA BARTÓK 107 FRANCK BEDROSSIAN 125 • LUDWIG VAN BEETHOVEN 78, 79, 82, 92, 96, 98, 102 • ALBAN BERG 16, 109 • LUCIANO BERIO 106 • SIR HARRISON BIRTWISTLE 81 • GEORGES BIZET 18, 112, 126 • ERNSEST BLOCH 126 • ANTOINE BOËSSET 72 • GIOVANNI BONONCINI 126 • 126 • PIERRE BOULEZ 109 • JOHANNES BRAHMS 89, 90, 92 • ANTON BRUCKNER 96, 98 C FRANCESCO CAVALLI 73 • UNSUK CHIN 125 • LOUIS CONSTANTIN 73 • JOHN CORIGLIANO 102 • TOM COULT 78 • CHAYA CZERNOWIN 125 D CLAUDE DEBUSSY 92, 102, 106 • JEAN DE CAMBEFORT 72 • MANUEL DE FALLA 126 • GAETANO DONIZETTI 20, 126 • PETER DÖRPINGHAUS 126 • TAN DUN 102 • ANTONÍN DVOŘÁK 85, 95, 102, 113, 126 • PEER DYENS 126 E DANNY ELFMAN 77 • SIR EDWARD ELGAR 81, 91 F GABRIEL FAURÉ 106 • MORTON FELDMAN 125 • JOAN MAGRANÉ FIGUERA 125 G STEFANO GERVASONI 125 • GIMÉNEZ/NIETO 126 • UMBERTO GIORDANO 22 • MIKHAIL GLINKA 89, 104 • CHARLES GOUNOD 24 H GEORGE FRIDERIC HANDEL 26, 28, 30, 77 • BRUNO HARTL 102 • JONATHAN HARVEY 125 • JOSEPH HAYDN 92, 113, 126 J LEOŠ JANÁČEK 32, 86, 106 L MICHEL LAMBERT 73 • RAMON LAZKANO 124 • GYÖRGY LIGETI 113 • FRANZ LISZT 106, 78 M GUSTAV MAHLER 92, 102 PEER MARKUSSON 126 • BOHUSLAV MARTINŮ 86 • GREGOR A. MAYRHOFER 125 • BARTHOLDY 126 OLIVIER MESSIAEN 125 • 126 • CLAUDIO MONTEVERDI 34 • LEBOHANG MORAKE 77 • WOLFGANG AMADEUS MOZART 36, 77, 83, 95, 96, 109, 126 • MODEST MUSSORGSKY 89 N CARL NIELSEN 126 • MARKO NIKODIJEVIC 125 • LUIGI NONO 38 P SERGEI PROKOFIEV 12, 89, 102 • GIACOMO PUCCINI 40, 42 R SERGEI RACHMANINOFF 102, 126 • JEAN-PHILIPPE RAMEAU 108 MAURICE RAVEL 106, 112 • OTTORINO RESPIGHI 44 • MAX RICHTER 66 • LUIGI ROSSI 73 • GIOACHINO ROSSINI 46, 48, 50 S CAMILLE SAINT-SAËNS 104 • ERIK SATIE 70 • NITIN SAWHNEY 106 • 126 • ARNOLD SCHOENBERG 80, 115 • FRANZ SCHUBERT 95, 109, 111 • ROBERT SCHUMANN 52, 82 • JAY SCHWARTZ 125 • DMITRI SHOSTAKOVICH 102 • VLADIMÍR SOMMER 102 • RICHARD STRAUSS 86, 102, 104 • IGOR STRAVINKSY 70, 79, 92, 125 T TORU TAKEMITSU 125, 106 • PYOTR ILYICH TCHAIKOVSKY 14, 54, 68, 89, 104 • ANNA THORVALDSDOTTIR 125 V JACOB VAN EYCK 126 • 126 GIUSEPPE VERDI 56, 58, 60, 62, 126 • ARCADI VOLODOS 89 W RICHARD WAGNER 5, 64 • JÖRG WIDMANN 109 • CARL MICHAEL ZIEHRER 102

CONDUCTORS

A MARCO ANGIUS 38 • MARCO ARMILIATO 22 B DANIEL BARENBOIM 52, 81, 96, 104, 117 • JIŘÍ BĚLOHLÁVEK 86 • LEONARD BERNSTEIN 4 • HERBERT BLOMSTEDT 98 C SYLVAIN CAMBRELING 54 • PAOLO CARIGNANI 18 • TEODOR CURRENTZIS 36, 83 D SÉBASTIEN DAUCÉ 72 • PLÁCIDO DOMINGO 24 • GUSTAVO DUDAMEL 85 • VINCENT DUMESTRE 122 E M A XIM EMELYAN YCHE V 86 F RICHARD FARNES 58 • GABRIELE FERRO 50 • MIKKO FRANCK 62 G SIR JOHN ELIOT GARDINER 34 • EDWARD GARDNER 78 • DANIELE GATTI 92 • VALERY GERGIEV 89 • ELIAS GRANDY 126 • MIRGA GRAŽINYTĖ-TYLA 79 H DANIEL HARDING 91 THOMAS HENGELBROCK 75, 90, 95 • PHILIPPE HERREWEGHE 95 J MARISS JANSONS 102 • VLADIMIR JUROWSKI 16 K HERBERT VON KARAJAN 120 • KOEN KESSELS 66, 68 L LOUIS LANGRÉE 46 M JOHN MAUCERI 77 • GREGOR MAYRHOFER 125 • MICHELANGELO MAZZA 77 • ENRIQUE MAZZOLA 48 • MARC MINKOWSKI 77 • CHRISTOPHER MOULDS 28 • RICCARDO MUTI 56 N TOMÁŠ NETOPIL 32 P SIR ANTONIO PAPPANO 40, 42, 60 • GEORGE PETROU 26 • EVELINO PIDÒ 20 • MATTHIAS PINTSCHER 124, 125 R SIR SIMON RATTLE 80, 85 • DONATO RENZETTI 44 S JAMES SHEARMAN 77 • GIEDRĖ ŠLEKYTĖ 126 T CHRISTIAN THIELEMANN 64, 98, 100 V LORENZO VIOTTI 82 W DUNCAN WARD 125

INSTRUMENTALISTS

A MARTHA ARGERICH 112 B RADEK BABORÁK 86 • DANIEL BARENBOIM 102, 109, 111, 112 • MICHAEL BARENBOIM 109 • CORINA BELCEA 113 C FRÉDÉRIQUE CAMBRÉLING 125 • SOPHIE CHERRIER 125 • FRANCK CHEVALIER 107 • KRZYSZTOF CHORZELSKI 113 • JÉRÔME COMTE 125 D YULIA DEYNEKA 109 • GILLES DUROT 125 F ASYA FATEYEVA 126 • HELMUT FUCHS 100 G HÉLÈNE GRIMAUD 106 • MARTIN GRUBINGER 102 H PIERRE HANTAÏ 108 • MARIE HAUZEL 126 • LUCIE HORSCH 126 • EVAN HUGHES 125 J LEILA JOSEFOWICZ 79 K SERGEY KHACHATRYAN 82 L ADRIEN LA MARCA 126 • JULIA LANGE 126 • ANTOINE LEDERLIN 113 • THOMAS LELEU 126 • IGOR LEVIT 78 M MIRIAM MANASHEROV 104 • DMITRY MASLEEV 126 • TIMOTHY MCALLISTER 85 PIERRE MORLET 107 N HIDEKI NAGANO 125 O EMMANUELLE OPHÈLE 125 R CONSTANCE RONZATTI 107 S KARIM SAID 109 CLÉMENT SAUNIER 124, 125 • AXEL SCHACHER 113 • SIR ANDRÁS SCHIFF 98, 105, 123 • SKIP SEMPÉ 108 KIAN SOLTANI 104, 109, 126 T EMMANUEL TJEKNAVORIAN 126 V JÉRÔME VARNIER 125 • TATJANA VASSILJEVA 92 • JEAN-CHRISTOPHE VERVOITTE 124 W YUJA WANG 89 • JÖRG WIDMANN 109 Z YUN-PENG ZHAO 107 • FRANK PETER ZIMMERMANN 92

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