Catalogue 2018
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CATALOGUE 2018 Cast The Arthaus Musik classical music catalogue features more than 400 productions from the beginning of the 1990s until today. Outstanding conductors, such as Claudio Abbado, Lorin Maazel, Giuseppe Sinopoli and Sir Georg Solti, as well as world-famous singers like Placido Domingo, Brigitte Fassbaender, Marylin Horne, Eva Marton, Luciano Pavarotti, Cheryl Studer and Dame Joan Sutherland put their stamp on this voluminous catalogue. The productions were recorded at the world’s most renowned opera houses, among them Wiener Staatsoper, San Francisco Opera House, Teatro alla Scala, the Salzburg Festival and the Glyndebourne Festival. Unitel and Arthaus Musik are proud to announce a new partnership according to which the prestigious Arthaus Musik catalogue will now be distributed by Unitel, hence also by Unitel’s distribution partner C Major Entertainment. World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Arthaus · Flyer: luebbeke.com Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de OPERA ................................................................................................................................. 3 OPERETTA ......................................................................................................................... 35 BALLET ............................................................................................................................... 36 CONCERT............................................................................................................................ 57 SPECIAL .............................................................................................................................. 75 MUSIC FILM ....................................................................................................................... 86 DOCUMENTARY................................................................................................................. 87 PORTRAIT......................................................................................................................... 100 BIOGRAPHY ..................................................................................................................... 110 www.unitel.de OPERA ALBAN BERG: WOZZECK Length: 95' / Cat. No. A05010312 Libretto by Alban Berg after the Play by Georg Büchner| Directed by: Peter Mussbach| Conductor: Sylvain Cambreling Soloists: Kristine Ciesinski, Dale Duesing, Ronald Hamilton, Barry Banks, Dieter Bundschuh | Orchestra/Chorus: Chor und Kinderchor der Oper Frankfurt , Frankfurter Museumsorchester Berg was conscripted during the 1914-18 war and acquired from his experiences the compassion and loathing to write his first, terrifyingly great opera, about a soldier tormented and mocked by his superiors until he loses his reason, cutting the throat of his mistress, and drowning himself. A devious world destroys Wozzeck’s sense of identity and turns him into a murderer. This brutalisation is made palpable in Peter Mussbach’s highly-stylised production which, in its expressionistic artificiality, heightens the emotional intensity of this searing work. In his hands Wozzeck becomes an agonising lament over lost innocence. Mussbach is a master of visual and dramatic effect and the impact of his staging is enhanced by the framing opportunities afforded by video recording under studio conditions. Surfaces are steeply raked and blaze in primary colours; perspectives are flattened and distorted; space is confined; decoration has been stripped away; character is manifested through costumes, masks, make-up, movement; the particular stands for the collective. Dale Duesing, as Wozzeck, is a charismatic central figure, an agile performer, restless and tormented. The role of Marie is taken by Kristine Ciesinski, a consummate singer and actress of Berg’s work. Mussbach’s Hauptmann is reminiscent of Alfred Jarry’s Ubu Roi, and his Doctor brings to mind a frock-coated Frankenstein. These monsters of inhumanity are incisively portrayed by Dieter Bundschuh and Frode Olsen. A powerful tenor, Ronald Hamilton sings the role of the grotesquely overblown Drum Major. Conductor Sylvain Cambreling’s reading of the score is characterised by its structural clarity." ANTONÍN DVORÁK: RUSALKA Length: 147' / Cat. No. A03033275 Directed by: David Pountney | Conductor: Mark Elder | Soloists: Eilene Hannan, Ann Howard, John Treleaven, Phyllis Cannan, Rodney Macann | Orchestra/Chorus: Chorus and Orchestra of the English National Opera David Pountney’s landmark English National Opera staging of Dvořák’s haunting fairy tale opera left critics and audiences spellbound. The production is set in a Victorian nursery where an adolescent girl, on the brink of sensual awakening, dreams of first love. Her story is that of Rusalka the wood nymph who, like Hans Christian Andersen’s Little Mermaid, sacrifices all for a love destined to be betrayed. High above the stage Rusalka dreamily swings as the picturesque gives way to the surreal. Influenced by Jung and Freud, Magritte and Delvaux and magically realised in the designs of Stefanos Lazaridis, Pountney’s Rusalka succeeds in creating a fairy tale to enchant the most hardened modern audience. David Pountney states that Rusalka is about “a typical initiation into social and sexual experience” – the evolution from a child to young woman. He conjures up an enchanted world of repression and surreal fantasy. The set is spacious, gleaming white and full of archetypal symbols including a rocking horse, wardrobe, furniture which slides about, dolls that dance, floorboards that open to reveal a pool with a swing high above it. The effect produces a dreamworld which teeters on the edge of a nightmare." WORLD SALES: Unitel GmbH & Co. KG - [email protected] – Tel.: +49.89.673469.613 C Major Entertainment GmbH – [email protected] – Tel.: +49.30.30306464 3 ANTONIO VIVALDI: ORLANDO FURIOSO Length: 147' / Cat. No. A03033275 Directed by: Pier Luigi Pizzi | Conductor: Randall Behr | Soloists: Marilyn Horne, Kathleen Kuhlmann, Susan Patterson, Jeffrey Gall, Kevin Langan, William Matteuzzi, Sandra Walker | Orchestra/Chorus: Chorus and Orchestra of the San Francisco Opera House Certainly more than just the composer of the Four Seasons, Vivaldi also wrote hundreds of largely famous instrumental works, and his glorious church music is well known; but it wasn’t until recent decades that his operas – of which he is said to have written more than fifty – were resurrected. Orlando furioso occupies a central and very significant place among Vivaldi’s works. Not only does the whole score of this opera demonstrate its composer’s full, creative maturity, but its outstanding features are also an extraordinary musical beauty, an attractive recitative line, and a balance thus created between the various parts of the dramatic and musical whole. This exceptional musical achievement was no doubt partly due to the famous theme of the original story, as well as the literary and dramatic qualities of a first-rate libretto. Pier Luigi Pizzi’s 1979 production of Orlando furioso in Verona marked the beginning of contemporary international interest in Antonio Vivaldi’s operas. Ten years later the same director once more produced this work at the San Francisco Opera. A Californian public greeted the baroque magnificence of this production with great enthusiasm, and both the daily and specialist press outdid each other in eulogies of praise for the director, his new staging, the vocal casting of all the roles and the musical quality of the whole opera." ARIBERT REIMANN: GESPENSTERSONATE Length: 88' / Cat. No. A05050482 Directed by: Heinz Lukas-Kindermann | Conductor: Friedemann Layer | Soloists: Hans Günter Nöcker, Martha Mödl, Horst Hiestermann, David Knutson, Gudrun Sieber | Orchestra: Junge Deutsche Philharmonie – Ensemble Modern In September 1984, as part of the Berlin Festival Week, the Deutsche Oper Berlin staged the world premiere of German composer Aribert Reimann’s opera “Die Gespenstersonate”. Based on the drama by the Swedish writer August Strindberg, the chamber opera tells the story of a student, who muses about the inhabitants of a fancy-looking house. His crucial meeting with the Old Man pulls him into a world of intrigues, sickness, depression and murder. It plays in and around the presumably haunted house, which seems to drown its inhabitants in its sinister atmosphere. Better known for his operas “Lear” or “Medea”, Reimann established himself firmly as a stage composer from 1965 onwards. “Die Gespenstersonate”, being a modern chamber opera, was performed not on the great stage of the Deutsche Oper Berlin, but at the smaller Hebbel-Theater. Heinz Lukas-Kindermann’s stage direction sets the spectator under its gloomy spell, the exquisite cast performing the demanding score stars Hans Günter Nöcker as the “Old Man” and David Knutson as the Student, as well as well-loved Martha Mödl as the “Mummy”. ARIBERT REIMANN: MEDEA Cat. No. A03030305 Directed by: Marco Arturo Marelli | Conductor: Michael Boder | Soloists: Marlies Petersen, Michaela Selinger, Elisabeth Kulman, Michael Roider, Adrian Erö | Orchestra/Chorus: Chor und Orchester der Wiener Staatsoper Many authors have written works based on the ancient myth of Medea but it was the play by Franz Grillparzer which inspired Aribert Reimann most: “In no other version is it made so brutally clear that Medea is an outsider.