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UNITEL is one of the world's leading producers of classical music programmes for film, television, video and new media.Based on exclusive relationships with outstanding artists and institutions like Herbert von Karajan, Leonard Bernstein, the Salzburg Festival and many others, the UNITEL catalogue of more than 1700 titles presents some of the greatest achievements in the last half a century of classical music.

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Photo: Monika Rittershaus

OPERABellini: Norma (Royal Opera House, London / Pappano / Oll) 12 Cherubini: Medea (Dijon Opera / Krger / Ruf) 14Donizetti: La Favorite (Bayerische Staatsoper, Mnchen / Chichon / Niermeyer) 16Donizetti: Lucia di Lammermoor (Royal Opera House, London / Oren / Mitchell) 18Faccio: Amleto (Bregenz Festival / Wiener Symphoniker / Carignani / Tambosi) 20Gounod: Faust (Salzburg Festival / Wiener Philharmoniker / Prez / von der Thannen) 22Hosokawa: Stilles Meer (Staatsoper Hamburg / Nagano / Hirata) 24Mozart: Die Zauberflte (Teatro alla Scala, Milano / Fischer / Stein) 26Mussorgsky: Boris Godunov (Royal Opera House, London / Pappano / Jones) 28Offenbach: Les contes d'Hoffmann (Royal Opera House, London / Pid / Schlesinger) 30Puccini: La Bohme (Teatro Regio di Torino / Noseda / Oll) 32Respighi: La campana sommersa (Teatro Lirico di Cagliari / Renzetti / Maestrini) 34R. Strauss: Die Liebe der Danae (Salzburg Festival / Wiener Philharmoniker / Welser-Mst / Hermanis) 36Verdi: I due Foscari (Teatro alla Scala, Milano / Mariotti / Hermanis) 38Verdi: Giovanna dArco (Teatro Farnese, Parma / I Virtuosi Italiani / Tebar / Boddeke & Greenaway) 40Verdi: La traviata (Chorgies d'Orange / Rustioni / Dsir) 42Verdi: Otello (Salzburg Easter Festival / Thielemann / Boussard) 44Verdi: Un ballo in maschera (Bayerische Staatsoper, Mnchen / Mehta / Erath) 46Wagner: Lohengrin (Semperoper Dresden / Thielemann / Mielitz) 48

BALLETBabel 7.16 (Festival dAvignon / Cherkaoui & Jalet) 50Minkus: Don Quixote (Wiener Staatsballett / Nureyev) 51Adam: Giselle (The Royal Ballet / Petipa) 52Liebermann: Frankenstein (The Royal Ballet / Scarlett) 53Rachmaninoff: Rhapsody & Messager: The Two Pigeons (The Royal Ballet / Ashton) 54Tchaikovsky & Martin: Anastasia (The Royal Ballet / MacMillan) 55Tchaikovsky: The Nutcracker (The Royal Ballet / Wright) 56Yates: Elisabeth (The Royal Ballet / Tuckett) 57


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CONCERTBadische Staatskapelle

The Baden-Baden Opera Gala 59Berliner Philharmoniker The Beethoven Symphony Cycle (S. Rattle) 61Boulez & Mahler (S. Rattle) 61Wagner & Bruckner (A. Nelsons) 62Chausson, Debussy & Faur (C. Karg, S. Koch, C. Thielemann) 62Poulenc, Koechlin, Kurtg & Ravel (S. Rattle) 62Camerata Salzburg Ravel, Gershwin & Kodly (Y. Wang, L. Bringuier) 64City of Birmingham Symphony Orchestra Mirga Grainyt-Tyla The Inaugural Concert (B. Hannigan) 65Collegium 1704 Biber: Missa Salisburgensis & Sacred Works by Monteverdi (V. Luks) 66Czech Philharmonic Orchestra Martin & Mahler (J. Blohlvek) 67John Wilson Orchestra John Wilson Orchestra performs Gershwin (L. Dearman, J. Ovenden, M. Ford, J. Wison) 68Mnchner Philharmoniker Ravel, Rachmaninoff, Ustvolskaya & R. Strauss (B. Abduraimov, V. Gergiev) 69The Complete Mozart Violin Concertos (V. Gergiev) 70 Mozart: Sinfonia Concertante (L. Nasturica-Herschcowici, Y. Afonkin) 70The Odeonsplatz Concert (V. Gergiev) 71 NDR Elbphilharmonie Orchester Elbphilharmonie Hamburg The Inaugural Concert Gala (T. Hengelbrock) 104 The Brahms Symphony Cycle (T. Hengelbrock) 104Orchestre de Paris Schumann: Szenen aus Goethes Faust (C. Gerhaher, H.-E. Mller, D. Harding) 72Schumann: Das Paradies und die Peri (M. Goerne, C. Karg, D. Harding) 73Berg & Mahler (I. Faust, C. Landshamer, D. Harding) 75Hommage Pierre Boulez (P. Jrvi, M. Pintscher, B. Mantovani) 75Orchestre Millenium Donizetti: Messa da Requiem (L. Garca Alarcn) 75Rotterdam Philharmonic Orchestra Elgar & Sibelius (D. Mller-Schott, M. Elder) 76Royal Concertgebouw Orchestra Daniele Gatti The Inaugural Concert (C. Gerhaher) 76Mahler: Symphony No. 2 (A. Dasch, D. Gatti) 76Wagner, Liszt & Berlioz (D. Gatti) 79Bach: Christmas Oratorio (T. Pinnock) 79


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Staatskapelle Dresden Festive Advent Concert at the Frauenkirche Dresden (S. Yoncheva, R. Mhlemann, A. Orozco-Estrada) 81Bruckner: Symphony No. 3 (C. Thielemann) 81Festive Gala from the Semperoper Dresden (N. Znaider, C. Thielemann) 83Beethoven, Reger & R. Strauss (N. Znaider, C. Thielemann) 83Brahms, Tchaikovsky & Liszt (L. Batiashvili, G. Capuon, C. Thielemann) 83Tonknstler-Orchester Grafenegg Festival Midsummer Nights Gala 85Festive Concert on the Occasion of the 10th Anniversary of the Grafenegg Festival 85Vienna Radio Symphony Orchestra Hollywood in Vienna A Tribute to Alexandre Desplat 87Wiener Akademie Orchester Red Ribbon Celebration Concert (A. Netrebko, P. Bezcala, T. Hampson) 87West-Eastern Divan Orchestra A Tango Evening at the Teatro Coln (C. Salgn, M. & D. Barenboim) 89Widmann, Liszt & Wagner (M. Argerich, D. Barenboim) 89The Human Rights Concert (D. Barenboim) 89

RECITALKit Armstrong Bachs Goldberg Variations and its Predecessors 90Martha Argerich and Daniel Barenboim Piano Duos at the Teatro Coln 91

CHAMBER MUSICProkofiev: The Complete Piano Sonatas 92The Deadly Sins Angels and Demons in the Works of Monteverdi 93The Philharmonics & Thomas Hampson Golden Times 95Alison Balsom & The Balsom Ensemble In dulci jubilo 95Helmuth Rillings Weimar Bach Cantata Academy Cantata Concerts and Lectures 95

DOCUMENTARIESAnne-Sophie Mutter A Celebration 97Good Thoughts, Good Words, Good Deeds The Conductor Zubin Mehta 97The Elbphilharmonie Hamburgs new Landmark 104

SERIES & SPECIALSMax Raabe & Palast Orchester Let's do it 98Stars of Tomorrow 99The Myth of Beethoven His Life in Six Sonatas 100Super Diva Opera for Everyone 101

INDEX 102

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O U R G R E AT E S T P R O D U C T I O N S A R E G E T T I N G E V E N G R E AT E R!

The Unitel catalogue features some of the worlds 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.

Following the principles set up by Dr. Leo Kirch and Herbert von Karajan to produce in the best technical quality available, Unitel has started to produce in 4K Ultra High Definition four times the quality of todays standard Full HD. With more than twenty productions from Salzburg Festival, Teatro alla Scala, Bayerische Staatsoper, Semperoper Dresden, Wiener Staatsoper and Teatro Regio Torino available, Unitel, once again, is taking classical music to the next stage.

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VINCENZO BELL INI

NORMA SONYA YONCHEVA JOSEPH CALLEJA

SONIA GANASSI BRINDLEY SHERRATT

ORCHESTRA OF THE ROYAL OPERA HOUSE

CONDUCTED BY ANTONIO PAPPANO

STAGED BY LEX OLL (LA FURA DELS BAUS)

For the first new production of Bellinis Norma at the Royal Opera House in 30 years, Royal Opera Music Director Antonio Pappano conducts a superlative cast of internationally renowned singers, led by Sonya Yoncheva. The young singer star and acclaimed soprano makes her debut in the title role alongside tenor Joseph Calleja as Normas secret lover, Pollione.

Bellinis classic bel canto opera is full of wonderful melodies and opportunities for star singing. But it is especially known for its stunning showpiece aria Casta diva.

lex Oll of the innovative Catalan theatre group La Fura dels Baus directs, bringing a modern edge to this timeless tale of love, rivalry and betrayal set against a backdrop of war driven by the extremes of a fanatically religious, fascist society.

Yoncheva, making her role debut as Norma, is hugely impressive. She is affecting when sharing the pain of her fellow-suffering priestess Adalgisa, she blazes with vengeful anger and she commands the assembled company at the end with both vocal and physical authority. (Evening Standard) A striking production and a terrifically enjoyable evening, especially for Yonchevas superb assumption of the title role. (Bachtrack) Joseph Callejas timelessly beautiful voice has never sounded better. (The Independent) A striking spectacle. (The Arts Desk)

Conductor Antonio PappanoOrchestra Orchestra of the

Royal Opera HouseChorus Royal Opera Chorus

Chorus Master Peter ManningStage Director lex Oll (La Fura dels Baus)

Norma Sonya YonchevaPollione Joseph CallejaAdalgisa Sonia GanassiOroveso Brindley Sherratt

Flavio David Junghoon KimClotilde Vlada Borovko

Video Director Jonathan Haswell

VINCENZO BELL INI

NORMA

Length: approx. 150'Cat. no. A 020 50094

A production ofRoyal Opera House, Covent Garden

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U N I T E L P R O U D LY R E P R E S E N T S T H E I N T E R N AT I O N A L T V D I S T R I B U T I O N O F T H E R OYA L O P E R A H O U S E L O N D O N

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Tineke van Ingelgem Avi Klemberg

Frdric Goncalves Magali Arnault Stanczak

Dijon Bourgogne Orchestra

Conducted by Nicolas Krger

Staged by Jean-Yves Ruf

Dijon Opera

Luigi Cherubinis most famous opera Mde is based on the universal

and timeless tragedy Medea by the Greek poet Euripides. With a

mother who exacts revenge for her husbands betrayal by killing their

own children, it is undoubtedly one of the most violent and frigid

myths that Antic Greece has left us.

French stage director Jean-Yves Ruf chose the original French version

of Mde, instead of the more frequently performed Italian translation,

to be presented at Dijon Opera. Mde exemplifies a particularly

effective way of blending music and theatre, using transitions between

speech, melodrama and singing. Even for Johannes Brahms, a great

admirer of Cherubini, Mde represents the summit of dramatic

music. Jean-Yves Ruf highlights the libretto through a dark lightened

stage set (created by architect and stage designer Laure Pichat), which

perfectly fits the gloomy mood of the play.

The Dijon Bourgogne Orchestra, under the baton of Nicolas Krger,

performs brilliantly with lyrical and beautiful playing. In the fatal,

impressive last act, Mde reaches perfection, without the slightest

weakness. The young belge soprano Tineke van Ingelgem, in the role

of Mde, delivers an extraordinary performance with all qualities

being present: a powerful, agile voice in all registers combined with a

refined dramatic temperament. Avi Klemberg, with his sain, seducing

voice excellently embodies an equivocal Jason, of whom we can

never be sure if he still loves Mde or not (Le Bien Public).

Orchestra Dijon Bourgogne Orchestra

Chorus Dijon Opera Choir

Chorus Master Anita Henne

Chorus La Matrise de Dijon

Chorus Master Etienne Meyer

Conductor Nicolas Krger

Stage Director Jean-Yves Ruf

Mde Tineke van Ingelgem

Jason Avi Klemberg

Cron Frdric Goncalves

Dirc Magali Arnault Stanczak

Nris Yete Queiroz

Sons of Jason & Mde Isaac El Hadad

Quentin Mura

Video Director Frdric Delesques

French original version of 1797Libretto by Franois-Benot Hoffman

MDELuigi Cherubini

Photos: Heliox Films

Length: 137'Cat. no. A 010 50051

HELIOX Films in co-production withDijon Opera and Dijon Bourgogne Orchestra

In association with ClassicAll M_Media and UNITELwith the support of CNC

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G A E T A N O D O N I Z E T T I

E L N A G A R A N A M AT T H E W P O L E N Z A N I

M A R I U S Z K W I E C I E M I K A K A R E S

B AY E R I S C H E S TA AT S O P E R

C O N D U C T E D B Y K A R E L M A R K C H I C H O N

S TA G E D B Y A M L I E N I E R M E Y E R

LA FAVORITE

Donizettis La Favorite at the Bayerische Staatsoper comes up with a cast of outstanding belcanto singers: star mezzo-soprano Elna Garana as seducing Lonor de Guzman, Matthew Polenzani as her desperate lover Fernand and Mariusz Kwiecie as King Alphonse.

Numerous myths surround the historical figure of Lonore de Guzman, mistress of King Alfons XI of Castile, who becomes embroiled within an intrigue-laced political power play. Lonore, whose love for the King is revealed to be a farce, flinges herself upon the young Fernand, who, for her sake, has eschewed the life of a monk in Santiago de Compostela. Yet, he is unaware of her status as a mistress, thus allowing the pair to become victims of a conspiratorial trial of strength between church and state, which in the end denies the couple even the hope of a joint future after death.

Amlie Niermeyer transforms the tragedy of the female role torn between spiritual and secular values into a concentrated and intense drama [] with high acting quality (Mnchner Merkur). This contrast is highlighted by enormous architectural box structures that continually transport the characters between the convent and the royal palace, emphasizing the influence each party has on the current scene.

The fabulous Elna Garana [] sings beautifully and emotionally restrained, leaving the audience deeply moved during her dying scene, while Matthew Polenzani, in his debut as Fernand, scores with superb singing and acting, reaching high tones with ease (Sddeutsche Zeitung). Mariusz Kwiecie convinces with the proper dandified arrogance and impressive acting, while conductor Karel Mark Chichon completes the musically fantastic performance by getting the most out of the Bayerisches Staatsorchester, impressively bringing out the dark, viscous sounds of the score and following the soloists with great intuition (BR Klassik).

Conductor Karel Mark Chichon

Orchestra Bayerisches Staatsorchester

Chorus Chorus of the

Bayerische Staatsoper

Chorus Master Sren Eckhoff

Stage Director Amlie Niermeyer

Lonor de Guzman Elna Garana

Fernand Matthew Polenzani

Alphonse XI Mariusz Kwiecie

Balthazar Mika Kares

Don Gaspard Joshua Owen Mills

Ins Elsa Benoit

Produced by Metis Film

Video Director Tiziano Mancini

G A E T A N O D O N I Z E T T I

LA FAVORITE

ORITE

Photos: Wilfried Hsl

A production of UNITEL in co-production with NHK

in cooperation with Bayerische Staatsoper

Length: 157'Cat. no. A 050 50392

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GAETANO DONIZETT I

LUCIA DI

LAMMERMOOR DIANA DAMRAU CHARLES CASTRONOVO LUDOVIC TZIER TAYLOR STAYTON


CONDUCTED BY DANIEL OREN

STAGED BY KATIE MITCHELL

In Donizettis tragic masterpiece from 1835 based on Sir Walter Scotts novel Lucy of Lammermoor, Lucia, secretly in love with her brother Enricos enemy Edgardo, is forced to marry a rich man in order to restore the family fortunes. However, on her wedding night she stabs the bridegroom to death.

In this, psychologically compelling, production by Katie Mitchell, Diana Damrau as Lucia is brilliantly convincing as a woman of modern attitudes in a still feudal mans world (The Financial Times) and in the duets with the American tenor Charles Castronovo, in fine and strong voice as Edgardo, their voices blend perfectly with each other (The Daily Express). The undeniable emotional impact gets intensified by Mitchells split screen approach, whereby the audience sees not only the characters meant to be singing at any given moment, but also what is happening simultaneously offstage, which offers additional insight into the storyline.

The music is delicious, the singing is glorious, the acting per-formances are excellent and the orchestra, conducted by Daniel Oren, is up to its usual very high standards.(The Daily Express)

Orchestra Orchestra of the

Royal Opera House

Conductor Daniel Oren

Chorus Royal Opera Chorus

Chorus Master Renato Balsadonna

Stage Director Katie Mitchell

Lucia Diana Damrau

Edgardo Charles Castronovo

Enrico Ludovic Tzier

Arturo Taylor Stayton

Raimondo Kwangchul Youn

Normanno Peter Hoare

Alisa Rachael Lloyd

Video Director Margaret Williams

GAETANO DONIZETT I

LUCIA DI LAMMERMOOR


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Length: 149'Cat. no. A 020 50089

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Pavel ernoch Claudio Sgura Iulia Maria Dan Dshamilja KaiserWiener Symphoniker conducted by Paolo Carignani

staged by Olivier Tambosi

F R A N C O F A C C I O

AmletoLibretto by Arrigo Boito

based on Shakespeares Hamlet

This production offers all an Italian-opera-lover could possibly desire, wrote the Frankfurter Allgemeine Zeitung after the revival of this forgotten gem at the Bregenz Festival: on occasion of the fourth centenary of William Shakespeares death, the festival continued its rediscovery series with Amleto, an opera by Verdi contemporaries Franco Faccio and Arrigo Boito, based on Shakespeares tragedy Hamlet.

Premiered in 1865 in Genoa and restaged in 1871 at Milanos La Scala, Amleto was only revived in 2014 concertante in the US before its triumphal rebirth (Deutschlandradio Kultur) at the Bregenz Festival, where the opera was also recorded for the first time ever. Faccio, who conducted the first performance of Verdis Aida in Italy and the world premiere of Otello, and Boito, Verdis librettist of Otello and Falstaff, skillfully and effectively challenge the conventions of Italian opera, which they wanted to revitalize by infusing it with the spirit of Shakespeares drama. Anticipating the musical language of later Italian verismo composers, the opera combines lovely musical interludes with superb vocal writing.

Heading a supreme cast, Pavel ernoch as Amleto delivers superbly, using his colorful tenor skillfully to develop the transformation of the insecure youngling to the ice-cold avenger (NZZ) and granting the work large scale (Abendzeitung). Iulia Maria Dan lends her melting soprano to Ofelia. Under the baton of Paolo Carignani with the Wiener Symphoniker and Prague Philharmonic Choir it carried terrific punch. Olivier Tambosis excellent staging served it well, with a clear focus on the high points (The Telegraph). In the intermission and at the end there was vociferous enthusiasm of the audience for the late first encounter with this music (Neue Musikzeitung).

Conductor Paolo CarignaniOrchestra Wiener Symphoniker

Chorus Prague Philharmonic ChoirChorus Master Luk VasilekStage Director Olivier Tambosi

Amleto Pavel ernochClaudio Claudio SguraPolonio Eduard TsangaOrazio Sbastien Souls

Marcello Bartosz UrbanowiczLaerte Paul SchweinesterOfelia Iulia Maria Dan

Gertrude Dshamilja KaiserThe Ghost / A Priest Gianluca Buratto

King Gonzaga / A Herald Jonathan WinellThe Queen Sabine Winter

Luciano / First Gravedigger Yasushi HiranoSecond Gravedigger Hans-Jrg Ulm

Video Director Felix Breisach

F R A N C O F A C C I O

AmletoLibretto by Arrigo Boito

based on Shakespeares Hamlet

Pavel ernoch Claudio Sgura Iulia Maria Dan Dshamilja KaiserWiener Symphoniker conducted by Paolo Carignani

staged by Olivier Tambosi

A co-production of ORF III, Unitel and ORF Vorarlberg

in cooperation with Bregenz Festival


Photos: Karl Forster

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F A U S T

P I OT R B E C Z A A I L D A R A B D R A Z A KO V

M A R I A A G R E S TA A L E X E Y M A R KO V TA R A E R R A U G H T

W I E N E R P H I L H A R M O N I K E R C O N D U C T E D B Y A L E J O P R E Z

S TA G E D B Y R E I N H A R D V O N D E R T H A N N E N

C H A R L E S G O UNOD

In Salzburg Festivals first ever performance of Charles Gounod s most famous and most performed opera, internationally-acclaimed tenor Piotr Beczala triumphs in the title role as soul-selling philosopher Faust: Piotr Beczaa is a world-Faust, writes Kurier, The crown deserves Piotr Beczaa, a perfect cast the Abendzeitung, and the Salzburger Nachrichten adds flawless is his aria Salut, demeure chaste et pure. Opposite the Polish tenor stars an ideal cast led by Ildar Abdrazakov, celebrated (Broadway World) for his signature role as seductive and demonic Mphistophls, and Maria Agresta as convincingly innocent Marguerite, struggling to resist temptation and to gain salvation: She is fabulous, Sddeutsche Zeitung raves. Gounod s masterpiece, staged spectacular and photogenic (Frankfurter Allgemeine Zeitung) in Salzburg by award winning stage director and designer Reinhard von der Thannen, is based on Carrs play Faust et Marguerite, which in turn is based on Part I of Johann Wolfgang von Goethes dramatic poem Faust, one of the great works of European literature. The opera contains much-loved musical highlights including the memorable Soldiers Chorus, Mphistophls rowdy Song of the Golden Calf, and Marguerites Jewel Song with its dazzling coloratura.

Also featured are Alexey Markov as Valentin and Tara Erraught as Sibel, Paolo Rumetz as Wagner and Marie-Ange Todorovitch as Marthe. Providing the chorus and orchestra are the Philharmonia Chor Wien and the Wiener Philharmoniker, performing under the baton of young Argentinian conductor Alejo Prez.

Orchestra Wiener Philharmoniker

Chorus Philharmonia Chor Vienna

Chorus Master Walter Zeh

Conductor Alejo Prez

Stage Director Reinhard von der Thannen

Faust Piotr Beczaa

Mphistophls Ildar Abdrazakov

Marguerite Maria Agresta

Valentin Alexey Markov

Sibel Tara Erraught

Wagner Paolo Rumetz

Marthe Marie-Ange Todorovitch



F A U S T

C H A R L E S G O UNOD

Photos: Monika Rittershaus

A production of UNITEL in co-production with ORF and 3sat

in cooperation with Wiener Philharmoniker and Salzburger Festspiele

Length: 184'Cat. no. A 040 50065

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STILLES MEER

conducted by Kent Nagano

staged by Oriza Hirata

Staatsoper Hamburg

Susanne Elmark Mihoko Fujimura Bejun MehtaViktor Rud

TOSHIO HOSOKAWA

WORLD PREMIERECritical praise for Toshio Hosokawas haunting new opera: A requiem that gives mourning a voice (Sddeutsche Zeitung). Tremendously effective (Stern). Nagano conducts with penetrating clarity [] the singers are inspired (Die Welt).

With this world premiere the Hamburger Staatsoper staged one of the most acclaimed theatrical events of recent years. It was composed by arguably Japans most important living composer and dedicated to the victims of the 2011 earthquake and tsunami. Hosokawas opera draws on the Noh play Sumidagawa (Sumida River), about a mothers overhwelming grief on the death of her son, and Mori gais book Maihime (The Dancing Girl), about an ill-fated German-Japanese love affair. The production is staged by the celebrated Japanese director-playwright Oriza Hirata.

The orchestra plays for [Kent Nagano] with delicate precision. Susanne Elmark sings with clarity and warmth. Bejun Mehta infuses his lines with affectingly bittersweet melancholy. Mihoko Fujimura brings a necessary note of earthy humanity as the operas Brangne (Financial Times).

The operas composer, Toshio Hosokawa, who also fashioned the libretto, has said: The 2011 Thoku earthquake and tsunami, and the Fukushima nuclear plant incident unleashed by it, have forced me again to consider the power of nature and human arrogance. My music is born out of a deep correspondence with nature. [] I make music out of my need for healing, spiritual salvation. In the opera, the sad mother sings and experiences healing. The audience can also experience this spiritual healing through the music.

Orchestra Philharmonisches Staatsorchester Hamburg

Conductor Kent NaganoStage Director Oriza Hirata

Claudia Susanne ElmarkHaruko Mihoko Fujimura

Stephan Bejun MehtaHiroto Viktor Rud

A Fisherman Marek Gasztecki

Produced by Metis FilmVideo Director Tiziano Mancini

TOSHIO HOSOKAWA

STILLES MEER(S I L E N T S E A )

Photos: Arno Declair

A co-production of UNITEL CLASSICA and NHK

in cooperation with Staatsoper Hamburg

Length: 105'Cat. no. A 050 50291

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S O L O I S T S O F A C C A D E M I A T E AT R O A L L A S C A L A

FATM A S A I D M A R T I N P I S KO R S K I YA S M I N Z K A N M A R T I N S U M M E R

C H O R U S A N D O R C H E S T R A A C C A D E M I A T E AT R O A L L A S C A L A

C O N D U C T E D B Y D M F I S C H E R

S TA G E D B Y P E T E R S T E I N

W O L F G A N G A M A D E U S M O Z A R T

D I E Z A U B E R F L T E

For the first time ever Teatro alla Scala presents with Mozarts Zauberflte a production where orchestra, chorus, soloists as well as outfitters and even the stagehands all consisted out of students of the Academia Teatro alla Scala, the educational institution aimed to train the young talents, founded by the Teatro alla Scala in 2001.

Accompanied by a luxurious team of professionals, consisting of the renowned stage director Peter Stein, his stage designer Ferdinand Wger and conductor dm Fischer, who returns with this production to the podium of the Teatro alla Scala for the first time since 1998, the international youngsters have thus been given the opportunity to introduce themselves to the public in an extremely high level setting.

The result was more than stunning and an instant success, not only with the audience of the ten sold out performances at La Scala, which is famous for its more than critical loggionisti, but also with the television audience, where the live broadcast on Arte reached record breaking viewing rates. According to Die Presse Fischer gets the best out of the Academy Orchestra with delicate execution and humane phrasing while the Frankfurter Allgemeine Zeitung praises the high number of promising young voices, including the radiantly brilliant newcomer Fatma Said as Pamina and Yasmin zkan as a flawlessly great Queen of the Night.

Orchestra Orchestra Accademia Teatro alla Scala

Chorus Chorus Accademia Teatro alla Scala

Chorus Master Alberto MalazziConductor dm Fischer

Stage Director Peter SteinStage Designer Ferdinand Wgerbauer

Sarastro Martin SummerKnigin der Nacht Yasmin zkan

Tamino Martin PiskorskiPamina Fatma Said

Papagena Theresa ZisserPapageno Till von Orlowsky

Monostatos Sascha Emanuel KramerErste Dame Elissa Huber

Zweite Dame Kristn SveinsdttirDritte Dame Mareike Jankowski

Erster Priester Philipp JekalZweiter Priester Thomas Huber

Priester Jorge Abarza Sutter

Video Director Roberto Maria Grassi

W O L F G A N G A M A D E U S M O Z A R T

( T H E M A G I C F L U T E )



A co-production of Arte France, CLC, Shoot Again Productions and Teatro alla Scala di Milano with the participation of UNITEL and the support of CNC

Length: 173'Cat. no. A 000 50040

Photos: Allievi Corso

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M O D E S T M U S S O R G S K Y

BORIS GODUNOV BRYN TERFEL JOHN GRAHAM-HALL

KOSTAS SMORIGINAS DAVID BUTT PHILIP


CONDUCTED BY ANTONIO PAPPANO

STAGED BY RICHARD JONES

In the first production of Mussorgskys original 1869 version of Boris Godunov at the Royal Opera House, director Richard Jones, conductor

Antonio Pappano and bass-baritone Bryn Terfel join forces to deliver an

evening of excellence all round. (The Guardian)

This masterpiece of Russian art (The Telegraph), was inspired by the

true story of the Tsar Boris Godunov, who rose to power by supposedly

murdering the true heir, nine-year-old Tsarevich Dmitry.

The work is the Russian composers only completed opera and is known as

one of the greatest bass-baritone roles in the canon, which Bryn Terfel,

in his role debut, fulfils with a superlative performance dramatically

powerful, vocally refined. (The Daily Mail) The closing minutes were as

intense a piece of drama as most people present will have witnessed and

with Tsar Boriss death scene in front of his young son so searing that on

the first night the audience was reduced to stunned silence at the end.

(Mail on Sunday)

One of the most striking aspects of this new production is just how well

each singers voice suits that of the character being portrayed, which is

due to a top ensemble cast (The Observer) including John Tomlinson,

once himself the Royal Opera House Boris of choice, as the drunken

monk Varlaam. Pappano completely masters Mussorgskys idiom,

contributing a powerfully restrained account of an outstanding score

that, in his hands, is as much a requiem as a drama. (The Daily Mail)


Royal Opera House

Chorus Royal Opera ChorusChorus Master Renato Balsadonna

Conductor Antonio Pappano

Stage Director Richard Jones

Boris Godunov Bryn Terfel

Prince Shuisky John Graham-Hall

Andrey Shchelkalov Kostas Smoriginas

Grigory Otrepiev David Butt Philip

Pimen Ain Anger

Varlaam John Tomlinson

Missail Harry Nicoll

Xenia Vlada Borovko

Yurodivy (Holy Fool) Andrew Tortise

Xenia's Nurse Sarah Pring

Hostess of the Inn Rebecca de Pont Davies

Mityukha Adrian Clarke

Frontier Guard James Platt

Nikitich Jeremy White

Fyodor Ben Knight

Boyar Nicholas Sales


M O D E S T M U S S O R G S K Y

BORIS GODUNOV


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Length: 136'Cat. no. A 020 50088

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JACQUES OFFENBACH

LES CONTES

DHOFFMANN VITTORIO GRIGLO THOMAS HAMPSON SOFIA FOMINA

CHRISTINE RICE SONYA YONCHEVA KATE LINDSEY


CONDUCTED BY EVELINO PID

STAGED BY JOHN SCHLESINGER

Offenbachs Les Contes dHoffmann (The Tales of Hoffmann) is one of his most serious operas, in which his witty and highly melodious music finds the perfect vehicle in the romantic, richly imaginative world of the storyteller E.T.A. Hoffmann.

Created by Academy Award-winning film director John Schlesinger (Midnight Cowboy) and conducted by Evelino Pid, this production of the Royal Opera House showcases a starry cast, featuring Vittorio Griglo, Thomas Hampson, Sonya Yoncheva, Christine Rice and Kate Lindsey.

The great storyteller Hoffmann is losing himself to drink. His rival in love, Councillor Lindorf, goads him into telling the tales of his three great loves, each destroyed by a villain who bears an uncanny resemblance to Lindorf. First Hoffmann tells of his infatuation for the mechanical doll, Olympia who is destroyed by the inventor Copplius. The next one is the courtesan Giulietta, who throws over his adoration in favour of jewels from the magician Dappertutto. Finally, the gentle Antonia is forced to sing to her death by the wicked Doctor Miracle. His stories finished, Hoffmann rouses from his drunken stupor to find Lindorf has made off with Stella, Hoffmanns latest love but the Muse compels him to transform his heartache into art.

The charismatic young tenor Vittorio Griglo acts with terrific fervour as both the drunken wreck of the exordia and the ingenuous patsy of the central episodes (The Daily Telegraph). He appears in a most striking pairing (The Guardian) with Thomas Hampson, who performs all four villains. The womens vocal virtuosity has been highly praised as well: Sofia Fominas Olympia, with her steely, clockwork coloratura, contrasts nicely with Christine Rices truly dangerous Giulietta. Sonya Yoncheva [] makes a heartbreaking Antonia (The Guardian). Kate Lindsey scores with her flawlessly sung, immaculately observed double role as Hoffmanns young amanuensis Nicklausse and his protective Muse (The Stage).

Conductor Evelino Pid


Royal Opera House

Chorus Royal Opera Chorus

Chorus Master William Spaulding

Stage Director John Schlesinger

Director of Performance Daniel Dooner

Hoffmann Vittorio Griglo

Lindorf/Copplius/

Dappertutto/Miracle Thomas Hampson

Olympia Sofia Fomina

Giulietta Christine Rice

Antonia Sonya Yoncheva

Nicklausse Kate Lindsey

Spalanzani Christophe Mortagne

Crespel Eric Halfvarson

et al.


JACQUES OFFENBACH

LES CONTES DHOFFMANN

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OHLength: approx. 170'Cat. no. A 020 50096



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G I A C O M O P U C C I N I

IRINA LUNGU GIORGIO BERRUGI

KELEBOGILE BESONG MASSIMO CAVALLETTI

CONDUCTED BY G IANANDREA NOSEDA

STAGED BY LEX OLL

120 years after its very first performance, which took place at Teatro Regio di Torino, La Bohme returns to the tradition-steeped Italian opera house. With director lex Oll from La Fura dels Baus and music director Gianandrea Noseda the Teatro Regio presents a spectacular, up-to-date anniversary production featuring a young, lively and high-quality cast.

La Bohme is the love story of a young couple, penniless but hopeful. Mim and Rodolfo, accompanied by Musetta and Marcello, spend much of their existence in joy tinted with jealousy, in the backdrop of vibrant Paris. La Bohme is a story about growing up and facing pain; about the passage from adolescence to maturity. The merry band of friends comes to terms with the harsh reality of Mims condition. Suffering from tuberculosis, she dies in the arms of Rodolfo and changes the fate of all characters forever.

For lex Oll, directing the opera for the first time, La Bohme allows the young generation to get rid of everything that prevents them from flying, feeding only on their own vitality; the real hunger of the protagonists is the hunger for life. My production is set in a modern city outskirt. It is there where, in my opinion, the intellectual matrix of the future happens; in ugly, disreputable and poor places which are authentic. In this kind of environment, where life and art as they did in Romanticism belong to the survivors.

A triumphant youthful Bohme, in which the singers excel due to their naturalness. Giorgio Berrugi sings his Rodolfo with a luminous timbre, in refined nuances (La Stampa), perfectly matching Irina Lungus full-bodied Mim (The London Times). All in all, this is theatre, this is life, this is passion (Corriere della sera).

Orchestra Orchestra del Teatro Regio Chorus Coro del Teatro Regio

Chorus Master Claudio FenoglioConductor Gianandrea Noseda

Stage Director lex Oll (La Fura dels Baus)

Mim Irina Lungu Rodolfo Giorgio Berrugi Musetta Kelebogile Besong Marcello Massimo Cavalletti

Schaunard Benjamin Cho Colline Gabriele Sagona

Benot & Alcindoro Matteo PeironeParpignol Cullen Gandy

Customs Sergeant Mauro BarraCustoms officer Davide Motta Fr


G I A C O M O P U C C I N I

Photos: Ramella & Giannese / Teatro Regio Torino

A production of Teatro Regio Torino in cooperation with UNITEL

Length: approx 115'Cat. no. A 000 50041

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L A C A M PA N AS O M M E R S A

A N G E L O V I L L A R I VA L E N T I N A FA R C A S T H O M A S G A Z H E L I M A R I A LU I G I A B O R S I

C O N D U C T E D B Y D O N ATO R E N Z E T T I S TA G E D B Y P I E R F R A N C E S C O M A E S T R I N I

T E AT R O L I R I C O D I C A G L I A R I

OTTORINO RESPIGHI

Best-known for his brilliantly evocative and rightly popular trilogy of tone-poems on Rome, Italian composer Ottorino Respighi (1879 1936) was also a noted composer of operas. His gloriously lyrical and opulently orchestrated adaptation of Gerhart Hauptmanns fin de sicle allegory Die versunkene Glocke (The Sunken Bell), the opera La campana sommersa is Respighis operatic masterpiece a magical, if ultimately tragic, tale of the love between a mortal human and an immortal fairy.

The Teatro Lirico di Cagliari enjoys a worldwide reputation for championing such rediscovered rarities and Pier Francesco Maestrinis brilliant production [] succeeds in entrapping its audience in a magical play of lighting and special effects, leading them through a hypnotic succession of mysterious woods, lunar landscapes, underwater worlds, and mountains inhabited by witches, fauns and other fantastical creatures (OperaClick). The beautiful picturesque sets and projections are by Spanish set designer Juan Guillermo Nova.

As Enrico, the Faustian bellfounder, who finds visionary inspiration in his love for the fairy Rautendelein, but as a result loses his wife, his children and, finally, his own life, Sicilian tenor Angelo Villari shows total mastery of every difficulty in Respighis vocal writing, while, as the fascinating fairy herself, Romanian soprano Valentina Farcas convinces one with her involving stage presence, the security of her intonation and the sweetness of her tone (Lape musicale). To top it all, Donato Renzetti conducts magnificently and the orchestra sounds magnificent too (La Stampa).

Conductor Donato RenzettiOrchestra Orchestra del Teatro

Lirico di Cagliari

Chorus Coro del Teatro Lirico di CagliariCoro di Voci bianche del

Conservatorio G.P. da

Palestrina di Cagliari

Chorus Master Gaetano MastroiacoEnrico di Maira

Stage Director Pier Francesco Maestrini

Rautendelein Valentina FarcasMagda Maria Luigia Borsi

La Strega Agostina SmimmeroEnrico Angelo Villari

LOndino Thomas GazheliIl Fauno Filippo Adami

Il Curato Dario RussoIl Maestro Nicola EbauIl Barbiere Mauro Secci

Il Nano Sandro Meloni


(T H E S U N K E N B E L L )

Libretto by Claudio Guastalla, based on the play Die versunkene Glocke by Gerhart Hauptmann

L A C A M PA N AS O M M E R S A

OTTORINO RESPIGHIL A C A M PA N AS O M M E R S A

OTTORINO RESPIGHI

A production of UNITEL in co-production withFondazione Teatro Lirico di Cagliari


Photos: Priamo Tolu

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Krassimira StoyanovaTomasz Konieczny

Gerhard SiegelNorbert Ernst

Wiener PhilharmonikerConducted by Franz Welser-Mst

Staged by Alvis Hermanis

R I C H A R D S T R A U S S

DIE LIEBE DER DANAE

With Richard Strausss penultimate, satirically mythological opera Die Liebe der Danae (The Love of Danae), after a draft by Hugo von Hofmannsthal, the Salzburg Festival continues its series of operas by the Festival founders Hofmannsthal and Strauss with no less than the Wiener Philharmoniker in the pit, under the baton of Franz Welser-Mst. Welser-Mst proved himself once again as high-class Strauss-conductor under whom the orchestra conveyed the glittering colors and lyrical intricacies of Strausss late score (NY Times).

Krassimira Stoyanova, regular fixture at the Salzburg Festival, is heading a truly supreme cast and emerges as the one in a thousand, the true Strauss lyric-dramatic soprano who can soar and swoop, working miracles on phrases that never stop coming (The Artsdesk). Bass-Baritone Tomasz Konieczny, sings this Jupiter almost unsurpassably (FAZ), he is so vocally majestic that Danaes choice of Midas seems implausible (Financial Times). Alvis Hermanis colourful production brings oriental flair to the Salzach, his staging was spectacular above all else (Opera Today). Once more, this very rarely presented opera returned successfully on stage, leaving the audience with unforgettable impressive images embedded in soft romantic sound. (Opera Online)

Die Liebe der Danae is narrowly linked to the Festivals rich history. Due to conditions during World War II, the Salzburg Festival, which had commissioned the opera for summer 1944, couldnt give the public premiere. Instead, only a single dress rehearsal, attended by Strauss himself, was performed for an invited audience. Thereafter, the opera was staged in Salzburg only twice and very seldom anywhere else in the world.

Conductor Franz Welser-Mst

Orchestra Wiener Philharmoniker

Chorus Konzertvereinigung

Wiener Staatsopernchor

Chorus Master Ernst Raffelsberger

Stage Director Alvis Hermanis

Danae Krassimira Stoyanova

Jupiter Tomasz Konieczny

Merkur Norbert Ernst

Pollux Wolfgang Ablinger-Sperrhacke

Xanthe Regine Hangler

Midas Gerhard Siegel

Semele Mria Celeng

Europa Olga Bezsmertna

Alkmene Michaela Selinger

Leda Jennifer Johnston

Video Director Agnes Mth

R I C H A R D S T R A U S S

DIE LIEBE DER DANAE

A co-production of ORF, NHK and UNITEL

in cooperation with Wiener Philharmoniker and Salzburg Festival

Length: 159'Cat. no. A 040 50056

Photos: Michael Phn

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GIUSEPPE VERDI

PLCIDO DOMINGO FRANCESCO MELI ANNA PIROZZI

CONDUCTED BY MICHELE MARIOTTI STAGED BY ALVIS HERMANIS

I DUE FOSCARI

Acclaim for La Scalas new Foscari: Plcido Domingo is the definitive Francesco of recent times (Financial Times). To see him again on stage is a joy. From here to eternity (La Stampa). One can only marvel at his enormous musicality, his ageless vocal quality, his enviable stage presence (Il corriere musicale).

Here is Plcido Domingos latest conquest: the leading baritone role of Francesco Foscari in Verdis darkly atmospheric, melodically generous early opera, based on Lord Byrons play. Set in 15th-century Venice, I due Foscari is the forerunner of Simon Boccanegra, and Domingos triumph as the Doge set the seal on this critically lauded new production from Milans Teatro alla Scala, the ultimate Verdi shrine.

The Financial Times reviewer also had high praise for the rest of La Scalas superb cast, from Andrea Concettis solid Loredano, to the immaculate Francesco Meli in a perfect match for Jacopo. Anna Pirozzi makes a triumphant house debut as Lucrezia. She wins hearts and minds through fearsome dramatisation and thrilling vocal power. But the revelation of the night is [conductor] Michele Mariotti. Here is an interpretation of unbridled elasticity [...] There is the whiff of Venices sea breeze and a surge in its lagoon. The well-drilled chorus of patricians sends a chill down the spine. Mariotti is the wunderkind of the Italian repertoire.

Orchestra/Chorus Orchestra and Chorus

of the Teatro alla Scala

Conductor Michele Mariotti

Stage Director Alvis Hermanis

Francesco Foscari Plcido Domingo

Jacopo Foscari Francesco Meli

Lucrezia Contarini Anna Pirozzi

Jacopo Loredano Andrea Concetti

Barbarigo Edoardo Milletti

Pisana Chiara Isotton

Fante Azer Rza-Zade

Servant of the Doge Till von Orlowsky



G I U S E P P E V E R D I

I DUE FOSCARI

A production of Servus TV and UNITEL CLASSICA

in co-production with Fondazione Teatro alla Scala

Length: 122'Cat. no. A 000 50037

Photos: Brescia-Amisano

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VITTORIA YEO LUCIANO GANCI VITTORIO VITELLI GABRIELE MANGIONE LUCIANO LEONI

I VIRTUOSI ITALIANI CONDUCTED BY RAMN TEBAR STAGED BY SASKIA BODDEKE & PETER GREENAWAY

A FILM BY SASKIA BODDEKE AND PETER GREENAWAY

F E S T I V A L V E R D I P A R M A

With more than 50 years of experience as film director, Peter Greenaway (Nightwatching, Eisenstein in Guanajuato) combines the worlds of film and opera at the Verdi Festival in Parma, demonstrating what magic those two can do together with an all new approach to Giuseppe Verdis Giovanna dArco, staged and edited by himself and his wife, Saskia Boddeke.

The operas libretto is based on Friedrich Schillers The Maid of Orleans. It tells the story of the French national hero Jeanne dArc, who defends her country against the English troops during the Hundred Years War. Constantly torn between her humble roots, her love for King Charles VII and her heavenly task to fight for France, she gains eternal glory by giving her life in the final, victorious battle against England.

Earthly passion and supernatural purity are rendered vivid in the musical interpretation of the Virtuosi Italiani and the Coro del Teatro Regio di Parma, conducted by Ramn Tebar, and by three exceptional singers, Vittoria Yeo, Luciano Ganci and Vittorio Vitelli, who have the Verdian idiom in their blood, performing veritable miracles of expressive singing and italianit (Kieler Nachrichten).

Turning the auditorium into the scene, Greenaway includes the unique architecture of the Teatro Farnese, one of Italys oldest and most exceptional theatre gems, into his staging. By the help of spectacular video and light installations, he creates a completely new opera experience, using a picture language that reaches from depictions of the Madonna to modern manga girls and the real faces of refugee children. It is a thrilling moment when threads of light spread over the darkened arches during the overture, shaping the architecture and flooding the whole area with changing light patterns (Daily Express).

Conductor Ramn Tebar

Orchestra I Virtuosi Italiani

Chorus Coro del Teatro Regio di Parma

Chorus Master Martino Faggiani

Stage Director Saskia Boddeke

& Peter Greenaway

Carlo VII Luciano Ganci

Giacomo Vittorio Vitelli

Giovanna Vittoria Yeo

Delil Gabriele Mangione

Talbot Luciano Leoni

Giovanna innocente Linda Vignudelli

Giovanna guerriera Lara Guidetti

Video Director Saskia Boddeke

& Peter Greenaway


Photos: Roberto Ricci

A co-production by Fondazione Teatro Regio di ParmaLuperpedia Foundation and Unitel

in collaboration with Metisfilm Classica


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Ermonela JahoPlcido DomingoFrancesco MeliAhlima Mhamdi

Orchestre National Bordeaux-Aquitaine

Conducted by Daniele Rustioni

Staged by Louis Dsir

F R O M T H E R O M A N T H E A T R E O F O R A N G E

LA

TRAVIATAG I U S E P P E V E R D I

Verdis La Traviata at the Chorgies dOrange Festival on the open air stage of the ancient Roman Thtre has all ingredients for a big success: a popular title, renowned artists with luxury voices, a tasteful staging and a great show in a stunning ambience - and it lived up to the expectations: We have seen many La Traviatas, and heard, but this one will rest in our memories echoed the press after the first night.

Plcido Domingo in the role of Giorgio Germont is celebrating a triumphal return to the festival after nearly four decades of absence. With a voice that reunites the courageous virility of a tenor and the profound and solid one of a baritone (Le Temps) he portrays a noble, classy and human father. Albanian soprano Ermonela Jaho, immediately elevated to the queen of the Chorgies, is a stunning Violetta at eye level with the great interpreters of this role, awarding an extraordinary reliability to her character (Forum Opra). Star tenor Francesco Meli as a vibrant Alfredo completes the supreme cast. And of course, the multitude of three choirs make a great impact on the vast stage created under the rule of Emperor Augustus. In Louis Dsirs refined and suggestive staging, simplicity and aesthetics are dominating; dcor and costumes are tastefully playing with tradition, enriched with video projections. The Orchestre national de Bordeaux-Aquitaine plays colourfully under the baton of Daniele Rustioni, who has something of Toscanini and a vivid gesture inherited from Muti: an imperial and irresistible attitude (Le Temps).

The ancient Roman Thtre antique dOrange serves as a picturesque setting for operas and concert performances as part of the Chorgies dOrange Festival, founded in 1869 in Provence. Equipped with almost 7000 seats and a unique acoustic, this Roman theatre has since 1981 been a UNESCO World Heritage Site.

Conductor Daniele Rustioni

Orchestra Orchestre National

Bordeaux-Aquitaine

Chorus Opra Grand-Avignon

Opra Angers-Nantes

Opra de Marseille

Stage Director Louis Dsir

Violetta Valry Ermonela Jaho

Giorgio Germont Plcido Domingo

Alfredo Germont Francesco Meli

Flora Bervoix Ahlima Mhamdi

Annina Anne-Marguerite Werster

Gastone Christophe Berry

Baron Douphol Laurent Alvaro

Marchese dObigny Pierre Doyen

Doctor Grenvil Nicolas Test

Giuseppe Rmy Mathieu

Video Director Andy Sommer

LA

TRAVIATAG I U S E P P E V E R D I

LA

TRAVIATAA production of Cintv

with the participation of Les Chorgies dOrange, medici.tv, France Tlvisions, CNC and UNITEL

Length: 138'Cat. no. A 010 50060

Photos: Bruno Abadie, Philippe Gromelle

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O T E L L O


S A L Z B U R G E A S T E R F E S T I V A L

Jos Cura Dorothea Rschmann Carlos lvarez Benjamin BernheimStaatskapelle Dresden conducted by Christian Thielemann

staged by Vincent Boussard

A superb new Otello from the Salzburg Easter Festival: Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour (Sdwestpresse). Rschmann as Desdemona guarantees effortless perfection (Neue Musikzeitung). lvarez as Iago would be hard to surpass (Abendzeitung). Thielemann has discovered an impressively modern sound for Verdi (Sddeutsche Zeitung).

This Salzburg production featuring a cast worthy of any festival (Sdwestpresse) is conducted by Christian Thielemann, who displays a command of Verdian tragedy to match his celebrated sovereignty in Wagner. He and his great Staatskapelle Dresden, a consummate opera ensemble, achieve wonders (Die Presse), generating Italian Musikdrama with their incandescence and precise nuances (Abendzeitung). As the tragic hero, Jos Cura deploys his treasurable timbre and intensity (Der Standard), while Dorothea Rschmanns Desdemona enchants with her dramatic lyricism, delicate phrases and internalized clarity (Wiener Zeitung). Utilizing elegant parlando and seductive bel canto, Carlos lvarezs Iago is a philosopher executing a socio-psychological experiment (Frankfurter Allgemeine Zeitung). In his fascinating staging, director Vincent Broussard integrates video with set and lighting design to create an idealized visual context for what he calls Otellos conflict of ancient and modern, of 2D and 3D.

Conductor Christian ThielemannOrchestra Staatskapelle Dresden

Chorus Schsischer Staatsopernchor Dresden

Stage Director Vincent BoussardCostume Designer Christian Lacroix

Otello Jos CuraDesdemona Dorothea Rschmann

Iago Carlos lvarez Cassio Benjamin Bernheim Emilia Christa Mayer

Lodovico Georg Zeppenfeld Roderigo Bror Magnus TdenesMontano Csaba SzegediA Herald Gordon Bintner An Angel Sofia Pintzou

Produced by Metisfilm ClassicaVideo Director Tiziano Mancini


O T E L L O

A production of UNITEL in co-production with ORF/3sat in cooperation

with the Salzburg Easter Festival

Length: 147'Cat. no. A 040 50055

Photos: Karl Forster

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UnBalloinMaschera

P I O T R B E C Z A L A

G E O R G E P E T E A N

A N J A H A R T E R O S

O K K A V O N D E R D A M E R A U

C O N D U C T E D B Y

Z U B I N M E H TA

S TA G E D B Y

J O H A N N E S E R AT H

B AY E R I S C H E S TA AT S O P E R

Praise for Munichs new Ballo in maschera: A formidable vocal feast (Bayerische Staatszeitung). The singers sent the audience into raptures (Sdwestpresse). A total triumph (La Razn). This production shows what a utopia opera can be (Abendzeitung).

The Bayerische Staatsopers former Music Director Zubin Mehta returned to the fabled house (where his image in bronze adorns one of the foyers) to celebrate his 80th birthday conducting Verdis middle-period masterpiece for the first time in a staged production. His remarkable cast includes soprano Anja Harteros, singing Amelia for the first time and filling every note with Verdian intensity, tenor Piotr Beczaa as a visually and vocally dashing Riccardo, and George Petean as an exemplary Renato (Neue Musikzeitung). In director Johannes Eraths musically super-sensitive new production, this historically-based tale of illicit love, conspiracy and betrayal unfolds in a surrealistic, shadowy setting transformed by lighting and projections.

Special praise was showered by the enthusiastic critics on Maestro Mehta, who creates concentrated musical connections, miraculously guiding his orchestra and unsurpassable voices the way a thermal lifts a paraglider [...] Musically the performance was a dream (Frankfurter Allgemeine Zeitung).

Orchestra Bayerisches Staatsorchester

Chorus Chorus of the

Bayerische Staatsoper

Conductor Zubin Mehta

Stage Director Johannes Erath

Riccardo Piotr Beczaa

Renato George Petean

Amelia Anja Harteros

Ulrica Okka von der Damerau

Oscar Sofia Fomina

Silvano Andrea Borghini

Samuel Anatoli Sivko

Tom Scott Conner

A judge Ulrich Re

Amelia's servant Joshua Owen Mills




UnBalloinMaschera

A co-production of BR/Arte and UNITEL CLASSICA

in cooperation with Bayerische Staatsoper

Length: 149'Cat. no. A 050 50309

Photos: Wilfried Hsl

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L O H E N G R I N

R ICHARD WAGNER

Evelyn

HERLITZIUSGeorg

ZEPPENFELD

STAATSKAPELLE DRESDEN CHRISTIAN THIELEMANN

SEMPEROPER DRESDEN

Piotr

BECZALAAnna

NETREBKOTomasz

KONIECZNY

Anna Netrebko and Piotr Beczaa starring in their first ever Wagnerian roles as Elsa von Brabant and Friedrich von Telramund, with the Staatskapelle Dresden in the pit (his Wunderharfe, as Wagner called the orchestra), under the baton of Christian Thielemann, were met with standing ovations from audiences, and an equally warm acclaim from critics: Pure bliss! Never ending applause! (Frankfurter Allgemeine Zeitung)

Anna Netrebkos role debut as Elsa was one of the most wildly anticipated musical events: The soprano sang a lush, mature-sounding Elsa with undeniable bel canto shadings, utterly at home in Wagners Romantic universe. Netrebkos finely calibrated interpretation captured the full range of Elsas emotional development [...] Her plush voice seemed to glow from within (Opera News). The Primadonna assoluta (Die Welt) stars across fellow Wagnerian debutant Piotr Beczaa whose role debut as the eponymous Grail Knight has garnered the acclaimed tenor further plaudits from fans and critics alike: The revelation was Piotr Beczaa, who was just about perfect in the title role says WQXR Netrebko and Beczaa are Wagner Stars summarized the New York Times, and were frenetically celebrated by the audience (Sddeutsche Zeitung).

Georg Zeppenfeld as a convincing and majestic Heinrich der Vogler and outstanding Wagnerians Evelyn Herlitzius and Tomasz Konieczny as the opponents Ortrud and Friedrich von Telramund complete the cast in King Ludwig IIs favourite opera at the Semperoper Dresden, where operatic history has been written with the theatre playing host to three important Wagner premieres. In the pit is the Staatskapelle Dresden, conducted by Christian Thielemann, doubtlessly todays foremost conductor of this repertoire. Some enthuse about their best ever Lohengrin, but for sure this was one of the ten best opera performances in their lives (Die Welt).

The staging, a revival of the timeless production by Christine Mielitz, tells the story of the evil couple Ortrud and Telramund wanting to seize power in Brabant but having to destroy Elsa, the heir to the throne after the disappearance of her brother Gottfried, with psychologic depth, timeless setting and stunning costumes: The star of the acclaimed stage production continues to shine bright (New York Times).

Orchestra Staatskapelle DresdenChorus Schsischer

Staatsopernchor Dresden

Chorus Master Jrn Hinnerk AndresenConductor Christian Thielemann

Director of Performance Angela Brandtafter the original production by

Christine Mielitz, premiered in 1983

Heinrich der Vogler Georg ZeppenfeldLohengrin Piotr Beczaa

Elsa von Brabant Anna NetrebkoFriedrich von Telramund Tomasz Konieczny

Ortrud Evelyn HerlitziusThe Kings Herald Derek Welton

Four Noblemen of Brabant Tom MartinsenSimeon Esper

Matthias Henneberg

Tilmann Rnnebeck

Four Pages Jana HohlfeldMonika Harnisch

Annett Eckert

Masako Furuta

Produced by Metisfilm ClassicaVideo Director Tiziano Mancini

L O H E N G R I N

R ICHARD WAGNER

A Night to Remember in Dresden (New York Times)

Photos: Daniel Koch

A production of UNITEL and Semperoper Dresden in co-production with ZDF/Arte

Length: 215'Cat. no. A 050 50310

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Photo: Christophe Raynaud de Lage

A production of Heliox Films in co-production with Eastman and PWPin association with ClassicAll M_Media and Festival dAvignon

with the participation of UNITEL and the support of CNC

Length: 111'Cat. no. A 010 50057

B A B EL . 1 6 BY SIDI LARBI CHERKAOUI & DAMIEN JALETFROM THE FESTIVAL DAVIGNONStage Design O N Y ORL E YMusic A Z UAR B PATRIZIA BOVI MAHABUB KHAN SATTAR KHAN GABRIELE MIRACLE & SHOGO YOSHIIDancers AIMILIOS ARAPOGLOU MAGALI CASTERS NAVALA NIKU CHAUDHARI SANDRA DELGADILLO FRANCIS DUCHARME JON FILIP FAHLSTRM LEIF FEDERICO FIRNHABER DARRYL E. WOODS DAMIEN FOURNIER BENFURY ALIASHKA HILSUM et al. Video Director ROBERTO MARIA GRASSI

Sidi Larbi Cherkaoui and Damien Jalets Babel 7.16 unites 22 dancers from 15 nations in a performance that explores language and its relationship with nationhood, identity and religion.The ballet takes its title and tone from the apocalyptic Bible story in which God punitively divides his people into competing nations and tongues. The imposing three-dimensional structures of Antony Gormleys stage design suggest a nameless intersection in a city near the

borders of a no mans land. The choreography elaborates the dynamic of connection and withdrawal, sustained by the installation of light-catching steel cubes.By inviting the astonishingly multitalented cast of dancers the two Belgian choreographers have put the concept of masses, of history and of territory in the Cour dHonneur du Palais des Papes in Avignon, and thus created the most fiercely resonant dance theatre of the decade (The Guardian).

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Photo: Ashley Taylor

A co-production of ORF and UNITEL in cooperation with Wiener Staatsoper

Length: 122'Cat. no. A 040 50064

LUDWIG MINKUSD XEChoreography F E Y E V & AN UE EG R I Ballet CompanyI E N E R AATALLEUEN E EAKADEMIE ERIENER AAERKAMIL PAVELKA, Don Quixote CHRISTOPH WENZEL, Sancho Pansa MARIA YAKOVLEVA, Kitri/Dulcinea DENYS CHEREVYCHKO, Basil GABOR OBEREGGER, Lorenzo ANDREY KAYDANOVSKIY, Gamache ALICE FIRENZE NINA TONOLI, KITRIS FRIENDS Conductor KEVIN RHODES

The ballet Don Quixote is based on Miguel de Cervantess mock-chivalric romance about a crazy old man who believes himself to be a heroic knight-errant. Originally created by composer Ludwig Minkus and master choreographer Marius Petipa, Don Quixote is here seen in the revised version by Rudolf Nureyev, which French choreographer Manuel Legris once himself an toile in Nureyevs troupe devised for the Wiener Staatsballett on the occasion of the 400th anniversary of Cervantess death.

Denys Cherevychko plays the penniless young barber Basil, whose ultimately successful attempt to marry Kitri (Maria Yakovleva), the rich innkeepers beautiful daughter, provides a background to the comical adventures of delusional Don Quixote, not least his famous attack on a windmill which he imagines to be a giant.The two principals, are technically brilliant (Wiener Zeitung); they dance, leap, balance, spin and act in sparkling style, displaying their technical bravura right through to the great wedding pas de deux (Kurier).

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Photo: ROH/Tristram Kenton

A production of Royal Opera House, Covent Garden

Length: 115'Cat. no. A 020 50093

ADOLPHE ADAME L L E

Choreographer M A RIU S EPAStage Director P E R RIGBallet Company YA AET ORCHESTRA OF THE ROYAL OPERA HOUSE conducted by BARRY WORDSWORTHMARIANELA NUEZ, Giselle VADIM MUNTAGIROV, Albrecht ITZIAR MENDIZABAL, Myrtha BENNET GARTSIDE, Hilarion JOHANNES STEPANEK, Wilfred ELIZABETH MCGORIAN, Berthe

The quintessential Romantic ballet, Giselle, has remained a cornerstone of the classical repertory, which has captivated audiences all over the world since its premiere in 1841.It is the story of a peasant girl who falls in love with a count named Albrecht, who pretends to be a simple villager. Discovering his true identity, Giselle kills herself and becomes one of the Wilis, shades of young women who died before their wedding day and who dance all men that come across their path to death. Sparing Albrecht

from this mortal destiny, she finally manages to find eternal peace.Peter Wrights staging places this Giselle as one of the jewels in the Royal Ballets crown an exquisite choreography (The Telegraph) in which the principals Vadim Muntagirov and Marianela Nuez display absolute mastery (The Guardian) and in which the tale of betrayed love, death and forgiveness is lucidly told (The Independent).

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Photo: Bill Cooper


Length: 131'Cat. no. A 020 50090

LOWELL LIEBERMANNF RANKENSTEINChoreographer LIAM SCARLETT Designer JOHN MACFARLANE Ballet Company THE ROYAL BALLET ORCHESTRA OF THE ROYAL OPERA HOUSE conducted by KOEN KESSELSMARIANELA NUEZ, Giselle VADIM MUNTAGIROV, Albrecht ITZIAR MENDIZABAL, Myrtha BENNET GARTSIDE, Hilarion JOHANNES STEPANEK, Wilfred ELIZABETH MCGORIAN, Berthe

Choreographer Liam Scarlett creates his first, eagerly awaited full-length narrative ballet for the Royal Ballet. His Frankenstein is a dark, adult exploration of Mary Shellys classic gothic novel, dealing with the depths of human nature and our need to find acceptance and a place in the world. For this much-anticipated new ballet, he turns to the music of Lowell Liebermann and his now regular designer John Macfarlane.And what dancers! Steven McRaes portrayal of the

creature is brilliant; his dancing is eloquent in its anguish, and we sense every beat of his lonely, vengeful heart. (The Observer) Laura Morera played Elizabeth, the heros love interest, and I have never seen her dance better. She brilliantly captured the wonder of a young womans unqualified first love. But the star of the evening, giving flesh and blood to Scarletts superb dance making, was the man in the title role, Federico Bonelli (The Sunday Express).

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Length: 104'Cat. no. A 020 50085

SERGEIJ RACHMANINOFF: RHAPSODY ANDR MESSAGER: THE TWO PIGEONSChoreographer FREDERICK ASHTON & GRANT COYLE (Rhapsody) FREDERICK ASHTON & GREGORY MISLIN (The Two Pigeons) Soloists NATALIA OSIPOVA STEVEN MCRAE (Rhapsody) LAUREN CUTHBERTSON VADIM MUNTAGIROV FUMI KANEKO RYOICHI HIRANO (The Two Pigeons)Ballet Company THE ROYAL BALLET ORCHESTRA OF THE ROYAL OPERA HOUSE conducted by BARRY WORDSWORTH

Frederick Ashton, Founder Choreographer of the Royal Ballet, defined the English style. In this double programme the Company celebrates Ashton and his legacy in two contrasting works. Rhapsody, created in 1980, is one of Ashtons final works. Created for Mikhail Baryshnikov, it is a celebration of the male virtuoso though Ashton also endows the Principal female role with choreography of breathtaking clarity and speed.

The Two Pigeons is a quintessential Ashton work, which he created for the Royal Ballet in 1961. He and his regular

collaborator John Lanchbery (La Fille mal garde) worked together to adapt Andr Messagers 1886 score, created for a ballet by Louis Mrante at the Paris Opra. Like Messager and Mrante, Ashton turned to La Fontaines fable of the same title for inspiration but Ashton tells quite a different story. He explores the nature of love in a work that has deft comic lightness and soulful pathos in equal measure. In his story of a wayward young man blind to the value of what is right in front of him, Ashton explores the nature of love in one of his most charming, elegant and moving works.

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Photo: ROH/Bill Cooper


Length: 112'Cat. no. A 020 50095

PYOTR I. TCHAIKOVSKY & BOHUSLAV MARTINANASTASIAChoreographer KENNETH MACMILLAN Stage Director GARY HARRIS Ballet Company THE ROYAL BALLET ORCHESTRA OF THE ROYAL OPERA HOUSE conducted by SIMON HEWETTNATALIA OSIPOVA, Anna Anderson CHRISTOPHER SAUNDERS, Tsar Nicholas II CHRISTINA ARESTIS, Tsarina Alexandra Feodorovna THIAGO SOARES, Rasputin MARIANELA NEZ, Mathilde Kschessinska FEDERICO BONELLI, Kschessinska's Partner EDWARD WATSON, The Husband

Kenneth MacMillans landmark production Anastasia, revived at the Royal Opera House after his death by his widow Deborah, remains one of his most experimental works.

The plot is based on the true story of psychiatric patient Anna Anderson, who believed herself to be Anastasia, the only survivor from the assassination of the Russian Imperial family in 1918. MacMillan originally created Anastasia as a one-act ballet with an adventurous staging to Martins Sixth Symphony. It was expanded into a

three-act work in 1971, using Tchaikovskys First and Third Symphonies.

The contrasty way of staging provides an extraordinary psychological challenge for principal ballerina Natalia Osipova, who is commanding in emotion as in execution. Further featuring Marianela Nuez, Federico Bonelli, Edward Watson and Thiago Soares, Anastasia brings back to the stage an expressionist drama of haunting imagery and resonating force (The Financial Times).

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PYOTR I. TCHAIKOVSKYE NUTCRACKERChoreographer PETER WRIGHT & LEV IVANOV Stage Director PETER WRIGHT Ballet Company THE ROYAL BALLET ORCHESTRA OF THE ROYAL OPERA HOUSE conducted by BORIS GRUZINGARY AVIS, Herr Drosselmeyer FRANCESCA HAYWARD, Clara ALEXANDER CAMPBELL, Hans-Peter/The Nutcracker LAUREN CUTHBERTSON, The Sugar Plum Fairy FEDERICO BONELLI, The Prince et al.

This all-time ballet favourite, in which young girl Clara is taken on a fantasy adventure when one of her Christmas presents comes to life, is gloriously put on stage in Peter Wrights production, with a choreography by Lev Ivanov.Clara creeps downstairs on Christmas Eve to play with her favourite present a nutcracker. But the mysterious magician Drosselmeyer is waiting to sweep her off on a magical adventure Tchaikovskys ravishing score, the period designs including

an ingenious christmas tree and outstanding principals of the Royal Ballet make for a captivating performance.Francesca Hayward, who dances like a dream child as Clara (The Stage), is superbly partnered by Nutcracker Alexander Campbell: Their duet has a delightful sense of discovery (The Independent). Gary Avis impresses as Mr Drosselmeyer: This masterful dancer-actor lends pompous exactitude, wittily theatrical flamboyance and cast-iron authority to this vital part (Daily Telegraph).

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Photo: ROH/Andrej Uspenski


Length: 93'Cat. no. A 020 50097

MARTIN YATESELISABETHChoreographer WILL TUCKETT Co-Director/Text ALASDAIR MIDDLETON Ballet Company THE ROYAL BALLET Cello RAPHAEL WALLFISCH Baritone DAVID KEMPSTER Dancers CARLOS ACOSTA ZENAIDA YANOWSKY Actors LAURA CALDOW SONYA CULLINGFORD JULIA RIGHTON

Opulent and intimate, the enchanting chamber piece Elisabeth, with music by Martin Yates (Don Quixote), combines dance, text and music in a fascinating exploration of the life and loves of Queen Elizabeth I.Choreographer Will Tuckett and playwright and librettist Alasdair Middleton co-direct this special performance, which brings together Royal Ballet Principals Zenaida Yanowsky and Carlos Acosta with actors Laura Caldow, Sonya Cullingford and Julia Righton in an atmospheric and nuanced tribute to the remarkable nature of this

extraordinary woman. Yanowsky is perfectly cast as Elizabeth, her height and innate regality allowing her a natural authority on stage, and her long-limbed technique brings Tucketts sensitive choreography to vivid life (The Stage). As for Carlos Acosta, Tucketts choreography plays to the Cuban stars strengths with lots of swizzling pirouettes and big lifts (The Financial Times). In his multiple roles, he is animating the steps with everything from grand passion to knockabout comedy (The Stage).

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Photo: Andrea Kremper

CONCERTS

A production of ZDF/3sat in co-production with UNITEL

Anja Harteros, Ekaterina Gubanova, Jonas Kaufmann and Bryn Terfel, four singers in a league of their own, present an extraordinary summit of classical music superstars in Baden-Baden. Accompanied by the Badische Staatskapelle under the baton of Marco Armiliato, the star-studded cast takes the audience on a long journey, exploring some of the most remarkable and popular operas with all their beauty, magical sound, tragedy, and

overflowing passion. From the touching Morr, ma prima grazia from Verdis Un ballo in maschera, sung by Anja Harteros, to Bryn Terfels devilish Le veau dor est toujours debout, from Gounods Valse de Faust to Jonas Kaufmanns and Ekaterina Gubanovas dramatic rendition of the central duet from Mascagnis verismo masterpiece Cavalleria rusticana, it was an evening of pure bliss.

Length: 139'Cat. no. A 055 50540 0000

THE BADEN-BADEN OPERA GALA ANJA HARTEROS JONAS KAUFMANN EKATERINA GUBANOVA BRYN TERFELBADISCHE STAATSKAPELLE conducted by MARCO ARMILIATO

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SIMON RATTLE Photo: Monika Rittershaus

A production of Berlin Phil Media and UNITEL

A Beethoven symphony cycle is a kind of Mount Everest for all of us to climb, Sir Simon Rattle said about his first cycle of all nine symphonies with his Berliner Philharmoniker.The expectations were incredibly high, not only due to the work itself, which is known to be extremely demanding, but also due to the existing legendary recordings of the Beethoven symphonies with Rattles predecessors like

Herbert von Karajan and latest Claudio Abbado. The concerts in which the Berliner Philharmoniker and their Maestro present the symphonies at the Philharmonie are overwhelming indeed. This is the greatest performance of the Beethoven symphonies as a cycle that I have ever seen and heard (BBC Music Magazine). Impressive (The New York Times).

Length: 354'Cat. no. A 055 50603 0000

BERLINER PHILHARMONIKER AND SIR SIMON RATTLE THE BEETHOVEN SYMPHONY CYCLEANNETTE DASCH, Soprano EVA VOGEL, Mezzo-Soprano CHRISTIAN ELSNER, Tenor DIMITRY IVASHCHENKO, Bass

Symphony No. 1 in C major, Op. 21 (25') Symphony No. 2 in D major, Op. 36 (31') Symphony No. 3 in E flat major, Op. 55 Eroica (50') Symphony No. 4 in B flat major, Op. 60 (33') Symphony No. 5 in C minor, Op. 67 (30') Symphony No. 6 in F major, Op. 68 Pastorale (43') Symphony No. 7 in A major, Op. 92 (39') Symphony No. 8 in F major, Op. 93 (25') Symphony No. 9 in D minor, Op. 125 (68')

A co-production ofBBC and Berlin Phil Media

For the opening of his last season as Chief Conductor of the Berliner Philharmoniker, Sir Simon Rattle chose Gustav Mahlers Symphony No. 7. Following the performance at the Philharmonie in Berlin, Rattle took his orchestra to London, to present Mahlers mighty work to his new concert audience from next year on. Indeed it was Mahlers music that initially led Rattle to the idea of pursuing a career on the podium. And it was an interpretation of Mahlers 7th that made a significant

contribution to the Berliner Philharmoniker selecting the Maestro as their Chief Conductor.The Berliner Philharmoniker led off in ravishing brass colours that punched the air with exalted penetration before softening to an equally glorious restraint. Thereafter, with dynamics that turned on a sixpence the symphony held together as persuasively as Ive heard it (Bachtrack).

Length: approx. 90'Cat. no. A 025 50158 0000

BERLINER PHILHARMONIKER AND SIR SIMON RATTLE PERFORM BOULEZ & MAHLERPIERRE BOULEZ clat GUSTAV MAHLER Symphony No. 7

Accompanying documentary Living with Beethoven the nine Symphonies with the Berliner Philharmoniker and Sir Simon Rattle by Daniel Finkernagel and Magdalena Ziba-Schwind (Cat. no. A 055 50523 Length 45) available

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Nelsons lives up to his deep adoration of Richard Wagner, his favourite composer, in this concert, where he is conducting the Berliner Philharmoniker, with the Prelude to the First Act and the Karfreitagszauber from the Third Act of Wagners Parsifal with ideal intensity and interpretation, well worthy of Wagners sacred music (Il Messagero). Anton Bruckner, who, similar to Nelsons, boundlessly worshiped Wagner, dedicated his

3rd Symphony to his idol, the unattainable, world-famous and sublime master of poetry and music, with the most profound respect.With Nelsons conducting, everything diverged into beauty. (Der Tagesspiegel) Nelsons worked his magic. Every repetition is a new reason for amazement, from the intimate Trio to the triumphant Final. (Berliner Morgenpost)

Length: 95'Cat. no. A 055 50543 0000

BERLINER PHILHARMONIKER AND ANDRIS NELSONS PERFORM WAGNER & BRUCKNERRICHARD WAGNER "Prelude to Act I" and "Good Friday Spell (Act III)" from Parsifal ANTON BRUCKNER Symphony No. 3 in D minor (1889 Version)


Christian Thielemann conducts the Berliner Philharmo- niker in a programme of late romantic French masterpieces, accompanied by the outstanding voices of Christiane Karg (soprano), Sophie Koch (mezzo-soprano) and Adrian Erd (baritone).Gabriel Faurs heart-easing Requiem with its famous Pie Jesu is turned into a magical moment by Kargs divine way of singing (Kulturradio). Ernest Chaussons

haunting song cycle Pome de lamour et de la mer, in which Sophie Koch performs superbly with her dramatic, yet light voice (FAZ), constitutes the Requiems temporal counterpart. Thematically bridging the two works are Debussys Danse sacre and Danse profane for harp and strings, with the orchestras principal harp Marie-Pierre Langlamet creating cascades of artful polyphony in delicate nuances (FAZ).

Length: 87'Cat. no. A 055 50514 0000

BERLINER PHILHARMONIKER AND CHRISTIAN THIELEMANN PERFORM CHAUSSON, DEBUSSY & FAURCHRISTIANE KARG, Soprano SOPHIE KOCH, Mezzo-Soprano ADRIAN ERD, Baritone MARIE-PIERRE LANGLAMET, Harp ERNEST CHAUSSON Pome de lamour et de la mer, Op. 19 CLAUDE DEBUSSY Danses pour harpe et orchestre dinstruments cordes GABRIEL FAUR Messe de Requiem, D minor, Op. 48


Even though Ravel is most famous for his Bolro, his vast musical fresco Daphnis et Chlo has always been described as his true masterpiece, where sunlight and playfulness can rashly turn into inscrutability and brutality. In addition, Sir Simon Rattle and the Berliner Philharmoniker present three exquisite rarities. Figure humaine, Francis Poulencs striking hymn to freedom, Charles Koechlins symphonic

poem Les Bandar-log, the virtuosic monkey dance, inspired by Rudyard Kiplings Jungle Book, and Kurtgs orchestral work Petite Musique solennelle en hommage Pierre Boulez 90. What all the works in this concert have in common is an unmistakable French freedom of form and sound, resulting from the uncertainty of the moment. The critics are delighted: An arresting evening (Financal Times).

Length: 111'Cat. no. A 055 50528 0000

BERLINER PHILHARMONIKER AND SIR SIMON RATTLE PERFORM POULENC, KOECHLIN, KURTG & RAVELFRANCIS POULENC Figure humaine CHARLES KOECHLIN Les Bandar-log, Op. 176 GYRGY KURTG Petite Musique solennelle en hommage Pierre Boulez 90 MAURICE RAVEL Daphnis et Chlo

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YUJA WANG Photo: Marco Borrelli

A production of UNITEL in co-production with ZDF/3sat in cooperation with Salzburg Festival

At the Salzburg Festival the Camerata Salzburg joins forces with Lionel Bringuier, one of the most promising young conductors of his generation, and Chinese star-pianist Yuja Wang for a concert featuring music of the first half of the 20th century. The central piece is Maurice Ravels Piano Concerto in G major, a sparkling work, which Yuja Wang plays superbly. She is refined, sly, jazzy, French, propulsive everything (National Review). With its

echoes of jazz and folklore, the piano concerto recalls Gershwins Rhapsody in Blue, by which it is followed. Thanks to his stupendous conducting technique (Salzburger Nachrichten) Lionel Bringuier leads the Camerata excellently through the programme. Already in the opening piece, Ravels Ma Mre l'Oye, Bringuier casts an atmospheric spell on the audience, devoting much space to the delicate worlds of sound (Neue Zricher Zeitung).

Length: 83'Cat. no. A 045 50065 0000

CAMERATA SALZBURG AND LIONEL BRINGUIER PERFORM RAVEL, GERSHWIN & KODLYYUJA WANG, PianoMAURICE RAVEL Ma Mre loye, Suite for Orchestra / Concerto for Piano and Orchestra in G major GEORGE GERSHWIN Rhapsody in Blue ZOLTN KODLY Galntai tncok (Dances from Galnta)

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BARBARA HANNIGAN & MIRGA GRAINYTE-TYLA Photo: Chris Christodoulou

A co-production of BBC and UNITEL

The City of Birmingham Symphony Orchestra presents its new Music Director Mirga Grainyt-Tyla at the BBC Proms. Grainyt-Tyla is not only the successor of Sir Simon Rattle and Andris Nelsons at the CBSO, but also the first female conductor to take over one of the worlds leading orchestras. Combining the dynamism of youth and a profundity beyond her years, she is a creative and technical force presenting the most newsworthy of all the 2016 Proms (The Telegraph).

Grainyt-Tylas talent and musicality shine bright in the concerts centre piece, the song cycle Let me tell you by Hans Abrahamsen, performed by no less than Barbara Hannigan, for whom the piece was written in the first place. In the second half of the concert, Grainyt-Tyla and the CBSO explore Tchaikovskys dramatic Fourth Symphony technically impeccable and just that bit more vivid than usual (The Guardian).

Length: 98'Cat. no. A 025 50157 0000

CITY OF BIRMINGHAM SYMPHONY ORCHESTRA MIRGA GRAINYT-TYLA THE INAUGURAL CONCERTBARBARA HANNIGAN, SopranoWOLFGANG AMADEUS MOZART Overture to Die Zauberflte HANS ABRAHAMSEN Let me tell you PYOTR I. TCHAIKOVSKY Symphony No. 4 in F minor, Op. 36

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VCLAV LUKS Photo: Andreas Kolarik

A co-production of Ozango, Collegium 1704 and UNITEL with the participation of M_Media - Classicall TV and SZENIK

in cooperation with ORF/3sat and Salzburg Festival with the support of CNC

As part of the Salzburg Festivals celebrations for the bicentenary of the former prince-bishoprics union with Austria, one of the supreme masterworks of Baroque polyphony, the Missa Salisburgensis by composer-violinist Heinrich Ignaz Franz Biber is performed in the Salzburg Cathedral the very building where it was first heard. Bibers Mass was specifically designed to exploit the acoustics and architecture of the Cathedral and is here presented in authentic 360 surround sound, bringing into play all four of the Cathedrals organs.

Performed by the renowned Prague-based period ensembles Collegium 1704 and Collegium Vocale 1704 under their founder-director Vclav Luks, Bibers Mass is prefaced by a selection of sacred choral works by Monteverdi, masterpieces that are equally suited to the Italianate splendor of Salzburgs Cathedral.An extravagant but joyous enterprise, a real festival event. Long will this spectacular Mass continue to resound in my memory (Salzburger Nachrichten).

Length: 93'Cat. no. A 045 50064 0000

HEINRICH IGNAZ FRANZ BIBER: MISSA SALISBURGENSIS AND SACRED WORKS BY CLAUDIO MONTEVERDICOLLEGIUM 1704 conducted by VCLAV LUKS HEINRICH IGNAZ FRANZ BIBER Missa Salisburgensis CLAUDIO MONTEVERDI Dixit Dominus (Psalm 110), Beatus vir (Psalm 112), Laudate pueri primo (Psalm 113) from Selva morale e spirituale, Sonata sopra Sancta Maria Ora pro nobis from Vespro della Beata Vergine

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A production of Czech Television and UNITEL CLASSICA in collaboration with Czech Philharmonic

From the time-honoured and acoustically superb Prague Rudolfinum, this concert of the Czech Philharmonic under its music director Ji Blohlvek marks the beginning of the first-ever filmed cycle of all six symphonies by Bohuslav Martin.Blohlvek and the Czech Philharmonic have a reputation to interpret his works like no other: ClassicsToday declares their Martin cycle to live up to the highest expectations

[...] With an orchestra that knows the music this well, Blohlvek can focus on details of rhythm and texture that create a powerful feeling of symphonic continuity without stinting on the works evocative colors.Following Martins First Symphony is Mahlers First Symphony. With an equally deep Mahler tradition, the orchestra gave proof of why the New York Times called them a jewel in Pragues cultural life.

Length: 95'Cat. no. A 985 50035 0000

CZECH PHILHARMONIC AND JI BLOHLVEK PERFORM MARTIN & MAHLERBOHUSLAV MARTIN Symphony No. 1, H. 289 GUSTAV MAHLER Symphony No. 1 in D major, Titan

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JOHN WILSON Photo: Chris Christodoulou

A co-production of BBC and UNITEL

John Wilson and his orchestra return to Royal Albert Hall with a top-class tribute to the Gershwins (Radio Times), counted among the star attractions (Financial Times) of the BBC Proms. Their concert, accompanied by the three West-End musical theatre stars Louise Dearman, Matthew Ford and Julian Ovenden, is held in honour of George and Ira Gershwin, one of Americas most celebrated song-writing duos.The concert constitutes a first time live performance for a dozen pieces from Hollywoods Golden Age, whose

original scores have been lost and who have all been revived and rearranged by John Wilson.The film score theme tunes, dance numbers and songs from musicals, such as Embraceabl

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