unitel - salzburg festival

UNITEL IS THE EXCLUSIVE AUDIOVISUAL PARTNER OF THE SALZBURG FESTIVAL

SALZBURG FESTIVAL

OPERA Beethoven: Fidelio (Welser-Möst/Guth) 4Berg: Lulu (Albrecht/Nemirova) 6Berg: Wozzeck (Jurowski/Kentridge) 8Berlioz: Benvenuto Cellini (Gergiev/Stölzl) 10Gounod: Faust (Pérez/von der Thannen) 12Gounod: Roméo et Juliette (Nézet-Séguin/Sher) 14Handel: Ariodante (Capuano/Loy) 16Handel: Theodora (Bolton/Loy) 18Henze: The Bassarids (Nagano/Warlikowski) 20Janáček: The Makropulos Affair (Salonen/Marthaler) 22Monteverdi: L’incoronazione di Poppea 24Mozart: Apollo et Hyacinthus (Wallnig/Dew) 26Mozart: Ascanio in Alba (Fischer/Hermann) 28Mozart: Betulia liberata (Poppen) 30Mozart: La clemenza di Tito (Currentzis/Sellars) 32Mozart: La clemenza di Tito (Harnoncourt/Kušej) 34Mozart: Così fan tutte (Eschenbach/Bechtolf) 36Mozart: Così fan tutte (Fischer/Guth) 38Mozart: Così fan tutte (Honeck/Herrmann) 40Mozart: Die Entführung aus dem Serail (Bolton/Herheim) 42Mozart: Die Entführung aus dem Serail (Graf/Marthaler) 44Mozart: La finta giardiniera (Bolton/Dörrie) 46Mozart: Don Giovanni (De Billy/Guth) 48Mozart: Don Giovanni (Eschenbach/Bechtolf) 50Mozart: Don Giovanni (Furtwängler/Graf) 52Mozart: Don Giovanni (Harding/Kušej) 54Mozart: Idomeneo (Currentzis/Sellars) 56Mozart: Idomeneo (Norrington/Herrmann) 58Mozart: Irrfahrten I - La finta semplice (Hofstetter/Schlömer) 60Mozart: Irrfahrten II - Abendempfindung (Hofstetter/Schlömer) 62Mozart: Irrfahrten III - Rex tremendus (Hofstetter/Schlömer) 64Mozart: Lucio Silla (Netopil/Flimm) 66Mozart: Mitridate, re di Ponto (Minkowski/Krämer) 68Mozart: Le nozze di Figaro (Ettinger/Bechtolf) 70Mozart: Le nozze di Figaro (Harnoncourt/Guth) 72Mozart: Il re pastore (Hengelbrock) 74Mozart: Der Schauspieldirektor/Bastien und Bastienne (Fuchs/Reichert) 76Mozart: Die Schuldigkeit des ersten Gebots (Wallnig/Dew) 78Mozart: Il sogno di Scipione (Ticciati/Sturminger) 80Mozart: Die Zauberflöte (Carydis/Steier) 82Mozart: Die Zauberflöte (Harnoncourt/Herzog) 84Mozart: Die Zauberflöte (Muti/Audi) 86Mozart/Czernowin: Zaide/Adama (Bolton/Kalitzke/Guth) 88Puccini: La Bohème (Gatti/Michieletto) 90Rihm: Dionysos (Metzmacher/Audi) 92Rossini: L’Italiana in Algeri (Spinosi/Leiser & Caurier) 94Schubert: Fierrabras (Metzmacher/Stein) 96Strauss: Ariadne auf Naxos (Harding/Bechtolf) 98Strauss: Elektra (Gatti/Lehnhoff) 100Strauss: Die Frau ohne Schatten (Thielemann/Loy) 102Strauss: Die Liebe der Danae (Welser-Möst/Hermanis) 104Strauss: Der Rosenkavalier (Welser-Möst/Kupfer) 106Strauss: Salome (Welser-Möst/Castellucci) 108Tchaikovsky: Eugene Onegin (Barenboim/Breth) 110Tchaikovsky: Pique Dame (Jansons/Neuenfels) 112Verdi: Aida (Muti/Neshat) 114Verdi: Don Carlo (Pappano/Stein) 116

Verdi: Falstaff (Mehta/Michieletto) 118Verdi: Il Trovatore (Gatti/Hermanis) 120Verdi: La Traviata (Rizzi/Decker) 122Verdi: Otello (Muti/Langridge) 124Verdi: Simon Boccanegra (Gergiev/Kriegenburg) 126Wagner: Die Meistersinger von Nürnberg (Gatti/Herheim) 128Winter: Das Labyrinth (Bolton/Liedtke) 130Zimmermann: Die Soldaten (Metzmacher/Hermanis) 132

OPERETTA

Offenbach: Orphée aux enfers (Mazzola/Kosky) 134

BALLET

Über die Grenze (Spoerli/Hagen-Quartett/Zürcher Ballett) 136

CONCERT Abbado/Orchestra Mozart 138Barenboim/Argerich/West-Eastern Divan Orchestra 140Barenboim/Batiashvili/West-Eastern Divan Orchestra 142Barenboim/Wiener Philharmoniker 144Barenboim/West-Eastern Divan Orchestra 146Boulez/Barenboim/Wiener Philharmoniker 148Boulez/Wiener Philharmoniker 150Bringuier/Wang/Camerata Salzburg 152Currentzis/MusicAeterna 154Dudamel/Argerich/R. & G. Capuçon/Simón Bolívar Youth Orchestra of Venezuela 156Dudamel/Simón Bolívar Youth Orchestra of Venezuela 158Dudamel/Wiener Philharmoniker 160Dutoit/NHK Symphony Orchestra 162Gergiev/Semishkur/Wiener Philharmoniker 164Haitink/Ax/Wiener Philharmoniker 166Harding/Wiener Philharmoniker 168Harnoncourt/Röschmann/Schade/Boesch/Wiener Philharmoniker 170Harnoncourt/Concentus musicus Wien 172Harnoncourt/Wiener Philharmoniker 174Jansons/Wiener Philharmoniker 176López Cobos/Domingo/Mozarteum-Orchester 178Luks/Collegium Vocale 1704 180Muti/Mutter/Wiener Philharmoniker 182Nelsons/Wiener Philharmoniker 184Pappano/Netrebko/Bostridge/Hampson/Orchestra dell’Accademia Nazionale di Santa Cecilia 186Pappano/Netrebko/Pizzolato/Polenzani/D’Arcangelo/Orchestra dell’Accademia N. di Santa Cecilia 188Rattle/National Children’s Symphony Orchestra of Venezuela 190Thielemann/Fleming/ Wiener Philharmoniker 192Viotti/Khachatryan/Camerata Salzburg 194

RECITALBeethoven: The Piano Sonatas (Buchbinder) 196Beethoven: The Violin Sonatas (Kavakos/Pace) 198The Salzburg Recital (Flórez/Scalera) 200

DOCUMENTARYAlfred Brendel Lectures 202Mozart 22 Documentaries 204Venezuela’s White Hands Choir in Salzburg 206

THEATRE Hofmannsthal: Jedermann (Crouch/Mertes) 208Shakespeare: Ein Sommernachtstraum (Bolton/Mason) 210

Adrianne Pieczonka ∙ Jonas Kaufmann Tomasz Konieczny ∙ Hans-Peter König

Wiener Philharmoniker conducted by Franz Welser-Möst

staged by Claus Guth

Ludwig van Beethoven’s only opera, Fidelio, features as the highlight of the Salzburg Festival: the stirring work centred around Leonore, who frees her incarcerated spouse Fidelio from prison, is timelessly relevant with powerful emotional situations and jarringly human pleas of anguish from Leonore: “Whoever you are, I want to rescue you. By God! You shall not be a victim!”

Director Claus Guth, renowned for his profound interpretations of opera, replaces the spoken dialogue with menacing sounds, doubling Leonore with a deaf, signing actress. The result is a splendidly staged, new and deeply touching picture of the masterpiece, ending in the breakdown of the hugely traumatised character, Florestan, to the accompaniment of exaltant music.

The Vienna Philharmonic Orchestra delivers an intensely enthralling orchestral sound, supported by the concert association of the Vienna State Opera Chorus under Franz Welser-Möst to accompany a star-studded cast including the two principal characters played by Adrianne Pieczonka and Jonas Kaufmann. The New York Times reported: “the conductor Franz Welser-Möst won a huge ovation, along with the excellent singers, especially the two leads. They are the astonishing tenor Jonas Kaufmann, who makes a wrenching, haunted Florestan, and the compelling, bright-voiced soprano Adrianne Pieczonka as Leonore”. The hitherto unachieved utopian vision of justice, fraternity, and liberty shines eternal.

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Orchestra Wiener PhilharmonikerConductor Franz Welser-Möst

Chorus Konzertvereinigung Wiener Staatsopernchor

Chorus Master Ernst RaffelsbergerStage Director Claus Guth

Leonore Adrianne PieczonkaFlorestan Jonas Kaufmann

Don Pizarro Tomasz KoniecznyRocco Hans-Peter König

Marzelline Olga BezsmertnaJaquino Norbert Ernst

Don Fernando Sebastian Holecek

Video Director Michael Beyer

Length: 137' Shot in HDTV 1080/50i

Cat. no. A 040 50049

A production ofORF and UNITEL CLASSICA

in cooperation with3sat, Salzburg Festival and Wiener Philharmoniker

World Sales:

Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de 5

Unitel and ClassiCa present

Patricia Petibon Pavol Breslik Michael Volle Franz Grundheber

Conductor Marc AlbrechtSet Design by Daniel Richter

Salzburg Festival

Alban BergLuluUnitel and ClassiCa present

Patricia Petibon Pavol Breslik Michael Volle Franz Grundheber

Conductor Marc AlbrechtSet Design by Daniel Richter

Salzburg Festival

Alban BergLulu

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Three-act version completed by Friedrich Cerha

Conductor Marc Albrecht Orchestra Wiener Philharmoniker

lulu Patricia Petibon Countess Geschwitz Tanja Ariane Baumgartner a theatrical Dresser / Cora Burggraaf a High-school Boy / a Groom the Painter / a negro Pavol Breslik Dr. schön, editor-in-chief / Michael Volle Jack the Ripper alwa Thomas Piffka schigolch Franz Grundheber an animal tamer / Thomas Johannes Mayer an athlete the Prince / Heinz Zednik the Manservant the Marquis Andreas Conrad the theatre Manager / Martin Tzonev the Banker a Fifteen-year-old Girl Emilie Pictet Her Mother Cornelia Wulkopf

staged by Vera Nemirova

Video Director Brian Large

length 180¹

Shot in HDTV 1080 Cat. no. A04001537

By courtesy of Universal edition a.G., Wien

A production of ORF and 3sat on behalf of UNITEL in cooperation with

Salzburg Festival and CLASSICA

Lulu alban Berg’s “lulu” is a rarely performed work that calls for a very large orchestra as well as a large cast of vocal soloists. Written in the 1930s, “lulu” is the story of a lower-class

girl who uses men as stepping-stones on her path to fame and fortune and who ultimately meets her own fate at the hands of Jack the Ripper. lulu, a tragic creature and femme fatale – nobody could allegorize such a role better then Patricia Petibon. as a sen-sual, ethereally beautiful lulu, she commands the public’s attention in every scene.

leading the Wiener Philharmoniker, conductor Marc albrecht treats the rich sonorities of Berg’s music as a natural extension of Wagner, Brahms and strauss. He thus provides an ideal support for the two main protagonists of the work, which is next to Patri-cia Petibon’s lulu Michael Volle’s Dr. schön. she is complemented by Volle’s powerful baritone as well as tenor Pavol Breslik, bass-baritone Franz Grundheber and tanja ariane Baumgartner as a heartrending Countess Geschwitz.

a particularly stunning feature of this production are the painted backdrops by Daniel Richter, one of the most internationally prized German painters of today. Whether depicting lulu herself, a horde of menacing, grimacing faces or an eerie, stylized winter landscape, the gigantic backdrops dominate the stage and set the tone for the story.

since the work was left incomplete at Berg’s death, the missing third act was completed on the basis of Berg’s sketches by aus-trian composer Friedrich Cerha, who was awarded the renowned “salzburg Music award” in 2010.

Alban Berg

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Three-act version completed by Friedrich Cerha

Conductor Marc Albrecht Orchestra Wiener Philharmoniker

lulu Patricia Petibon Countess Geschwitz Tanja Ariane Baumgartner a theatrical Dresser / Cora Burggraaf a High-school Boy / a Groom the Painter / a negro Pavol Breslik Dr. schön, editor-in-chief / Michael Volle Jack the Ripper alwa Thomas Piffka schigolch Franz Grundheber an animal tamer / Thomas Johannes Mayer an athlete the Prince / Heinz Zednik the Manservant the Marquis Andreas Conrad the theatre Manager / Martin Tzonev the Banker a Fifteen-year-old Girl Emilie Pictet Her Mother Cornelia Wulkopf

staged by Vera Nemirova


length 180¹


By courtesy of Universal edition a.G., Wien

A production of ORF and 3sat on behalf of UNITEL in cooperation with


Lulu alban Berg’s “lulu” is a rarely performed work that calls for a very large orchestra as well as a large cast of vocal soloists. Written in the 1930s, “lulu” is the story of a lower-class

girl who uses men as stepping-stones on her path to fame and fortune and who ultimately meets her own fate at the hands of Jack the Ripper. lulu, a tragic creature and femme fatale – nobody could allegorize such a role better then Patricia Petibon. as a sen-sual, ethereally beautiful lulu, she commands the public’s attention in every scene.

leading the Wiener Philharmoniker, conductor Marc albrecht treats the rich sonorities of Berg’s music as a natural extension of Wagner, Brahms and strauss. He thus provides an ideal support for the two main protagonists of the work, which is next to Patri-cia Petibon’s lulu Michael Volle’s Dr. schön. she is complemented by Volle’s powerful baritone as well as tenor Pavol Breslik, bass-baritone Franz Grundheber and tanja ariane Baumgartner as a heartrending Countess Geschwitz.

a particularly stunning feature of this production are the painted backdrops by Daniel Richter, one of the most internationally prized German painters of today. Whether depicting lulu herself, a horde of menacing, grimacing faces or an eerie, stylized winter landscape, the gigantic backdrops dominate the stage and set the tone for the story.

since the work was left incomplete at Berg’s death, the missing third act was completed on the basis of Berg’s sketches by aus-trian composer Friedrich Cerha, who was awarded the renowned “salzburg Music award” in 2010.

Alban Berg

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MATTHIAS GOERNE ASMIK GRIGORIAN JOHN DASZAK MAURO PETER GERHARD SIEGEL JENS LARSEN

WIENER PHILHARMONIKERCONDUCTED BY VLADIMIR JUROWSKI

STAGED BY WILLIAM KENTRIDGE

A L B A N B E R G

It was 1917, precisely a hundred years before the release of this new staging at the Salzburg Festival, when Alban Berg decided to set into music Georg Büchner’s fragment “Woyzeck” that tells how a simple army batman, much put upon, suddenly explodes into violence. In 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 here the waiting template for the kind of music he and his teacher Arnold Schoenberg had arrived at only a few years before: the new atonality, a language apt to describe extreme emotional situations. Wozzeck became an immediate artistic and financial success and is seen as one of the century’s most important works. 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 Festival is reviving a great tradition of giving the fine arts significant scope. Kentridge’s work is oscillating between mediums and genres. His drawing, specifically the dynamism of an erased and redrawn mark, is an integral part of his expanded animation and filmmaking practice, where the meanings of his films are developed during the process of their making. The set is dominated by a mountain of platforms, staircase fragments and discarded furniture, where spaces are created by projections of animated drawings, shifting from inside to outside, from tavern to barracks to bombed-out heath. The flawless cast, excellent up to and into the supporting roles, is headed by Matthias Goerne, one of the leading baritones of our time, who embodies the role, with which he had become closely associated in recent years, 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 an enhancer and interlocutor”. “The audience seemed stunned at the end, yet grateful.” (New York Times)

Length: approx. 100' Cat. no. A 040 50082

A production of UNITEL in cooperation with Salzburg Festival,

Wiener Philharmonikermedici.tv and ARTE Concert

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Orchestra Wiener PhilharmonikerConductor Vladimir Jurowski

Choruses Konzertvereinigung Wiener StaatsopernchorSalzburger Festspiele und Theater Kinderchor

Chorus Masters Ernst RaffelsbergerWolfgang Götz

Stage Director William Kentridge

Wozzeck Matthias GoerneMarie Asmik Grigorian

Drum Major John DaszakAndres Mauro Peter

Captain Gerhard SiegelDoctor Jens Larsen

Margret Frances PappasFirst Apprentice Tobias Schabel

Second Apprentice Huw Montague RendallMadman Heinz Göhrig

Produced by Metis FilmVideo Director Tiziano Mancini

A L B A N B E R G “Kentridge finds a wealth of pictures for a world consumed by violence and destruction.” (Financial Times)

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UNITEL and CLASSICA present

BenvenutoCellinifrom the Salzburg Festival

Hector Berlioz


BenvenutoCellinifrom the Salzburg Festival

Hector Berlioz

Music by Hector Berlioz Libretto by Léon de Wailly

Conducted by Valery Gergiev

Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Andreas Schüller Orchestra Wiener Philharmoniker

Benvenuto Cellini Burkhard Fritz Fieramosca Laurent Naouri Giacomo Balducci Brindley Sherratt Pope Clement VII Mikhail Petrenko Teresa Maija Kovalevska Ascanio Kate Aldrich Francesco Xavier Mas Bernardino Roberto Tagliavini Pompeo Adam Plachetka Publican Sung-Keun Park

Staged by Philipp Stölzl Video Director Andreas Morell

Length 150'

A production of Unitel in co-production with ZDF/3sat and Classica

in co-operation with the Salzburg Festival

shot in HDTV 1080 Cat. no. A04001504

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WORLD SALES: C Major Entertainment · Elmar Kruse & Nadja Joost+49-(0)3030306464 · [email protected]

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Conducted by Valery GergievScience fiction for Grand Opera

“A mix of futurism à la ‘Metropolis,‘ fantasy à la ‘Batman‘ and quotes from Piranesi‘s ‘Carceri,‘ juxtaposed in

the form of photo montages, enhanced with ... robots, a helicopter, a shark and the winged vehicle of a pop star Pope,“ effuses critic Marianne Zelger-Vogt (Neue Zürcher Zeitung). The object of her rapture is not a Broadway musical but a French opera written in the 1830s, Hector Berlioz‘s

“Benvenuto Cellini. The absence of the work in the operatic repertoire is certainly due in part to its musical excesses: the work is so complex, richly detailed and prolifically imaginative that Berlioz‘s contemporaries considered it unplayable and unsingable.

This is resoundingly proven false in the 2007 Salzburg Festival production of director Philipp Stölzl, conductor Valery Gergiev (“the wild man of music“) and a high-caliber cast accompanied by the Vienna Philharmonic and its chorus. Stölzl, above all, has poured his experience as director of music videos (for Madonna, Mick Jagger and others), commercials and films into this project, termed “science fiction for Grand Opera“ (Süddeutsche Zeitung), “breathtaking“ (Der Standard), and “spectacularly successful“ (F.A.Z.)

Berlioz whips the action forward by disguising his hero, the celebrated goldsmith and sculptor Benvenuto Cellini (1500–1571), as a monk and having him attempt to elope with Teresa, the daughter of the papal treasurer, during the night of the carnival. In the turmoil, a man is killed. Cellini is accused of murder and can only be saved if he finishes a statue for the Pope within a few hours. In a prodigious effort, he melts all his other works to have enough metal and completes the statue – saving his life and winning the hand of Teresa.

With its many vocal ensembles and massed choruses, the music sometimes recalls Gounod and Offenbach. But the orchestration is typically Berliozian: excesses of sound, razor-sharp contours, jagged breaks. Conductor Valery Gergiev

“pulled out all the stops. He whips the Vienna Philharmonic into a delirium similar to that which possibly took hold of the composer. The result was an unremittingly exalted atmosphere...“ (Hans-Klaus Jungheinrich, Der Standard). Of vital importance to this concept are the bravura performances of Burkhard Fritz as a supple, temperamental Cellini and the 26-year-old Latvian soprano Maja Kovalevska as Teresa, a “vocal delight“ and “Salzburg discovery.“ Kovalevska, however, is only one of countless discoveries to be made in this rousing production.

Benvenuto Cellini Music by Hector Berlioz Libretto by Léon de Wailly

Conducted by Valery Gergiev

Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Andreas Schüller Orchestra Wiener Philharmoniker

Benvenuto Cellini Burkhard Fritz Fieramosca Laurent Naouri Giacomo Balducci Brindley Sherratt Pope Clement VII Mikhail Petrenko Teresa Maija Kovalevska Ascanio Kate Aldrich Francesco Xavier Mas Bernardino Roberto Tagliavini Pompeo Adam Plachetka Publican Sung-Keun Park

Staged by Philipp Stölzl Video Director Andreas Morell

Length 150'

A production of Unitel in co-production with ZDF/3sat and Classica



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Conducted by Valery GergievScience fiction for Grand Opera

“A mix of futurism à la ‘Metropolis,‘ fantasy à la ‘Batman‘ and quotes from Piranesi‘s ‘Carceri,‘ juxtaposed in

the form of photo montages, enhanced with ... robots, a helicopter, a shark and the winged vehicle of a pop star Pope,“ effuses critic Marianne Zelger-Vogt (Neue Zürcher Zeitung). The object of her rapture is not a Broadway musical but a French opera written in the 1830s, Hector Berlioz‘s

“Benvenuto Cellini. The absence of the work in the operatic repertoire is certainly due in part to its musical excesses: the work is so complex, richly detailed and prolifically imaginative that Berlioz‘s contemporaries considered it unplayable and unsingable.

This is resoundingly proven false in the 2007 Salzburg Festival production of director Philipp Stölzl, conductor Valery Gergiev (“the wild man of music“) and a high-caliber cast accompanied by the Vienna Philharmonic and its chorus. Stölzl, above all, has poured his experience as director of music videos (for Madonna, Mick Jagger and others), commercials and films into this project, termed “science fiction for Grand Opera“ (Süddeutsche Zeitung), “breathtaking“ (Der Standard), and “spectacularly successful“ (F.A.Z.)

Berlioz whips the action forward by disguising his hero, the celebrated goldsmith and sculptor Benvenuto Cellini (1500–1571), as a monk and having him attempt to elope with Teresa, the daughter of the papal treasurer, during the night of the carnival. In the turmoil, a man is killed. Cellini is accused of murder and can only be saved if he finishes a statue for the Pope within a few hours. In a prodigious effort, he melts all his other works to have enough metal and completes the statue – saving his life and winning the hand of Teresa.

With its many vocal ensembles and massed choruses, the music sometimes recalls Gounod and Offenbach. But the orchestration is typically Berliozian: excesses of sound, razor-sharp contours, jagged breaks. Conductor Valery Gergiev

“pulled out all the stops. He whips the Vienna Philharmonic into a delirium similar to that which possibly took hold of the composer. The result was an unremittingly exalted atmosphere...“ (Hans-Klaus Jungheinrich, Der Standard). Of vital importance to this concept are the bravura performances of Burkhard Fritz as a supple, temperamental Cellini and the 26-year-old Latvian soprano Maja Kovalevska as Teresa, a “vocal delight“ and “Salzburg discovery.“ Kovalevska, however, is only one of countless discoveries to be made in this rousing production.

Benvenuto Cellini

11

F A U S T

P I OT R B E C Z A Ł A ∙ I L D A R A B D R A Z A KO VM 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 É R E ZS 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 U N O D

In Salzburg Festival’s 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 Beczała is a world-Faust”, writes Kurier, “The crown deserves Piotr Beczała, 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 Méphistophélès, and Maria Agresta as convincingly innocent Marguerite, struggling to resist temptation and to gain salvation: “She is fabulous”, Süddeutsche 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 Carré’s play Faust et Marguerite, which in turn is based on Part I of Johann Wolfgang von Goethe’s dramatic poem Faust, one of the great works of European literature. The opera contains much-loved musical highlights including the memorable Soldiers’ Chorus, Méphistophélès’ rowdy “Song of the Golden Calf”, and Marguerite’s “Jewel Song” with its dazzling coloratura.

Also featured are Alexey Markov as Valentin and Tara Erraught as Siébel, 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 Pérez.

Length: 184' Cat. no. A 040 50065

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

in cooperation with Wiener Philharmoniker and Salzburger Festspiele

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Orchestra Wiener PhilharmonikerChorus Philharmonia Chor Vienna

Chorus Master Walter ZehConductor Alejo Pérez

Stage Director Reinhard von der Thannen

Faust Piotr BeczałaMéphistophélès Ildar Abdrazakov

Marguerite Maria AgrestaValentin Alexey Markov

Siébel Tara ErraughtWagner Paolo RumetzMarthe Marie-Ange Todorovitch


F A U S TC H A R L E S G O U N O D

shot in

(3840 × 2160) ULTRA HD

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NiNo Machaidze RolaNdo VillazóN

charles Gounod

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NiNo Machaidze RolaNdo VillazóN

charles Gounod

�JulietteRoméo


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Music by Charles Gounod

Conductor Yannick Nézet-Séguin Orchestra Mozarteum Orchester Salzburg

Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Jörn H. Andresen

Juliette Nino Machaidze Roméo Rolando Villazón Frère Laurent Mikhail Petrenko Mercutio Russell Braun Stéphano Cora Burggraaf Le Comte Capulet Falk Struckmann Tybalt Juan Francisco Gatell Gertrude Susanne Resmark Le Duc de Vérone Christian Van Horn Le Comte Pâris Mathias Hausmann Grégorio Jean-Luc Ballestra Benvolio Robert Murray

Staged by Bartlett Sher

Directed by Brian Large

Length 163'

Recorded at the Felsenreitschule, Salzburg

A coproduction of ORF and UNITEL CLASSICA in cooperation with Salzburg Festival


While Charles Gounod’s “Roméo et Juliette” is less well-known than his “Faust,” it is blessed with four great show-stopping love duets that let

its two title roles bask in lyrical luxury. In this Salzburg Festival production recorded at the Felsenreitschule, the titular heroes are the much acclaimed Mexican tenor Rolando Villazón and the young Georgian soprano Nino Machaidze – two singers and personalities with the makings of a new “dream couple.”

Villazón is “an ideal Roméo... His vocal cords seem to be grafted directly onto his heart” (Der Tagesspiegel) – a charm-ing image that captures the singer’s one-hundred-percent commitment to emotion, his hot-blooded stage artistry, and his ability to express erotic fulfillment, the blaze of passion, and the hopelessness of his fate with his voice alone. His Ju-liette, Nino Machaidze, unites captivating good looks with a bright, clear voice and an agile, youthful stage presence – a singer on her way to stardom!

Broadway director Bartlett Sher and his team succeed in evoking Shakespeare’s Verona with a few evocative props, many fine costumes and much plot-driven action. In the eyes of many, however, the real discovery of the production is the young Montreal conductor Yannick Nézet-Séguin, who gives a vivid and passionate reading of Gounod’s work. In the words of the Frankfurter Allgemeine Zeitung, Nézet-Séguin

“plunges so earnestly into the specific charm of the score that he brings all of its treasures to light... With the [Mozarteum Orchester Salzburg], playing with a marvelous wealth of nuances, he intones a hymn to a sensuality that reconciles religious, aesthetic and erotic moments...” This vibrant inter-pretation of “Roméo et Juliette” makes a case for this intensely lyrical work as a companion piece of equal value to “Faust.”

�JulietteRoméo

WORLD SALES: C Major Entertainment +49-(0)3030306464 · [email protected]

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Music by Charles Gounod

Conductor Yannick Nézet-Séguin Orchestra Mozarteum Orchester Salzburg

Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Jörn H. Andresen

Juliette Nino Machaidze Roméo Rolando Villazón Frère Laurent Mikhail Petrenko Mercutio Russell Braun Stéphano Cora Burggraaf Le Comte Capulet Falk Struckmann Tybalt Juan Francisco Gatell Gertrude Susanne Resmark Le Duc de Vérone Christian Van Horn Le Comte Pâris Mathias Hausmann Grégorio Jean-Luc Ballestra Benvolio Robert Murray

Staged by Bartlett Sher


Length 163'

Recorded at the Felsenreitschule, Salzburg

A coproduction of ORF and UNITEL CLASSICA in cooperation with Salzburg Festival


While Charles Gounod’s “Roméo et Juliette” is less well-known than his “Faust,” it is blessed with four great show-stopping love duets that let

its two title roles bask in lyrical luxury. In this Salzburg Festival production recorded at the Felsenreitschule, the titular heroes are the much acclaimed Mexican tenor Rolando Villazón and the young Georgian soprano Nino Machaidze – two singers and personalities with the makings of a new “dream couple.”

Villazón is “an ideal Roméo... His vocal cords seem to be grafted directly onto his heart” (Der Tagesspiegel) – a charm-ing image that captures the singer’s one-hundred-percent commitment to emotion, his hot-blooded stage artistry, and his ability to express erotic fulfillment, the blaze of passion, and the hopelessness of his fate with his voice alone. His Ju-liette, Nino Machaidze, unites captivating good looks with a bright, clear voice and an agile, youthful stage presence – a singer on her way to stardom!

Broadway director Bartlett Sher and his team succeed in evoking Shakespeare’s Verona with a few evocative props, many fine costumes and much plot-driven action. In the eyes of many, however, the real discovery of the production is the young Montreal conductor Yannick Nézet-Séguin, who gives a vivid and passionate reading of Gounod’s work. In the words of the Frankfurter Allgemeine Zeitung, Nézet-Séguin

“plunges so earnestly into the specific charm of the score that he brings all of its treasures to light... With the [Mozarteum Orchester Salzburg], playing with a marvelous wealth of nuances, he intones a hymn to a sensuality that reconciles religious, aesthetic and erotic moments...” This vibrant inter-pretation of “Roméo et Juliette” makes a case for this intensely lyrical work as a companion piece of equal value to “Faust.”

�JulietteRoméo


15

G E O R G E F R I D E R I C H A N D E L

CECILIA BARTOLI NATHAN BERG

KATHRYN LEWEK ROLANDO VILLAZÓN

CHRISTOPHE DUMAUX SANDRINE PIAU

KRISTOFER LUNDIN

LES MUSICIENS DU PRINCE – MONACO CONDUCTED BY

GIANLUCA CAPUANO

STAGED BY CHRISTOF LOY

At Salzburg Festival, Cecilia Bartoli shines as Ariodante with her dazzling coloratura in a highly acclaimed new production by the German director Christoph Loy, who is known for his clever psychological stagings. Loy turns Handel’s splendid baroque opera into an exciting and differentiated reflection on gender roles and introduces us to the ruthless world of intrigue at the Royal Court of Scotland – “one of the most intelligent opera works one has ever seen in the early repertoire” (ORF). A high-class ensemble, first and foremost a brilliant Cecilia Bartoli in the trouser role of the knight Ariodante who effort-lessly switches between cheerful and lamenting virtuoso singing – “a league of her own!” (Standard) – makes the production a true triumph. At her side perform audience favourite Rolando Villazón as Lurcano, French soprano Sandrine Piau as desperate love-seeking Dalinda and young American soprano Kathryn Lewek, praised by critics as a “true discovery” (Neue Zürcher Zeitung). Gianluca Capuano at the podium of the Musiciens du Prince – Monaco “provides for elegance, richness of colour and a sensi-tive, stirring realisation of the ingenious score” (Kurier).

Conductor Gianluca Capuano Orchestra Les Musiciens du Prince – Monaco Chorus Salzburger Bachchor Chorus Master Alois Glassner Choreographer Andreas Heise Stage Director Christof Loy

Ariodante Cecilia Bartoli The King of Scotland Nathan Berg Ginevra Kathryn Lewek Lurcanio Rolando Villazón Polinesso Christophe Dumaux Dalinda Sandrine Piau Odoardo Kristofer Lundin Dancers William John Banks Christopher Basile Andrew Cummings Chris Agius Darmanian Rouven Pabst Glauber Silva Rory Stead Jack Widdowson

Video Director Tiziano Mancini

Length: approx. 215'Cat. no. A 040 50084

A production of UNITEL and ORF/3satin cooperation with Salzburg Festival

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GEORGE FRIDERIC HANDEL

World Sales:

Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitel.de

At Salzburg Festival, Cecilia Bartoli shines as Ariodante with her dazzling coloratura in a highly acclaimed new production by the German director Christoph Loy, who is known for his clever psychological stagings. Loy turns Handel’s splendid baroque opera into an exciting and differentiated reflection on gender roles and introduces us to the ruthless world of intrigue at the Royal Court of Scotland – “one of the most intelligent opera works one has ever seen in the early repertoire” (ORF). A high-class ensemble, first and foremost a brilliant Cecilia Bartoli in the trouser role of the knight Ariodante who effort-lessly switches between cheerful and lamenting virtuoso singing – “a league of her own!” (Standard) – makes the production a true triumph. At her side perform audience favourite Rolando Villazón as Lurcano, French soprano Sandrine Piau as desperate love-seeking Dalinda and young American soprano Kathryn Lewek, praised by critics as a “true discovery” (Neue Zürcher Zeitung). Gianluca Capuano at the podium of the Musiciens du Prince – Monaco “provides for elegance, richness of colour and a sensi-tive, stirring realisation of the ingenious score” (Kurier).

Conductor Gianluca Capuano Orchestra Les Musiciens du Prince – Monaco Chorus Salzburger Bachchor Chorus Master Alois Glassner Choreographer Andreas Heise Stage Director Christof Loy

Ariodante Cecilia Bartoli The King of Scotland Nathan Berg Ginevra Kathryn Lewek Lurcanio Rolando Villazón Polinesso Christophe Dumaux Dalinda Sandrine Piau Odoardo Kristofer Lundin Dancers William John Banks Christopher Basile Andrew Cummings Chris Agius Darmanian Rouven Pabst Glauber Silva Rory Stead Jack Widdowson


Length: approx. 215'Cat. no. A 040 50084

A production of UNITEL and ORF/3satin cooperation with Salzburg Festival

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GEOR GE F R I DE R I C H AN DE L

World Sales:


Conducted byIvor BoltonStaged byChristof Loy

Christine Schäfer Bejun Mehta

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

TheodoraGEORGE FRIDERIC HANDEL

UNItEL and CLASSICA present

Conducted byIvor BoltonStaged byChristof Loy

Christine Schäfer Bejun Mehta


TheodoraGEORGE FRIDERIC HANDEL

UNItEL and CLASSICA present

Conductor Ivor Bolton Orchestra Freiburger Barockorchester Chorus Salzburger Bachchor Chorus Master Alois Glaßner Organ James McVinnie

theodora Christine Schäfer Didymus Bejun Mehta Valens Johannes Martin Kränzle Septimius Joseph Kaiser Irene Bernarda Fink Messenger Ryland Davies

Staged by Christof Loy Stage design Annette Kurz Costume design Ursula Renzenbrink Directed by Hannes Rossacher Length 210’

A production of UNITELin coproduction with CLASSICA

in cooperation with Salzburg Festival

shot in HDTV 1080Cat.no. A04001521


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

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ENTERTAINMENT GMBH

WORLD SALES: C Major Entertainment +49-(0)[email protected]

TheodoraA highlight of the Handel commemorative year

(250th anniversary of death) was the Salzburg Festival’s first-ever staging of Handel’s oratorio

“theodora” of 1750. Christof Loy, who was voted “director of the year” three times by the prestigious journal “Opernwelt”, created a production that is, in his words, “almost as an installation”, and groups his characters around the remains of a gigantic organ in situations that echo the libretto’s tragic dilemma of love, faith and virtue. His concept is supported by the vigorous Ivor Bolton and the Freiburger Barockorchester playing on original instruments, the Salzburger Bachchor, and, above all, by a fine cast. It is led by the luminous Christine Schäfer as a theodora who “perfectly encapsulates the heroine’s combination of fragility and defiance” (AFP), and countertenor Bejun Mehta, who “excels as theodora’s lover Didymus” (the New York times). Video director Hannes Rossacher, known both in the pop (Rolling Stones) and classical worlds (Mozart’s

“Lucio Silla” for UNItEL), captures the essence of this rarely recorded work, another joint project of the exclusive audiovisual partners Salzburg Festival and UNItEL CLASSICA.

Conductor Ivor Bolton Orchestra Freiburger Barockorchester Chorus Salzburger Bachchor Chorus Master Alois Glaßner Organ James McVinnie

theodora Christine Schäfer Didymus Bejun Mehta Valens Johannes Martin Kränzle Septimius Joseph Kaiser Irene Bernarda Fink Messenger Ryland Davies

Staged by Christof Loy Stage design Annette Kurz Costume design Ursula Renzenbrink Directed by Hannes Rossacher Length 210’

A production of UNITELin coproduction with CLASSICA


shot in HDTV 1080Cat.no. A04001521



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ENTERTAINMENT GMBH


TheodoraA highlight of the Handel commemorative year

(250th anniversary of death) was the Salzburg Festival’s first-ever staging of Handel’s oratorio

“theodora” of 1750. Christof Loy, who was voted “director of the year” three times by the prestigious journal “Opernwelt”, created a production that is, in his words, “almost as an installation”, and groups his characters around the remains of a gigantic organ in situations that echo the libretto’s tragic dilemma of love, faith and virtue. His concept is supported by the vigorous Ivor Bolton and the Freiburger Barockorchester playing on original instruments, the Salzburger Bachchor, and, above all, by a fine cast. It is led by the luminous Christine Schäfer as a theodora who “perfectly encapsulates the heroine’s combination of fragility and defiance” (AFP), and countertenor Bejun Mehta, who “excels as theodora’s lover Didymus” (the New York times). Video director Hannes Rossacher, known both in the pop (Rolling Stones) and classical worlds (Mozart’s

“Lucio Silla” for UNItEL), captures the essence of this rarely recorded work, another joint project of the exclusive audiovisual partners Salzburg Festival and UNItEL CLASSICA.

19

Sean Panikkar ·Russell BraunWillard White ·Nikolai Schukoff

Tanja Ariane Baumgartner

Wiener Philharmoniker Conducted by Kent Nagano

Staged by Krzysztof Warlikowski

Hans Werner Henze

THE BASSARIDS

“A completely gripping new production” (Frankfurter Allgemeine Zeitung): 52 years after their premiere, Hans Werner Henze’s The Bassarids return, with Kent Nagano at the helm, to the Salzburg Festival for a rare revival of this modern classic in a highly dramatic psychological staging by Krzysztof Warlikowski.The opera, inspired by Euripides’ tragedy The Bacchae, is as seductive as it is topical: When Dionysus – is he a charlatan? is he a demigod? – bursts into the intact world of ancient Thebes, he plunges a city into chaos. In stark contrast to his cousin, King Pentheus, who leads a life marked by purity and asceticism, Dionysus preaches intoxicating excess and sensuality. This personified battle between the rational and civilized side and the instinctive, purely sensual side of human nature leads the royal family into disaster. Aware of the story’s political dimension that resonates in present day politics, Krzysztof Warlikowski brings one of his famed psychological stagings to the Felsenreitschule in Salzburg. In the gigantic three-part set of Małgorzata Szczęśniak the captivating tale unfolds like a film using split-screen techniques. With “an ensemble that without exception has an outstanding cast”, the musical realization is “simply sublime” (Der Standard). The young US tenor Sean Panikkar excels with displays of effortless heroic power as Dionysus - “a triumph” (BR Klassik). His opponent Pentheus is excellently sung by Russel Braun with carved diction and vocal focus. How Tanja Ariane Baumgartner and Vera-Lotte Bäcker portray Agave and Autonoe is “an art of singing and playing of the highest order” (Neue Zürcher Zeitung). Willard White’s Cadmus convinces with his strong personality. The Konzertvereinigung Wiener Staatsopernchor are the “overwhelming protagonists of this new production” (Süddeutsche Zeitung). Star conductor Kent Nagano, who was close to Henze, includes “The Judgment of Calliope” in the festival Bassarids, a 20-minute section included in the original score, which adds a new dimension to the opera’s presentation of the Dionysian cult. Henze’s score manages a rare balance of experimental and traditional effects. By combining the best of both worlds, the world of the post-World War II avant-garde and the world of the Romantic, it develops an irresistible pulling power. Nagano leads the Wiener Philharmoniker with clarity and precision, ensuring transparency even with the largest orchestra volume. “A magical moment“ (BR Klassik) and “a resounding success for the festival” (Die Deutsche Bühne).

Length: approx. 165’ Cat. no. A 040 50105

A production of UNITELin cooperation with Wiener Philharmoniker

and Salzburg Festival

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Conductor Kent NaganoOrchestra Wiener Philharmoniker


Chorus Master Huw Rhys JamesStage Director Krzysztof Warlikowski

Dionysus Sean PanikkarPentheus Russell Braun

Cadmus Willard WhiteTiresias / Calliope Nikolai SchukoffCaptain / Adonis Károly Szemerédy

Agave / Venus Tanja Ariane BaumgartnerAutonoe / Proserpine Vera-Lotte Böcker

Beroe Anna Maria DurDancer & Choreographer (Solos) Rosalba Torres Guerrero


Hans Werner Henze

THE BASSARIDS

World Sales:



LEoš JAnáčEk

VEC MAKROPULOSAnGELA DEnokE RAymonD VERy PETER HoARE JURGITA ADAmonyTė

ESA-PEkkA SALonEn WIEnER PHILHARmonIkER

UnITEL and CLASSICA present


LEoš JAnáčEk

VEC MAKROPULOSAnGELA DEnokE RAymonD VERy PETER HoARE JURGITA ADAmonyTė

ESA-PEkkA SALonEn WIEnER PHILHARmonIkER

UnITEL and CLASSICA present

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With the “breathtakingly grandiose” (Salzburger Nachrichten) Angela Denoke in the lead role, this emotionally powerful opera was given

a superior treatment at the hands of the Wiener Philharmoniker under Esa-Pekka Salonen and in an ingenious staging by Christoph marthaler. They and the entire cast joined forces to make this production one of the highlights of the Salzburg Festival.

Denoke, certainly one of the best singers in the lyrical-dramatic fach and voted “Singer of the year” by Opernwelt, gives a winning account of the sensual, tormented leading role: “ms. Denoke is a compelling actress” wrote The New York Times. “She embodies both Emilia marty’s shadowy side and the magnetism that attracts the men she encounters.” (The New York Times) In the roles of the men revolving around her are the outstanding Raymond Very, Johan Reuter, Aleš Briscein, Ryland Davies and Jochen Schmeckenbecher.

Esa-Pekka Salonen lets the Wiener Philharmoniker alternate between powerful accents, filigree textures and mighty outbursts of raw emotion. “Salonen ensures a brilliant reading of Janáček’s fascinating score, which both heightens the opera’s suspense and soars with music of passion” (The New York Times). The staging by Christoph marthaler charms the viewer with his typical witty, naturalistic details. “The originality and fantasy of the production arise from the vision of marthaler and his collaborators” (El País).

Premiered in 1926, Leoš Janáček’s singularly absorbing dialogue opera reflects the musical styles of the early 20th century, from Bohemian tunefulness to meaty Straussian phrases, Berg-like jaggedness, primeval rhythms. Based on a comedy by karel čapek, the work centers upon a singer, Emilia marty, who is 337 years old yet eternally young. Her father had been a physician

at the Austrian Imperial court and experimented with a potion that extends life for 300 years. Emilia, who also uses the name Elina makropoulos as a pseudonym, is trying to get her hands on the recipe again to extend her life for another 300 years – but will ultimately

reconsider the appeal of near-eternal life.

Conductor Esa-PekkaSalonen orchestra WienerPhilharmoniker Chorus Konzertvereinigung WienerStaatsopernchor Chorus master JörnH.Andresen

Emilia marty AngelaDenoke Albert Gregor RaymondVery Vítek PeterHoare krista JurgitaAdamonytė JaroslavPrus JohanReuter Janek AlešBriscein Dr. kolenatý JochenSchmeckenbecher A Scottish maid LindaOrmiston A conscientious objector PeterLobert Hauk-šendorf RylandDavies Jin Ling SashaRau mary Long SilviaFenz Staged by ChristophMarthaler Video Director HannesRossacher Length approx.135'

ShotinHDTV1080

Cat. no. A04001559

AproductionofUNITELincooperationwith

SalzburgFestivalandCLASSICA

VEC MAKROPULOSLEoš JAnáčEk

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Photo

s: ©

Walt

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luebb

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om

With the “breathtakingly grandiose” (Salzburger Nachrichten) Angela Denoke in the lead role, this emotionally powerful opera was given

a superior treatment at the hands of the Wiener Philharmoniker under Esa-Pekka Salonen and in an ingenious staging by Christoph marthaler. They and the entire cast joined forces to make this production one of the highlights of the Salzburg Festival.

Denoke, certainly one of the best singers in the lyrical-dramatic fach and voted “Singer of the year” by Opernwelt, gives a winning account of the sensual, tormented leading role: “ms. Denoke is a compelling actress” wrote The New York Times. “She embodies both Emilia marty’s shadowy side and the magnetism that attracts the men she encounters.” (The New York Times) In the roles of the men revolving around her are the outstanding Raymond Very, Johan Reuter, Aleš Briscein, Ryland Davies and Jochen Schmeckenbecher.

Esa-Pekka Salonen lets the Wiener Philharmoniker alternate between powerful accents, filigree textures and mighty outbursts of raw emotion. “Salonen ensures a brilliant reading of Janáček’s fascinating score, which both heightens the opera’s suspense and soars with music of passion” (The New York Times). The staging by Christoph marthaler charms the viewer with his typical witty, naturalistic details. “The originality and fantasy of the production arise from the vision of marthaler and his collaborators” (El País).

Premiered in 1926, Leoš Janáček’s singularly absorbing dialogue opera reflects the musical styles of the early 20th century, from Bohemian tunefulness to meaty Straussian phrases, Berg-like jaggedness, primeval rhythms. Based on a comedy by karel čapek, the work centers upon a singer, Emilia marty, who is 337 years old yet eternally young. Her father had been a physician

at the Austrian Imperial court and experimented with a potion that extends life for 300 years. Emilia, who also uses the name Elina makropoulos as a pseudonym, is trying to get her hands on the recipe again to extend her life for another 300 years – but will ultimately

reconsider the appeal of near-eternal life.

Conductor Esa-PekkaSalonen orchestra WienerPhilharmoniker Chorus Konzertvereinigung WienerStaatsopernchor Chorus master JörnH.Andresen

Emilia marty AngelaDenoke Albert Gregor RaymondVery Vítek PeterHoare krista JurgitaAdamonytė JaroslavPrus JohanReuter Janek AlešBriscein Dr. kolenatý JochenSchmeckenbecher A Scottish maid LindaOrmiston A conscientious objector PeterLobert Hauk-šendorf RylandDavies Jin Ling SashaRau mary Long SilviaFenz Staged by ChristophMarthaler Video Director HannesRossacher Length approx.135'

ShotinHDTV1080

Cat. no. A04001559

AproductionofUNITELincooperationwith


VEC MAKROPULOSLEoš JAnáčEk

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23

Sonya Yoncheva • Kate Lindsey • Stéphanie d’Oustrac • Carlo VistoliLes Arts Florissants conducted by William Christie

Staged and choreographed by Jan Lauwers

L’ INCORONAZIONE DI POPPEAC L A U D I O M O N T E V E R D I

In his very first opera staging, renowned choreographer Jan Lauwers shines new light on Claudio Monteverdi’s innovative opera L’incoronazione di Poppea (The Coronation of Poppea) at the Salzburg Festival: With striking imagery created by the dance virtuosos of SEAD Salzburg Experimental Academy of Dance and the BODHI PROJECT, his ‘Gesamtkunstwerk’ captures the dizzying power games between Poppea and Nerone, superbly performed by Sonya Yoncheva and Kate Lindsey. At the helm of the excellent ensemble Les Arts Florissants, William Christie proves once again that he is “the noblest, most subtle, most delicate of all experts of early music” (Merkur).Monteverdi’s tale of Poppea’s incoronation is a tale of power, lust and cruelty. Poppea stops at nothing to ascend to the throne and become the wife of Emperor Nerone. Sonya Yoncheva portrays her with the utmost sensuality. Kate Lindsey gives her debut as Nerone not as a breeches role; instead her Nerone is a seduced empress, driven by power. When the fervour of Yoncheva’s soprano mixes with the expressively nuanced mezzo-soprano of Lindsey in the final love duet, the two superb singers demonstrate that it is “one of the most tender duets in opera history and of infinite magic” (Süddeutsche Zeitung). William Christie and the musicians of Les Arts Florissants, who are placed elevated on either side of the catwalk dominating the stage and interact with the singers, are active participants in this visually compelling staging. Lauwers uses live videos to show close-ups of Poppea and Nerone and scenes happening backstage. On stage the unusually shaped costumes and creative headpieces, created by Lemm&Barkey, are real eye-catchers. While the opera’s protagonists enthuse about love or are almost eaten away by jealousy, the dancers of SEAD and the BODHI PROJECT whirl across the stage. Full of ecstasy and emphasis, they symbolize all the emotions of Nero, Poppea and Co. As their doppelgangers they create with their expressive dances gorgeously presented tableaux vivants and human sculptures. The cast is simply “superb” (Financial Times). Stéphanie d’Oustrac impresses as the spurned and raging empress Ottavia. Carlo Vistoli gives with virtuosic coloraturas an intense performance as Ottone, who is smitten with Poppea and banished after her attempted murder. While Renato Dolcini is a tender Seneca, who is forced to commit suicide, Marcel Beekman and Dominique Visse wow the audience in the roles of the nurses as gifted comedians. “Amazing images” (Der Standard) “Lauwers does not care about interpretation in the conventional sense. That […] makes [his work] great.” (Süddeutsche Zeitung)


A co-production of CLC Productions/Tangaro and UNITEL with the participation of medici.tv in cooperation

with Salzburg Festival and with support from CNC

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Conductor William ChristieOrchestra Les Arts Florissants

Stage Director, Set Designer & Choreographer Jan Lauwers

Poppea Sonya YonchevaNerone Kate LindseyOttavia Stéphanie d’OustracOttone Carlo VistoliSeneca Renato Dolcini

Virtù / Drusilla Ana QuintansNutrice / Famigliare I Marcel Beekman

Arnalta Dominique VisseAmore / Valletto Lea Desandre

Fortuna / Damigella Tamara BanjesevicPallade / Venere Claire Debono

Lucano / Soldato I / Tribuno / Famigliare II Alessandro Fisher

Liberto / Soldato II / Tribuno David WebbLittore / Console I / Famigliare III Padraic Rowan

Mercurio / Console II Virgile AncelySolo Dancer Sarah Lutz (Needcompany)

Dancers

BODHI PROJECT SEAD Salzburg Experimental Academy of Dance

L’ INCORONAZIONE DI POPPEAC L A U D I O M O N T E V E R D I

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Russell Thomas • Golda Schultz • Christina GanschMarianne Crebassa • Jeanine De Bique • Willard White

musicAeterna • musicAeterna Choir conducted by Teodor Currentzis

Staged by Peter Sellars

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

LA CLEMENZA DI TITO

Peter Sellars, having made history with his 1998 staging of the opera Saint François d’Assise by Olivier Messiaen in the Felsenreitschule, returns to Salzburg to stage and direct for TV Mozart’s opera seria La clemenza di Tito. In the pit is his comrade-in-arms and long-time collaborator, Greek-Russian star conductor Teodor Currentzis with his Russian MusicAeterna choir and orchestra from Perm. Sellars, who functions also as video director, and Currentzis take up the story and develop it for their Salzburg production, creating a fresh and original yet contemplative new version of Mozart’s last opera through the interpolation of excerpts from his c-minor Mass. The parable of rebellion and forgiveness is set in a developing country, with a brutal police presence but a thoughtful leader and 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 needed to move the world and history forward and the horrifying, unavoidable loss of innocent lives. Sculptor, architect and installation artist George Tsypin is utilizing the magnificent ambience of the Felsenreitschule to create a powerful 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 vision congenially. The young, outstanding cast is led by tenor Russell Thomas 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).

Length: approx. 170' Shot in HDTV 1080/50i

Cat. no. A 040 50078

A co-production of ORF, 3sat and UNITEL in cooperation with Salzburg Festival

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Orchestra musicAeternaConductor Teodor Currentzis

Chorus musicAeterna ChoirChorus Master Vitaly Polonsky

Tito Vespasiano Russell ThomasVitellia Golda SchultzServilia Christina Gansch

Sesto Marianne CrebassaAnnio Jeanine De BiquePublio Willard White

Basset Clarinet Florian Schüle

Stage and Video Director Peter Sellars


LA CLEMENZA DI TITO

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LA CLEMENZA DI TITO Michael Schade · Dorothea Röschmann · Barbara Bonney

Vesselina Kasarova · Elīna Garanča · Luca PisaroniWiener Philhamroniker conducted by Nikolaus Harnoncourt

staged by Martin Kušej


Mozart was still working on The Magic Flute when he was commissioned to write a festive opera for the coronation of Leopold II in Prague as King of Bohemia on 6 September 1791. From a lofty reflection on politics and justice, it became a conflict between friends and lovers. Emperor Titus plans to marry Berenice, thus arousing the rage of Vitellia. She urges Sesto, who loves her, to lead a revolt against Titus. After further complica-tions, Titus resolves to marry Vitellia. Vitellia tries to stop Sesto, but in vain: he has burned down the Capitol and tried to kill his best friend Titus. The Emperor escapes, but, surrounded by manipulation and betrayal, the future seems bleak…This opera seria, Mozart’s very last opera, is both a distillate of late 18th-century opera as well as an anticipation of the 19th-century opera with its tormented heroes. Director Martin Kušej tells the story straightforwardly, digging into the substrata of the work to bring out the complex psyches of the characters, their neurotic impulses, their sexual drives and the motives of their intrigues. Kušej’s “Clemenza” is a mad whirl of love, murder, arson and rebellion. He is ably supported by the Wiener Philharmoniker under Nikolaus Harnoncourt, and a stellar cast that proves just how much flesh and blood pulses through this work. Michael Schade, one of the most exciting lyrical tenors of today, is a Titus who sings with fire and dignity. The dramatic soprano Dorothea Röschmann, who made her international breakthrough in Salzburg in 1995 as Susanna (Figaro) under Harnoncourt, portrays Vitellia as a power-hungry schemer with a broken soul. The incomparable mezzo Vesselina Kasarova paints her Sesto with all the passion and torment of a lover forced to betray his best friend. On a par with them

are Barbara Bonney (Servilia), Elīna Garanča (Annio) and Luca Pisaroni (Publio). This production is

universally. acclaimed as a musical and dramatic triumph.

Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Rupert Huber Conductor Nikolaus Harnoncourt Stage Director Martin Kušej

Tito Vespasiano Michael Schade Vitellia Dorothea Röschmann Servilia Barbara Bonney Sesto Vesselina Kasarova Annio Elīna Garanča Publio Luca Pisaroni


Length: 140'Shot in HDTV 1080/50i

Cat. no. A 040 01477

A production of ORF in cooperation with Salzburg Festival.

Distributed by UNITEL

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LA CLEMENZA DI TITO W O L F G A N G A M A D E U S M O Z A R T

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WOLFGANG AMADEUS MOZART

COSÌ FAN TUTTE

Malin Hartelius Marie-Claude Chappuis Martin MitterrutznerLuca Pisaroni

Wiener Philharmoniker

Conducted by

Christoph Eschenbach

Staged by Sven-Eric Bechtolf

WOLFGANG AMADEUS MOZART

COSÌ FAN TUTTE

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Fiordiligi Malin Hartelius Dorabella Marie-Claude Chappuis Despina Martina Janková Ferrando Martin Mitterrutzner Guglielmo Luca Pisaroni Don Alfonso Gerald Finley

Produced by Metisfilm Classica Video Director Tiziano Mancini


Cat. no. A04050015

Conductor Christoph Eschenbach Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Stage Director Sven-Eric Bechtolf

A production of UNITEL

With Così fan tutte, the last joint venture of operatic dream team Lorenzo da Ponte and Wolfgang Amadeus Mozart, the Salzburg Festival launches out upon its eagerly awaited new Da Ponte cycle under the musical direction of Christoph Eschenbach and the artistic direction of Sven-Eric Bechtolf. The “House for Mozart”, the Salzburg hall that has committed itself to a tradition of cultivating the highest artistic standards of Mozart performance, sees Mozart-wise actor and director Bechtolf in charge. True to text, humorous and precise, his classically aesthetic interpretation is good for “a whole lot of laughs” (Münchner Merkur).

Bechtolf shifts the action of this amazingly modern opera about love, partner-swapping, sexuality and power to an Oriental-looking palm court and the guessing game about women’s faithfulness pursues its course. The director takes us by surprise with an unexpectedly pessimistic conclusion in which there are nasty shocks for all of us, not just the lovers.

At Bechtolf ’s disposal is an ensemble that, with the freshness of youth, gives its all on stage. Not least Gerald Finley as Don Alfonso, exercising his “noble, supple baritone” (Salzburger Nachrichten) as he pulls the strings: “absolutely brilliant!” raves the Kronen Zeitung, while the New York Times rates him “outstanding”. As Despina, Martina Jankova enthrals her audience: “a delight to listen to” say the critics. The two sisters Fiordiligi and Dorabella, played by Malin Hartelius and Marie-Claude Chappuis, come across well as they vividly portray the

inner conflict between loyalty and adventure in a young maiden’s breast: “a feast of fine voices … special praise for Malin Hartelius

as Fiordiligi and Marie-Claude Chappuis as Dorabella” writes the Donaukurier. Luca Pisaroni, “the world’s most sought after

Guglielmo” (New York Times) enchants with the “splendid timbres of his sonorous and colourful baritone” (Frankfurter Allgemeine

Zeitung) while Martin Mitterrutzner as Ferrando “dispatched all three arias with ease” (New York Times).

The Vienna Philharmonic, for the first time in a Salzburg Festival opera production, is conducted by Christoph Eschenbach,

whose interpretation ensures “drive and sharp dynamic contrast” (Frankfurter Allgemeine Zeitung) and “dramatic outbursts “ in the orchestra pit (Der Standard). “An adorable Mozart” (La Stampa).

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COSÌ FAN TUTTE

WOlFgANg AmAdEUS mOzArT

Conducted by Adam FischerStaged by Claus Guth

Bo SkovhusPatricia PetibonMiah PerssonTopi Lehtipuu



COSÌ FAN TUTTE

WOlFgANg AmAdEUS mOzArT

Conducted by Adam FischerStaged by Claus Guth

Bo SkovhusPatricia PetibonMiah PerssonTopi Lehtipuu


Director Claus Guth’s production of Mozart’s Da Ponte trilogy for the salzburg Festival reaches its sensational conclusion with his elegant, stylish

production from the “Haus für Mozart”. Guth bolsters the unity of the cycle by making ingenious reference to his stagings of the first two works, “le nozze di Figaro” and “Don Giovanni” (both available from Unitel). His widely acclaimed production of the trilogy, which began in the Mozart Year 2006, consolidates Guth’s international reputation as one of the most sought-after stage directors of our time. among his other major suc-cesses are “Der fliegende Holländer” in Bayreuth and

“luisa Miller” at the Bavarian state Opera.

Guth assembles a superb ensemble of young singers who toy with love and trust under the cynical gaze of “ringmaster” Bo skovhus’ Don alfonso and his foxy, temperamental sidekick Despina, played by fiery young soprano Patricia Petitbon (Unitel also offers a 30’ portrait of the French soprano, “With Charm and Voice“). Baritone Florian Boesch and tenor topi lehtipuu ideally complement their frisky partners Miah Persson and isabel leonard. Conductor adam Fischer keeps the tempi brisk and the Wiener Philharmoniker on their toes in his layered reading of the score.

this production is another joint project in Unitel ClassiCa’s exclusive partnership with the salzburg Festival.

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Conductor Adam Fischer Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Thomas Lang

Fiordiligi Miah Persson Dorabella Isabel Leonard Ferrando Topi Lehtipuu Guglielmo Florian Boesch Don alfonso Bo Skovhus Despina Patricia Petibon

staged by Claus Guth stage design Christian Schmidt Costume design Anna Sofie Tuma Directed by Brian Large length approx. 190'

A production of ORF and UNITEL in coproduction with NRK and CLASSICA


shot in HDTV 1080 Cat.no. A04001516

WITH CHARM AND VOICE

Video Director Karina Fibich

length 30'

A production of ORF

Shot in HDTV 1080 Cat.no. A04500556

COSÌ FAN TUTTEWolfgang

amaDeus mozart

“Uno spettacolo superbo” Corriere della Sera

Director Claus Guth’s production of Mozart’s Da Ponte trilogy for the salzburg Festival reaches its sensational conclusion with his elegant, stylish

production from the “Haus für Mozart”. Guth bolsters the unity of the cycle by making ingenious reference to his stagings of the first two works, “le nozze di Figaro” and “Don Giovanni” (both available from Unitel). His widely acclaimed production of the trilogy, which began in the Mozart Year 2006, consolidates Guth’s international reputation as one of the most sought-after stage directors of our time. among his other major suc-cesses are “Der fliegende Holländer” in Bayreuth and

“luisa Miller” at the Bavarian state Opera.

Guth assembles a superb ensemble of young singers who toy with love and trust under the cynical gaze of “ringmaster” Bo skovhus’ Don alfonso and his foxy, temperamental sidekick Despina, played by fiery young soprano Patricia Petitbon (Unitel also offers a 30’ portrait of the French soprano, “With Charm and Voice“). Baritone Florian Boesch and tenor topi lehtipuu ideally complement their frisky partners Miah Persson and isabel leonard. Conductor adam Fischer keeps the tempi brisk and the Wiener Philharmoniker on their toes in his layered reading of the score.

this production is another joint project in Unitel ClassiCa’s exclusive partnership with the salzburg Festival.

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Conductor Adam Fischer Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Thomas Lang

Fiordiligi Miah Persson Dorabella Isabel Leonard Ferrando Topi Lehtipuu Guglielmo Florian Boesch Don alfonso Bo Skovhus Despina Patricia Petibon

staged by Claus Guth stage design Christian Schmidt Costume design Anna Sofie Tuma Directed by Brian Large length approx. 190'

A production of ORF and UNITEL in coproduction with NRK and CLASSICA


shot in HDTV 1080 Cat.no. A04001516

WITH CHARM AND VOICE

Video Director Karina Fibich

length 30'

A production of ORF

Shot in HDTV 1080 Cat.no. A04500556

COSÌ FAN TUTTEWolfgang

amaDeus mozart

“Uno spettacolo superbo” Corriere della Sera

39

Wolfgang Amadeus Mozart

DIE ENTFÜHRUNG AUS DEM SERAIL

Camerata SalzburgConducted by Hans GrafStaged by Adrian Marthaler

Desirée Rancatore Javier Camarena Rebecca Nelsen Thomas Ebenstein

Live from Hangar-7, SaLzburg airport

World Sales:

Konstanze Desirée Rancatore Belmonte Javier Camarena Blonde Rebecca Nelsen Pedrillo Thomas Ebenstein Osmin Kurt Rydl Bassa Selim Tobias Moretti

Produced by ServusTV Video Director Felix Breisach


Cat. no. A04050014

MAKING OF Video Director Katharina Heigl-Fegerl

Length: 27' Cat. no. A04550021

Conductor Hans Graf Orchestra Camerata Salzburg Chorus Salzburger Bachchor Chorus Master Alois Glaßner Stage Director Adrian Marthaler

A production of ServusTV in cooperation with

Salzburg Festival and UNITEL CLASSICA

Opera such as even the Salzburg Festival has never known: world-class cast, a strikingly unusual location for an opera, haute-couture clothes, state-of-the-art technology: Hangar-7 of Salzburg Airport combined all these into a spectacular operatic event.

Director Adrian Marthaler moved the action of Mozart’s 1782 singspiel into the present day and into a different environment. His staging makes the “abduction” into a “seduction” by a fashion-conscious jet-set world. Konstanze (Desirée Rancatore – “as if created for the Martern aria”, Wiener Zeitung) is torn this way and that between her everyday life with Belmonte (Javier Camarena – “magnificent”, Süddeutsche Zeitung) and the glittering world of fashion arbiter Selim (Tobias Moretti). Meanwhile the whole of Hangar-7 morphs into a fashion empire with catwalk, photoshoot sets and cutting rooms (with haute-couture garments by fashion designer Lena Hoschek). The cast move from scene to scene throughout the entire performance – as do the audience, who are themselves participants – “a show to cherish” (Kronen Zeitung).

That means the technical apparatus is extensive to say the least: a “stage” of some 14000 square metres accommodates about 20 cameras of widely differing kinds (including suspended and boom-mounted cameras) for unprecedented close-ups and for thrilling airborne long shots. Effective communication between cast and conductor is ensured by the singers’ customized in-ear monitors and the sub-conductors positioned in the various sets, with near on 200 staff making sure that the interactive production runs smoothly.

The singers are accompanied by Camerata Salzburg. Under its conductor Hans Graf, the ensemble plays along “in bubbly good humour, sparkling, airy, full of true Mozart charm” (Frankfurter Allgemeine Zeitung).

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(The Abduction from the Seraglio)


DIE ENTFÜHRUNG AUS DEM SERAIL

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from Salzburg Festival

Don GiovanniWolfgang Amadeus Mozart



Don GiovanniWolfgang Amadeus Mozart


Wild animals live in the woods. Robbers hide there. Mystery is at home there. And, when the woods are on the stage of Salzburg’s Haus für Mozart, a

notorious ladies’ man and his unsavory accomplice can also find shelter there. For here, in the dense forest planted by director Claus Guth, is the home of the rugged macho Don Giovanni, who, assisted by Leporello, lures the ladies with the heady scent of danger.

In Guth’s almost cinematic Salzburg Festival production, every character in Mozart’s most realistic opera seems to carry a back-story of thwarted love and frustration. Every-one appears to be seeking either salvation or damnation in the woods – a compelling concept that removes the opera from its traditional pseudo-Seville squares and palaces. And when Don Giovanni is played by Christopher Maltman, it’s no wonder that Donna Anna (Annette Dasch), Donna Elvira (Dorothea Röschmann) and even Zerlina (Ekaterina Siurina) are ready to throw themselves at his feet. With a physique as striking as his full-bodied baritone voice, Maltman embodies Don Giovanni as an almost reluctant seducer, a man fated to bring misery to women and, ultimately, to himself.

Next to Maltman, it is Uruguayan bass-baritone Erwin Schrott who rivets the audience in this production: “Schrott’s Leporello is an event in his own right, the event of the Salz-burg ‘Don Giovanni’” (Die Welt). This Leporello is no bum-bling sidekick or nobleman’s scapegoat, but his master’s wor-thy companion on the road to perdition. Among the women, Röschmann gives a heart-stopping account of rage, passion and love in her arias. And as Don Ottavio, Matthew Polen-zani has nothing in common with the traditionally sweet but boring characterization of the eternal fiancé. Under Bertrand de Billy, the Wiener Philharmoniker play with refreshing verve and spirit.

Four further “Don Giovannis” are available from UNITEL CLASSICA, from Furtwängler’s 1954 Salzburg Festival pro-duction to Martin Kušej’s “Mozart22” staging of 2006 with Thomas Hampson in the title role.

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Music by Wolfgang Amadeus Mozart

Conductor Bertrand de Billy Orchestra Wiener Philharmoniker

Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Thomas Lang

Don Giovanni Christopher Maltman Commendatore Anatoly Kocherga Donna Anna Annette Dasch Don Ottavio Matthew Polenzani Donna Elvira Dorothea Röschmann Leporello Erwin Schrott Zerlina Ekaterina Siurina Masetto Alex Esposito

Staged by Claus Guth


Length 180'

Recorded at the Haus für Mozart, Salzburg

A production of ORF for UNITEL CLASSICA in cooperation with Salzburg Festival




Wild animals live in the woods. Robbers hide there. Mystery is at home there. And, when the woods are on the stage of Salzburg’s Haus für Mozart, a

notorious ladies’ man and his unsavory accomplice can also find shelter there. For here, in the dense forest planted by director Claus Guth, is the home of the rugged macho Don Giovanni, who, assisted by Leporello, lures the ladies with the heady scent of danger.

In Guth’s almost cinematic Salzburg Festival production, every character in Mozart’s most realistic opera seems to carry a back-story of thwarted love and frustration. Every-one appears to be seeking either salvation or damnation in the woods – a compelling concept that removes the opera from its traditional pseudo-Seville squares and palaces. And when Don Giovanni is played by Christopher Maltman, it’s no wonder that Donna Anna (Annette Dasch), Donna Elvira (Dorothea Röschmann) and even Zerlina (Ekaterina Siurina) are ready to throw themselves at his feet. With a physique as striking as his full-bodied baritone voice, Maltman embodies Don Giovanni as an almost reluctant seducer, a man fated to bring misery to women and, ultimately, to himself.

Next to Maltman, it is Uruguayan bass-baritone Erwin Schrott who rivets the audience in this production: “Schrott’s Leporello is an event in his own right, the event of the Salz-burg ‘Don Giovanni’” (Die Welt). This Leporello is no bum-bling sidekick or nobleman’s scapegoat, but his master’s wor-thy companion on the road to perdition. Among the women, Röschmann gives a heart-stopping account of rage, passion and love in her arias. And as Don Ottavio, Matthew Polen-zani has nothing in common with the traditionally sweet but boring characterization of the eternal fiancé. Under Bertrand de Billy, the Wiener Philharmoniker play with refreshing verve and spirit.

Four further “Don Giovannis” are available from UNITEL CLASSICA, from Furtwängler’s 1954 Salzburg Festival pro-duction to Martin Kušej’s “Mozart22” staging of 2006 with Thomas Hampson in the title role.

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Conductor Bertrand de Billy Orchestra Wiener Philharmoniker


Don Giovanni Christopher Maltman Commendatore Anatoly Kocherga Donna Anna Annette Dasch Don Ottavio Matthew Polenzani Donna Elvira Dorothea Röschmann Leporello Erwin Schrott Zerlina Ekaterina Siurina Masetto Alex Esposito

Staged by Claus Guth


Length 180'

Recorded at the Haus für Mozart, Salzburg

A production of ORF for UNITEL CLASSICA in cooperation with Salzburg Festival



WORLD SALES: C Major Entertainment +49-(0)3030306464 · [email protected] 49

DON GIOVANNI VORDERSEITE 1

FOTOS: CAST: TEXT: FINALE LÄNGE:

Lenneke Ruiten Anett Fritsch Valentina Naforniţa Ildebrando D‘ Arcangelo Luca Pisaroni

Wiener Philharmoniker Christoph Eschenbachstaged by Sven-Eric Bechtolf

D O N G I OVA N N IW O L F G A N G A M A D E U S M O Z A R T

DON GIOVANNI RÜCKSEITE 2

Orchestra Wiener PhilharmonikerConductor Christoph Eschenbach

Chorus Philharmonia Chor WienChorus Master Walter ZehStage Director Sven-Eric Bechtolf

Donna Anna Lenneke RuitenDonna Elvira Anett Fritsch

Zerlina Valentina NaforniţaDon Giovanni Ildebrando D'Arcangelo

Leporello Luca PisaroniIl Commendatore Tomasz Konieczny

Don Ottavio Andrew StaplesMasetto Alessio Arduini

Produced by BFMIVideo Director Andreas Morell

The first D minor chords thunder ominously from the orchestra pit, while on the stage, the entrance hall of an elegant hotel appears, symbolic of a place of non-committal encounters. Luxury seeps from every pore of the stairs, galleries and mysterious doors. This is the present residence of Don Giovanni and his servant Leporello. The Don meets couples from high society (Donna Anna and Don Ottavio), he encounters lonely, unhappy women like Donna Elvira and he makes the acquaintance of the hotel staff such as chambermaid Zerlina. The Commendatore is an impenetrable hotel director, the Devil a barman. In a word, the perfect place for Don Giovanni’s exercises in seduction.

Director Sven-Eric Bechtolf pulls off a brilliant coup with the high aesthetics of his intrigue, a masterful parody of the “everything is possible” of our time - flanked by an ensemble of exquisite vocal talents: Ildebrando D’Arcangelo, testosterone-charged Latin lover, amounts “with his splendid timbre and his stunningly virile magnetism to what must be an ideal realization of Don Giovanni” (Neue Zürcher Zeitung). Seldom does one see such an insatiable seducer. With his finely balanced voice, Luca Pisaroni as an intellectually bespectacled Leporello is the perfect foil to his master. “The powerful bass of Commendatore Tomasz Konieczny is a true sensation” (Frankfurter Rundschau) and Alessio Gardini’s Masetto conveys his Mediterranean jealousy with a bewitching bel canto baritone. Meanwhile, the female roles are all realized with elegantly lean voices: Anett Fritsch highly dramatic as Elvira, the Donna Anna of Lenneke Ruitens supple in her vocal line and Valentina Naforniţa “a wonderful Zerlina who radiates strong vocal sensuality” (Opernnetz). Christoph Eschenbach at the rostrum of the Vienna Philharmonic injects the necessary sense of threat into the atmosphere: “Large-symphony blackness climbs out of the pit” (Deutschlandfunk).

Length: 184' Shot in HDTV 1080/50i Cat. no. A 040 50033

A production of ServusTVin coproduction with UNITEL

in cooperation with Wiener Philharmoniker and Salzburg Festival

D O N G I OVA N N IW O L F G A N G A M A D E U S M O Z A R T

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I D O M E N E ORussell ThomasPaula MurrihyYing FangNicole Chevalier

Freiburger Barockorchester conducted by

Teodor Currentzis

Staged by

Peter Sellars


After their successfull collaboration for La clemenza di Tito the dream team Peter Sellars and Teodor Currentzis again joined forces to trans-pose Mozart’s extraordinary opera Idomeneo into the present world. Mozart was only 24 years old when he wrote this visionary piece, often regarded as the first of the seven undisputed masterworks in his dramatic oeuvre. Sellars reinterprets the mythical story from ancient Greece about unleashed forces of nature and child sacri-fices as a dramatic parable on climate change, “thought-provoking” and “impressively recounted” (BR Klassik). On the podium “Teodor Currentzis unleashes the mania of a new generation, with an obses-sive passion for every detail of each phrase that drives the whole thing inexorably“ (Financial Times). The fabulous Freiburger Barock-orchester “which surpasses itself in every bar” shines with elegance and precision, and the MusicAeterna Choir from Perm can rightfully be called “the best choir in the world” (Süddeutsche Zeitung). Two years ago as Titus in Salzburg, tenor Russell Thomas can be heard again in the title role, convincingly embodying the inner conflict of his character.The Chinese lyric soprano and rising star Ying Fang gives her highly acclaimed Festival debut in the role of Ilya. One believes her despair and love torment completely. At her side Paula Murrihy in the trouser role as Idamante and the brilliant Nicole Chevalier as a furious Elettra, whose fulminant finale provoked an enthusiastic applause: “three outstanding female voices” (Neue Zürcher Zeitung) that turn the evening into a musical sensation.

Conductor Teodor Currentzis Orchestra Freiburger Barockorchester Chorus musicAeterna Choir Chorus Master Vitaly Polonsky Choreographer Lemi Ponifasio

Idomeneo Russell Thomas Idamante Paula Murrihy Ilia Ying Fang Elettra Nicole Chevalier Arbace Levy Sekgapane Gran Sacerdote Issachah Savage Nettuno / La voce Jonathan Lemalu Bass Solo David Steffens Dancers Brittne Mahealani Fuimaono Arikitau Tentau

Stage and Video Director Peter Sellars

Length: approx. 185’Shot in HDTV 1080/50i

Cat. no. A 040 50117

A co-production of UNITEL and Servus TV in cooperation with Salzburg Festival

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

World Sales:


Luca PisaroniAnett FritschMartina JankováAdam PlachetkaWiener Philharmonikerconducted by

Dan Ettingerstaged by

Sven-Eric Bechtolf


LE NOZZE DI FIGARO

When he wrote The Marriage of Figaro, Mozart created an unforgettable work about love and desire, about the primal force of uncontrollable passion. Director Sven-Eric Bechtolf presents this storm of emotions to the Salzburg Festival in the very model of an English stately home of the 1920s, inspired no doubt by the setting and furnishings of the fictional Downton Abbey.

In a parallel staging worthy of the cinema, the nobility and their servants live side by side in a world of their own, ensuring fast-paced action derived precisely from the libretto, the game of love that never fails to entertain. The young conductor Dan Ettinger is fascinating for the great musical sensibility with which he directs an attractive young cast that is not only altogether convincing vocally but absolutely ready to grace the screen. And it is those very singers – “the sweet-voiced, appealing soprano Marina Janková”, “the alluring soprano Anett Fritsch” and “the charismatic bass-baritone Luca Pisaroni” (New York Times) – who capture our hearts. It all sounds so full of life and so finely judged as it is being played out on stage. At the end, Luca Pisaroni’s vocally impressive Count approaches his melancholy Countess (Anett Fritsch) with a glass of champagne and a plea for pardon. “The waves of applause have already begun, for Bechtolf extends Da Ponte’s ‘corriam tutti a festeggiar’ almost as an invitation to the audience, which indeed joins in the festivities with gusto.” (Die Presse)

The concluding work of the Da Ponte trilogy succeeds as a great evening of opera in the hands of Sven-Erich Bechtolf with the Vienna Philharmonic. Simply marvellous Mozart music from Mozart’s birthplace.

Length: 192' Cat. no. A 040 50050

A co-production ofUNITEL and Servus TV

in cooperation withSalzburg Festival and Wiener Philharmoniker

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Orchestra Wiener PhilharmonikerConductor Dan Ettinger


Chorus Master Ernst RaffelsbergerStage Director Sven-Eric Bechtolf

Il Conte Almaviva Luca PisaroniLa Contessa Almaviva Anett Fritsch

Susanna Martina JankováFigaro Adam Plachetka

Cherubino Margarita GritskovaMarcellina Ann Murray

Don Bartolo Carlos ChaussonDon Basilio Paul SchweinesterDon Curzio Franz Supper



LE NOZZE DI FIGARO

shot in

(3840 × 2160) ULTRA HD

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

Matthias Goerne Mauro Peter Albina ShagimuratovaChristiane Karg Klaus Maria Brandauer

Wiener Philharmoniker conducted by Constantinos CarydisStaged by Lydia Steier

Wolfgang Amadeus Mozart’s timeless masterpiece at the Salzburg Festival is always an event! Especially when Die Zauberflöte (The Magic Flute) receives such a “spectacular and virtuosic staging” (Le Figaro) by director Lydia Steier. The young American stage director gave her Salzburg Festival debut with a fresh take on the most beloved opera of all time, performed by a young ensemble of world class singers, the Konzertvereinigung Wiener Staatsopernchor and the Wiener Philharmoniker under the baton of critically acclaimed conductor Constantinos Carydis. Steier introduces the role of the grandfather, a narrator reading the opera like a fairy tale to his three grandchildren, performed by none other than Karl Maria Brandauer (Out of Africa, James Bond). This ‘trick’ in combination with the gigantic moveable sets by stage designer Katharina Schlipf, which take up the entire vast stage of the Großes Festspielhaus offering “as much machinery magic as possible & fulfilled to a fantastic degree” (Frankfurter Allgemeine Zeitung), allows new views on Mozart’s magical opera, with its different worlds, here set in the bourgeois Vienna at the beginning of the 20th century.Among the excellent, homogeneous cast are Christiane Karg as Pamina and Mauro Peter as Tamino. Matthias Goerne portrays Sarastro and Albina Shagimuratova the Queen of the Night. Audience favourites Papageno and Papagena are played by Adam Plachetka and Maria Nazarova. Thanks to Greek conductor Constantinos Carydis, who “seems to breath with the music” (Tagesspiegel), there is a new Mozart to be heard too: Carydis draws “precise phrasing and plenty of crisp articulation from the Wiener Philharmoniker” (Financial Times).


Cat. no. A 040 50092

A co-production of ORF, UNITEL and ZDF in cooperation with ARTE, Wiener Philharmoniker


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Conductor Constantinos CarydisOrchestra Wiener Philharmoniker


Chorus Master Ernst RaffelsbergerStage Director Lydia Steier

Sarastro Matthias GoerneTamino Mauro Peter

The Queen of the Night Albina ShagimuratovaPamina Christiane Karg

First Lady Ilse EerensSecond Lady Paula Murrihy

Third Lady Geneviève KingPapageno Adam PlachetkaPapagena Maria Nazarova

Monostatos Michael PorterGrandfather Klaus Maria Brandauer

Three Boys Wiener SängerknabenSpeaker / First Priest /

Second Man in Armour Tareq NazmiSecond Priest /

First Man in Armour Simon BodeOld Papagena Birgit Linauer

Third Priest Valérie Junker


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

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DIE

ZAUBERFLÖTEWolfgang Amadeus Mozart

Georg ZeppenfeldMandy FredrichBernard RichterJulia Kleiter

Nikolaus HarnoncourtConcentus Musicus Wien

Conductor Nikolaus Harnoncourt Orchestra Concentus Musicus Wien Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Sarastro Georg Zeppenfeld The Queen of the Night Mandy Fredrich Tamino Bernard Richter Pamina Julia Kleiter Papageno Markus Werba Papagena Elisabeth Schwarz First Lady Sandra Trattnigg Second Lady Anja Schlosser Third Lady Wiebke Lehmkuhl Manostatos Rudolf Schasching Three Boys Tölzer Knaben Speaker Martin Gantner First Man in Armour/First Priest Lucian Krasznec Second Man in Armour Andreas Hörl Staged by Jens-Daniel Herzog Video Director Felix Breisach Length 186'


A co-production of UNITEL, ORF and Arte


A Salzburg Festival performance of The Magic Flute in Mozart’s native city is always a special event, and when it is the first performance on period instruments, conducted by the Mozart specialist Nikolaus Harnoncourt with “his” Concentus Musicus ensemble, then it is the sort of event which attracts a great degree of international attention and anticipation in advance. Anticipation which is then rewarded: “Harnoncourt conducts with precision and finesse”, wrote the Financial Times. According to the Kurier newspaper, there was “much that is new, most of it fascinating, some of it astounding in its musical interpretation”, while Concentus Musicus “produces a surprisingly powerful sound” (Financial Times).

The strong ensemble of singers added the required vocal thrill, with Georg Zeppenfeld especially impressive as a splendid Sarastro, “… slim and black, and so noble”, as the Süddeutsche Zeitung put it. Bernard Richter gives a dynamic Tamino with an impressively clear vocal line that is “uncommonly strong” according to the New York Times. Julia Kleiter, meanwhile, as “a Pamina to fall in love with” (according to the Frankfurter Allgemeine Zeitung) demonstrated flawless phrasing in her role, while Markus Werba, “with his robust baritone”, shone once again in his best role as Papageno, according to Die Presse. In Mandy Fredrich we had a fabulous Queen of the Night with her heady and peerless coloraturas.

In his Salzburg debut, the renowned German theatre director Jens-Daniel Herzog succeeds in producing a dramatic reinterpretation of the opera which fits perfectly into the historic ambience of the Felsenreitschule. “Herzog is master of his craft, creating an elegant … and … gutsy” reading, according to the Süddeutsche Zeitung.


DIE

ZAUBERFLÖTE

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Anna NetrebkoPiotr Beczala

Nino MachaidzeMassimo Cavalletti

Daniele GattiWiener Philharmoniker

GiACoMo PuCCiNi

La BohèmeAnna Netrebko

Piotr BeczalaNino Machaidze

Massimo Cavalletti

Daniele GattiWiener Philharmoniker

GiACoMo PuCCiNi

La Bohème

GiACoMo PuCCiNi

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Conductor DanieleGatti Orchestra WienerPhilharmoniker Chorus KonzertvereinigungWiener Staatsopernchor SalzburgerFestspieleund TheaterKinderchor Chorus Masters ErnstRaffelsberger WolfgangGötz

Rodolfo PiotrBeczala Mimì AnnaNetrebko Marcello MassimoCavalletti Musetta NinoMachaidze Schaunard AlessioArduini Colline CarloColombara Benoît DavideFersini Alcindoro PeterKálmán Parpignol PaulSchweinester Parpignol (Artist) StevenForster Costums Sergeant LiviuGheorgheBurz Costums Official MichaelWilder A Street Vendor MartinMüller

Staged by DamianoMichieletto

Video Director BrianLarge Length approx.120'

ShotinHDTV1080Cat. no. A04001582

Aco-productionofUNITEL,NHK,ORFandZDFincooperationwithWienerPhilharmoniker,


For the first time in its long history, the Salzburg Festival performs Giacomo Puccini’s La Bohème in the Great Festival Hall, offering a unique and rare music highlight.

Anna Netrebko wins acclaim yet again in the lead role, giving a “deeply melancholic reading of Mimi”, according to the Frankfurter Allgemeine Zeitung. “Netrebko’s lush voice, perfect intonation, masterful control and passionate interpretations are always a treat,” writes the San Francisco Chronicle. Completing the dream couple she has Piotr Beczala at her side, whose rock-solid tenor voice keeps you with him at every turn. “Empathetic” according to Die Presse, “a heroically elegant partner for the soprano” wrote the Süddeutsche Zeitung. The protagonists are supported by a cheeky Nino Machaidze as Musetta and a strong male ensemble headed up by a resourceful Alessio Arduini, who won acclaim for his “concise baritone” (Die Welt). Daniele Gatti conducting the Vienna Philharmonic ensured “shimmering transparency of sound ... and Italian style” (Süddeutsche Zeitung) and “reveals the orchestral sound, bringing the tone colours to full glow” wrote the Frankfurter Allgemeine Zeitung enthusiastically. “Under his baton, members of the Vienna Philharmonic Orchestra delivered a masterful interpretation of Puccini’s rich score,” was the verdict of the San Francisco Chronicle.

The promising Italian director Damiano Michieletto achieves a great Salzburg debut with his modern, anti-consumerist reinterpretation of Puccini’s gem. The striking staging gives a moving impression of the loneliness of characters in the Paris artistic world of today. Accentuated by Paolo Fantin’s surrealistic scenery, this production cannot fail to affect its audience.

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www.unitelclassica.comWORLD SALES: C Major Entertainment +49-(0)[email protected]

GiACoMo PuCCiNi

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Conductor DanieleGatti Orchestra WienerPhilharmoniker Chorus KonzertvereinigungWiener Staatsopernchor SalzburgerFestspieleund TheaterKinderchor Chorus Masters ErnstRaffelsberger WolfgangGötz

Rodolfo PiotrBeczala Mimì AnnaNetrebko Marcello MassimoCavalletti Musetta NinoMachaidze Schaunard AlessioArduini Colline CarloColombara Benoît DavideFersini Alcindoro PeterKálmán Parpignol PaulSchweinester Parpignol (Artist) StevenForster Costums Sergeant LiviuGheorgheBurz Costums Official MichaelWilder A Street Vendor MartinMüller

Staged by DamianoMichieletto

Video Director BrianLarge Length approx.120'


Aco-productionofUNITEL,NHK,ORFandZDFincooperationwithWienerPhilharmoniker,


For the first time in its long history, the Salzburg Festival performs Giacomo Puccini’s La Bohème in the Great Festival Hall, offering a unique and rare music highlight.

Anna Netrebko wins acclaim yet again in the lead role, giving a “deeply melancholic reading of Mimi”, according to the Frankfurter Allgemeine Zeitung. “Netrebko’s lush voice, perfect intonation, masterful control and passionate interpretations are always a treat,” writes the San Francisco Chronicle. Completing the dream couple she has Piotr Beczala at her side, whose rock-solid tenor voice keeps you with him at every turn. “Empathetic” according to Die Presse, “a heroically elegant partner for the soprano” wrote the Süddeutsche Zeitung. The protagonists are supported by a cheeky Nino Machaidze as Musetta and a strong male ensemble headed up by a resourceful Alessio Arduini, who won acclaim for his “concise baritone” (Die Welt). Daniele Gatti conducting the Vienna Philharmonic ensured “shimmering transparency of sound ... and Italian style” (Süddeutsche Zeitung) and “reveals the orchestral sound, bringing the tone colours to full glow” wrote the Frankfurter Allgemeine Zeitung enthusiastically. “Under his baton, members of the Vienna Philharmonic Orchestra delivered a masterful interpretation of Puccini’s rich score,” was the verdict of the San Francisco Chronicle.

The promising Italian director Damiano Michieletto achieves a great Salzburg debut with his modern, anti-consumerist reinterpretation of Puccini’s gem. The striking staging gives a moving impression of the loneliness of characters in the Paris artistic world of today. Accentuated by Paolo Fantin’s surrealistic scenery, this production cannot fail to affect its audience.

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91

I AM YOUR LABYRINTHTHE GENESIS OF AN OPERA

WOLFGANG RIHM’S DIONYSOS AT THE SALZBURG FESTIVAL

DOCUMENTARY AND OPERA FILMBY BETTINA EHRHARDT

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DOCUMENTARY

I AM YOUR LABYRINTHA Film by Bettina Ehrhardt

Length: 53'Cat. no. A04500645

A bce films & more production in co-production with WDR and Arte

with the kind support of Salzburg Festival

OPERA Wolfgang Rihm

DIONYSOS Conductor Ingo Metzmacher Orchestra Deutsches Symphonie-Orchester Berlin Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Jörn H. Andresen

1st High Soprano / Ariadne Mojca Erdmann 2nd High Soprano Elin Rombo Mezzo-Soprano Virpi Räisänen Alto Julia Faylenbogen N. Johannes Martin Kränzle A Guest/Apollo Matthias Klink The Skin Uli Kirsch

Stage Director Pierre Audi Video Director Bettina Ehrhardt


By courtesy of Universal Edition AG, Vienna and Schott Music GmbH & Co. KG , Mainz

A bce films & more production in cooperation with MFG Filmförderung Baden-Württemberg with the kind support of Salzburg Festival

Shot in HDTV 1080/25p

It was a daring enterprise in every respect. A work of music drama that the composer Wolfgang Rihm had carried about with him for more than 15 years – its premiere already postponed three times – was now to be committed to paper in a matter of weeks. A production team that had to plan to a tight deadline before the piece was even in existence – rehearsals began a week after composition was completed – was faced with a highly artificial text: Nietzsche’s late “Dionysos dithyrambs”, the last poetic thoughts of the philosopher, published shortly before his breakdown.

Wolfgang Rihm took Nietzsche’s enigmatic poems and made theatrical scenes out of them, linking Nietzsche’s poetry with episodes from his life. “The text is by me, every word is by Nietzsche,” says Rihm to explain the dual authorship. Bettina Ehrhardt succeeded in “living” it through the camera, capturing it in sound and vision – just as stage director Pierre Audi managed to give form to “Dionysos - Szenen und Dithyramben. Eine Opernphantasie” for the opening of the 2010 Salzburg Festival! An act of daring and ultimately a triumph for Wolfgang Rihm, for the musicians and singers at this grandiose Salzburg premiere: Johannes Martin Kränzle in the title role, Mojca Erdmann as Ariadne, singing music Rihm wrote expressly for her voice, and for the production team with Pierre Audi and artist Jonathan Meese.

Both films, the film of the opera and its documentation, form a single unit: the documentary shows viewers how electrifying and brilliant the teamwork was for everyone involved in the premiere; it takes them to the original locations, the mountains of the Engadine at Sils-Maria, where Nietzsche, sitting on the Surlej rock, developed the principles of his philosophy, according to his own mythology. These various angles, with Nietzsche’s quotations, rehearsal excerpts and opera extracts, give rise to a film about the themes of the opera, the backgrounds and ideas that led to its creation, Wolfgang Rihm’s lucid, almost cinematic composition techniques. Both sets of images, those following the rehearsals up to the actual performance and the metaphorical pictures from Sils-Maria, are linked by conversations with Wolfgang Rihm and the leading cast members of the Salzburg performance, conductor Ingo Metzmacher, stage director Pierre Audi and his production team, and the artistic director of the Salzburg Festival Jürgen Flimm. Nietzsche’s frenzy was infectious: “I am not human, I am dynamite!”

FilmförderungBaden-Württemberg

World Sales:


L’Italiana in Algeri

G I O A C H I N O R O S S I N I

CECILIA BARTOLI • ILDAR ABDRAZAKOV EDGARDO ROCHA • ALESSANDRO CORBELLI

ENSEMBLE MATHEUS conducted by JEAN-CHRISTOPHE SPINOSIStaged by MOSHE LEISER & PATRICE CAURIER

“The role of Isabella is sung to perfection by Cecilia Bartoli – a clever, independent woman with an adventurous streak” (The New York Times). Bartoli’s superb performance in Gioachino Rossini’s L’Italiana in Algeri (The Italian Girl in Algiers) at Salzburg Festival, directed by the BAFTA-winning stage director duo Moshe Leiser and Patrice Caurier, is a highlight among the Rossini celebrations on the occasion of the 150th anniversary of the composer’s death. Unitel captured Bartoli’s excellent performance in a rare audiovisual recording of the Italian superstar, who is one of the most successful opera singers of our time.In this vibrant comedy, every look, every hand gesture brings Isabella to life: Bartoli presents the spirited Italian woman with fire, finesse and extraordinary acting abilities – “a Rossini masterclass” (Bachtrack). Her Isabella is a strong, independent woman who has no intentions of accepting the advances of the powerful Mustafà. In the staging by Leiser/Caurier, which plays with preconceived notions about clashing cultures, Mustafà is no longer an Ottoman bey, but a kind of local gangster who smuggles electronics at the port of modern-day Algiers. In the colourful sets of Christian Fenouillat, Ildar Abdrazakov sings the leering macho, looking for a love affair with the beautiful Italian, with delight and “great comic talent” (Salzburger Nachrichten). Edgardo Rocha’s bright tenor climbs up without effort, making his performance as Isabella’s lover Lindoro flowing and highly emotional. Rebeca Olvera sings Elvira, who finally regains her husband’s favour, with ease and beauty, while José Coca Loza’s Haly impresses in his short aria, in which he praises the Italian women. With Alessandro Corbelli as a clumsy Taddeo, laughter is guaranteed. The conductor Jean-Christophe Spinosi, showing sensitivity to the intricacies and sparkle of Rossini’s score, leads the excellent Ensemble Matheus in a “beguiling performance” (The New York Times).

Length: 162' Cat. no. A 040 50104

A co-production of UNITEL and BR in cooperation with ARTE and Salzburg Festival

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Conductor Jean-Christophe SpinosiOrchestra Ensemble Matheus

Chorus Philharmonia Chor WienChorus Master Walter Zeh

Stage Directors Moshe Leiser & Patrice Caurier

Isabella Cecilia BartoliMustafà Ildar AbdrazakovLindoro Edgardo RochaTaddeo Alessandro Corbelli

Haly José Coca LozaElvira Rebeca Olvera

Zulma Rosa Bove


G I O A C H I N O R O S S I N I

Cecilia Bartoli presents “one of the funniest opera evenings in recent times”

– NZZ –

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FIERRABRAS VORDERSEITE 1


Franz Schubert

Michael Schade Julia Kleiter Benjamin Bernheim Dorothea Röschmann

Wiener Philharmoniker conducted by Ingo Metzmacher

staged by Peter Stein

FIERRABRAS RÜCKSEITE 1

World Sales:

Tel. [email protected]

Orchestra Wiener PhilharmonikerConductor Ingo Metzmacher


Chorus Master Ernst RaffelsbergerStage Director Peter Stein

Fierrabras Michael SchadeEmma Julia Kleiter

Eginhard Benjamin BernheimFlorinda Dorothea Röschmann

Roland Markus WerbaKönig Karl Georg Zeppenfeld

Boland Peter KálmánMaragond Marie-Claude Chappuis

Brutamonte Manuel WalserOgier Franz Gruber

et al.

Produced by BFMIVideo Director Peter Schönhofer

The heroic-romantic opera “Fierrabras” of 1823 is the last of Franz Schubert’s fifteen stage works. Still seldom performed to this day, this masterwork has been staged for the first time ever at the Salzburg Festival by master director Peter Stein in a brilliant performance.

Based on an old French twelfth-century heroic epic, the plot depicts the military conflict between Christians and Moors at the time of Charlemagne. Emma, the Christian emperor’s daughter, becomes engaged against her father’s wishes with the knight Eginhard, who is not equal to her in social status. She has an admirer, Fierrabras, the eponymous hero and son of the prince of the Moors. After a monumental battle, the taking of prisoners and scenes from a military court, grandiose marches and victory celebrations, the noble Moor Fierrabras renounces his suit, which brings peace to the warring factions and happiness for the lovers.

Presented also in the highest vocal quality, including the “marvellously expressive miracle Dorothea Röschmann” (Die Zeit). Not to mention “Michael Schade who exudes his exceptional tenor in Fierrabras’s heroic arias” (Der neue Merker). Under the baton of lngo Metzmacher, the velvety tones of the Vienna Philharmonic unfold in romantic flair.

Set builder Ferdinand Wögerbauer fits into this concept in producing the black-and-white aesthetic scenery in the style of old engravings and sumptuous nineteenth-century book illustrations in order to provide this slight work with rooms of stylish beauty and austere elegance for the Western world and sumptuous luxury for the Orient. Dressed in decoratively lavish costumes, the Franks in delicately patterned lily-white garments, the Moors in similar black attire, the singers dovetail completely into this extraordinary staging. The result is a homogeneous melodrama like something from a lost world in which “the melos, the poetry, the sweetness and the dramatic force of Schubert’s highly refined and atmospheric sound worlds” (Kleine Zeitung) unfold in a unique manner.

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Cat. no. A 040 50032

A production of UNITELin co-production with ZDF/3sat

in cooperation with SALZBURG FESTIVAL and Wiener Philharmoniker

FIERRABRASFranz Schubert

World Sales:


FIERRABRAS RÜCKSEITE 1

World Sales:


Orchestra Wiener PhilharmonikerConductor Ingo Metzmacher


Chorus Master Ernst RaffelsbergerStage Director Peter Stein

Fierrabras Michael SchadeEmma Julia Kleiter

Eginhard Benjamin BernheimFlorinda Dorothea Röschmann

Roland Markus WerbaKönig Karl Georg Zeppenfeld

Boland Peter KálmánMaragond Marie-Claude Chappuis

Brutamonte Manuel WalserOgier Franz Gruber

et al.

Produced by BFMIVideo Director Peter Schönhofer

The heroic-romantic opera “Fierrabras” of 1823 is the last of Franz Schubert’s fifteen stage works. Still seldom performed to this day, this masterwork has been staged for the first time ever at the Salzburg Festival by master director Peter Stein in a brilliant performance.

Based on an old French twelfth-century heroic epic, the plot depicts the military conflict between Christians and Moors at the time of Charlemagne. Emma, the Christian emperor’s daughter, becomes engaged against her father’s wishes with the knight Eginhard, who is not equal to her in social status. She has an admirer, Fierrabras, the eponymous hero and son of the prince of the Moors. After a monumental battle, the taking of prisoners and scenes from a military court, grandiose marches and victory celebrations, the noble Moor Fierrabras renounces his suit, which brings peace to the warring factions and happiness for the lovers.

Presented also in the highest vocal quality, including the “marvellously expressive miracle Dorothea Röschmann” (Die Zeit). Not to mention “Michael Schade who exudes his exceptional tenor in Fierrabras’s heroic arias” (Der neue Merker). Under the baton of lngo Metzmacher, the velvety tones of the Vienna Philharmonic unfold in romantic flair.

Set builder Ferdinand Wögerbauer fits into this concept in producing the black-and-white aesthetic scenery in the style of old engravings and sumptuous nineteenth-century book illustrations in order to provide this slight work with rooms of stylish beauty and austere elegance for the Western world and sumptuous luxury for the Orient. Dressed in decoratively lavish costumes, the Franks in delicately patterned lily-white garments, the Moors in similar black attire, the singers dovetail completely into this extraordinary staging. The result is a homogeneous melodrama like something from a lost world in which “the melos, the poetry, the sweetness and the dramatic force of Schubert’s highly refined and atmospheric sound worlds” (Kleine Zeitung) unfold in a unique manner.

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Cat. no. A 040 50032

A production of UNITELin co-production with ZDF/3sat


FIERRABRASFranz Schubert

World Sales:


Emily MageeJonas KaufmannElena Moşuc

Daniel HardingWiener Philharmoniker

Ariadneauf Naxos

Richard Strauss

Emily MageeJonas KaufmannElena Moşuc

Daniel HardingWiener Philharmoniker

Ariadneauf Naxos

Richard Strauss

Ariadne auf Naxos

Richard Strauss

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Version for the Salzburg Festival by Sven-Eric Bechtolf of the Original Version from 1912

Conductor Daniel Harding Orchestra Wiener Philharmoniker The Primadonna/Ariadne Emily Magee Zerbinetta Elena Moşuc The Tenor/Bacchus Jonas Kaufmann Naiad/A Shepherdess Eva Liebau Dryad/A Shepherd Marie-Claude Chappuis Echo/A Singer Eleonora Buratto Harlequin Gabriel Bermúdez Scaramuccio Michael Laurenz Truffaldino Tobias Kehrer Brighella Martin Mitterrutzner The Major-Domo Peter Matić Monsieur Jourdain Cornelius Obonya Hofmannsthal Michael Rotschopf Ottonie/Dorine Regina Fritsch The Composer Thomas Frank Nikoline Stefanie Dvorak Lackey Johannes Lange Staged by Sven-Eric Bechtolf

Video Director Hannes Rossacher

Length approx. 190'


A co-production of UNITEL and ORF/3sat in cooperation with Wiener Philharmoniker,


A true festival miracle! Where else could you experience a barely known original version of Ariadne auf Naxos performed to such a high artistic standard? This Urfassung is being celebrated here as a homage to the three founding fathers of the festival. It was the wish of Richard Strauss and Hugo von Hofmannsthal that the work, which they dedicated to their artistic friend Max Reinhardt, should be a celebration of the performing arts: ballet, theatre and opera. Written immediately after the great success of Der Rosenkavalier, Ariadne auf Naxos was a combination of mythological opera and Molière’s drama Le Bourgeois Gentilhomme, though Strauss expunged all trace of the latter in his second version of 1916. To mark the centenary of the first version, a sensational project has created a daring production fulfilling the composer’s original dream of a “Gesamtkunstwerk”.

In the beginning, theatre director Sven-Eric Bechtolf presents a virtuoso collage made up of Hofmannsthal’s letters, the play’s text and insertions of details from Hofmannsthal’s autobiographical relationship with the young, inconsolable widow Ottonie von Degenfeld-Schonburg. By employing this clever framework, he introduces two new protagonists into the play as well as transforming them as parallel figures to Bacchus and Ariadne in the opera. The two elements of the work, comedic play and music theatre, which had previously often seemed unconnected, now come together as a united whole. This new version has been enthusiastically received: perfect in every detail, every gesture is tailored to the speech flow of the play and the music in the opera, the spheres and levels of the work all come together in harmony, offering emotional depth as well as wonderfully light-hearted entertainment.

“The vocals are pure gold”, wrote the Berliner Zeitung. Emily Magee masters the challenge of her complex character’s richly nuanced vocal lines, while Elena Moşuc as Zerbinetta produced her coloratura cascades with breathtaking ease, and Jonas Kaufmann received accolades from the critics for his role debut as the “best Bacchus ever” (Berliner Zeitung). Daniel Harding and the Vienna Philharmonic provided the necessary musical foundations to the performance.

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Ariadne auf Naxos

Richard Strauss

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Version for the Salzburg Festival by Sven-Eric Bechtolf of the Original Version from 1912

Conductor Daniel Harding Orchestra Wiener Philharmoniker The Primadonna/Ariadne Emily Magee Zerbinetta Elena Moşuc The Tenor/Bacchus Jonas Kaufmann Naiad/A Shepherdess Eva Liebau Dryad/A Shepherd Marie-Claude Chappuis Echo/A Singer Eleonora Buratto Harlequin Gabriel Bermúdez Scaramuccio Michael Laurenz Truffaldino Tobias Kehrer Brighella Martin Mitterrutzner The Major-Domo Peter Matić Monsieur Jourdain Cornelius Obonya Hofmannsthal Michael Rotschopf Ottonie/Dorine Regina Fritsch The Composer Thomas Frank Nikoline Stefanie Dvorak Lackey Johannes Lange Staged by Sven-Eric Bechtolf

Video Director Hannes Rossacher

Length approx. 190'


A co-production of UNITEL and ORF/3sat in cooperation with Wiener Philharmoniker,


A true festival miracle! Where else could you experience a barely known original version of Ariadne auf Naxos performed to such a high artistic standard? This Urfassung is being celebrated here as a homage to the three founding fathers of the festival. It was the wish of Richard Strauss and Hugo von Hofmannsthal that the work, which they dedicated to their artistic friend Max Reinhardt, should be a celebration of the performing arts: ballet, theatre and opera. Written immediately after the great success of Der Rosenkavalier, Ariadne auf Naxos was a combination of mythological opera and Molière’s drama Le Bourgeois Gentilhomme, though Strauss expunged all trace of the latter in his second version of 1916. To mark the centenary of the first version, a sensational project has created a daring production fulfilling the composer’s original dream of a “Gesamtkunstwerk”.

In the beginning, theatre director Sven-Eric Bechtolf presents a virtuoso collage made up of Hofmannsthal’s letters, the play’s text and insertions of details from Hofmannsthal’s autobiographical relationship with the young, inconsolable widow Ottonie von Degenfeld-Schonburg. By employing this clever framework, he introduces two new protagonists into the play as well as transforming them as parallel figures to Bacchus and Ariadne in the opera. The two elements of the work, comedic play and music theatre, which had previously often seemed unconnected, now come together as a united whole. This new version has been enthusiastically received: perfect in every detail, every gesture is tailored to the speech flow of the play and the music in the opera, the spheres and levels of the work all come together in harmony, offering emotional depth as well as wonderfully light-hearted entertainment.

“The vocals are pure gold”, wrote the Berliner Zeitung. Emily Magee masters the challenge of her complex character’s richly nuanced vocal lines, while Elena Moşuc as Zerbinetta produced her coloratura cascades with breathtaking ease, and Jonas Kaufmann received accolades from the critics for his role debut as the “best Bacchus ever” (Berliner Zeitung). Daniel Harding and the Vienna Philharmonic provided the necessary musical foundations to the performance.

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99


ElEktrarichard StrauSS

iréne theorin Waltraud Meier

René PapeConductor Daniele Gatti

staged by nikolaus lehnhoff

salzburg Festival



iréne theorin Waltraud Meier

René PapeConductor Daniele Gatti

staged by nikolaus lehnhoff

salzburg Festival

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ENTERTAINMENT GMBH


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Conductor Daniele Gatti

Orchestra Wiener Philharmoniker


elektra Iréne Theorin Klytämnestra Waltraud Meier Chrysothemis Eva-Maria Westbroek aegisth Robert Gambill Orest René Pape

staged by Nikolaus Lehnhoff

Video Director Thomas Grimm

length approx. 105¹


By courtesy of schott Music GmbH & Co. KG

A production of UNITEL in co-production with

Arthaus Musik in cooperation with


With Richard strauss’ “elektra”, the salzburg Festival delivers a thoroughly impressive new production that the Vienna daily Kurier calls the “best new opera production of 2010”. Reap-

ing acclaim are the top-quality vocalists as well as the mighty stage set and the sensitive direction of nikolaus lehnhoff.

Portraying elektra is swedish soprano iréne theorin, who injects astonishing dramatic power into her role. “impressive in every respect”, wrote the Frankfurter Allgemeine Zeitung about her role debut here. internationally acclaimed Wagner singer Waltraud Meier also gives her spectacular, commanding stage debut here as Klytämnestra. they are complemented by an outstanding eva-Maria Westbroek as Chrysothemis, and a forceful René Pape as Orest.

nikolaus lehnhoff ’s many years of experience on the world’s greatest stages are clearly visible in his direction of the sing-ers: moving about a sinister, forbidding set bathed in suggestively changing lighting, the vocalists are treated as stage actors, whose expressive gestures are captured with particular vividness and im-mediacy by the camera.

leading the Wiener Philharmoniker is Daniele Gatti. alter-nating between late 19th-century lyricism and early 20th-century excess, he clearly emphasizes the dual conflicts at the heart of the work.

When “elektra” was premiered in 1909, audiences could hardly believe their ears: jarring dissonances, monstrous orches-tral build-ups, outbursts of raw passion, Wagnerian demands on the lead vocalist – this was expressionist music in its most radical form. in their first artistic collaboration, strauss and his librettist Hugo von Hofmannsthal packed the primordial power of the an-cient Greek myth into a one-acter that literally explodes upon the stage. no wonder today, “elektra” ranks among the undisputed masterpieces of the popular composer.


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Conductor Daniele Gatti



elektra Iréne Theorin Klytämnestra Waltraud Meier Chrysothemis Eva-Maria Westbroek aegisth Robert Gambill Orest René Pape

staged by Nikolaus Lehnhoff

Video Director Thomas Grimm

length approx. 105¹


By courtesy of schott Music GmbH & Co. KG

A production of UNITEL in co-production with

Arthaus Musik in cooperation with


With Richard strauss’ “elektra”, the salzburg Festival delivers a thoroughly impressive new production that the Vienna daily Kurier calls the “best new opera production of 2010”. Reap-

ing acclaim are the top-quality vocalists as well as the mighty stage set and the sensitive direction of nikolaus lehnhoff.

Portraying elektra is swedish soprano iréne theorin, who injects astonishing dramatic power into her role. “impressive in every respect”, wrote the Frankfurter Allgemeine Zeitung about her role debut here. internationally acclaimed Wagner singer Waltraud Meier also gives her spectacular, commanding stage debut here as Klytämnestra. they are complemented by an outstanding eva-Maria Westbroek as Chrysothemis, and a forceful René Pape as Orest.

nikolaus lehnhoff ’s many years of experience on the world’s greatest stages are clearly visible in his direction of the sing-ers: moving about a sinister, forbidding set bathed in suggestively changing lighting, the vocalists are treated as stage actors, whose expressive gestures are captured with particular vividness and im-mediacy by the camera.

leading the Wiener Philharmoniker is Daniele Gatti. alter-nating between late 19th-century lyricism and early 20th-century excess, he clearly emphasizes the dual conflicts at the heart of the work.

When “elektra” was premiered in 1909, audiences could hardly believe their ears: jarring dissonances, monstrous orches-tral build-ups, outbursts of raw passion, Wagnerian demands on the lead vocalist – this was expressionist music in its most radical form. in their first artistic collaboration, strauss and his librettist Hugo von Hofmannsthal packed the primordial power of the an-cient Greek myth into a one-acter that literally explodes upon the stage. no wonder today, “elektra” ranks among the undisputed masterpieces of the popular composer.


101


DIE FRAU OHNE

SCHATTENstephen Gouldanne schwanewilmsMichaela schusterWolfgang Kochevelyn Herlitzius

Christian thielemann


Richard strauss

s a l Z B U R G F e s t i V a l


DIE FRAU OHNE

SCHATTENstephen Gouldanne schwanewilmsMichaela schusterWolfgang Kochevelyn Herlitzius

Christian thielemann


Richard strauss

s a l Z B U R G F e s t i V a l

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Conductor ChristianThielemann Orchestra WienerPhilharmoniker Chorus Konzertvereinigung WienerStaatsopernchor Chorus Master ThomasLang the emperor StephenGould the empress AnneSchwanewilms the nurse MichaelaSchuster Barak, the Dyer WolfgangKoch Barak’s Wife EvelynHerlitzius the One-eyed MarkusBrück the One-armed StevenHumes the Hunchback AndreasConrad staged by ChristofLoy Video Director KarinaFibich length 220'

Cat. no. A04001554

AproductionofUNITELinco-productionwithORF/3satandNHK

incooperationwithWienerPhilharmoniker,SalzburgFestivalandCLASSICA

Bonus

ChristianThielemannrehearses„FrauohneSchatten“ length 26'

Cat. no. A04500638

AproductionofServusTV

inco-productionwithUNITELCLASSICAincooperationwithSalzburgerFestspiele

ShotinHDTV1080

A shining hour, a moment of glory”, trumpeted Vienna’s Kurier after the double premiere of Richard strauss’ “Die Frau ohne schatten” at the salzburg Festival:

the premiere of a stunning production, and that of Christian thielemann as opera conductor at the salzburg Festival. “a triumph for thielemann”, hailed the Frankfurter Allgemeine Zeitung. Christian thielemann and the Wiener Philharmoniker were frenetically cheered, heartily applauded, “and rightly so” (Süddeutsche Zeitung).

true to the salzburg Festival’s tradition, this production features a line-up of great strauss singers, a “high-caliber vocal cast that provides the greatest strauss bliss” (Frankfurter Allgemeine Zeitung). next to the “luminous” (Frankfurter Rundschau) anne schwanewilms as the empress, the “masterful” stephen Gould as emperor, and the “splendid” (Die Presse) bass-baritone Wolfgang Koch as Barak, Michaela schuster and evelyn Herlitzius as the nurse and Barak’s Wife “raise their figures to genuine protagonists with their dramatic verve” (Süddeutsche Zeitung). the entire cast was exuberantly accompanied by the Wiener Philharmoniker, which “responded with playing of exceptional refinement, precision and warmth” (Financial Times).

Completed in 1917, the massively scored work - one of the most difficult to interpret, both musically and dramatically - wasn’t a success from the beginning. it was only years later that the opera was rediscovered: thanks to Karl Böhm’s acclaimed complete Grammophon recording, which took place in Vienna in 1955, the work became better known and is now even regarded as “the richest and most colorful score that strauss ever wrote” (Die Presse). it is this recording that inspired director Christof loy’s production, which is set in the mid 1950s in the sofiensäle, a celebrated Viennese recording studio at the time. the singers portray singers from the Wiener staatsoper at the recording, who - during the course of the performance - gradually meld with their roles.

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DIE FRAU OHNE SCHATTENRichard strauss


103

Krassimira StoyanovaTomasz Konieczny

Gerhard SiegelNorbert Ernst

Wiener PhilharmonikerConducted by Franz Welser-Möst

Staged by Alvis Hermanis

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

DIE LIEBE DER DANAE

With Richard Strauss’s 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-Möst. Welser-Möst proved himself once again as high-class Strauss-conductor under whom “the orchestra conveyed the glittering colors and lyrical intricacies of Strauss’s 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 Danae’s 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 Festival’s rich history. Due to conditions during World War II, the Salzburg Festival, which had commissioned the opera for summer 1944, couldn’t 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.

Length: 159' Cat. no. A 040 50056

A co-production of ORF, NHK and UNITEL


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Conductor Franz Welser-MöstOrchestra Wiener Philharmoniker


Chorus Master Ernst RaffelsbergerStage Director Alvis Hermanis

Danae Krassimira Stoyanova Jupiter Tomasz Konieczny Merkur Norbert Ernst

Pollux Wolfgang Ablinger-Sperrhacke Xanthe Regine Hangler

Midas Gerhard SiegelSemele Mária CelengEuropa Olga Bezsmertna

Alkmene Michaela SelingerLeda Jennifer Johnston

Video Director Agnes Méth


DIE LIEBE DER DANAE

World Sales:


DER ROSENKAVALIER VORDERSEITE 1


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

KRASSIMIRA STOYANOVA ∙ GÜNTHER GROISSBÖCK SOPHIE KOCH ∙ MOJCA ERDMANN

WIENER PHILHARMONIKER ∙ FRANZ WELSER-MÖSTSTAGED BY HARRY KUPFER

DER ROSENKAVALIER RÜCKSEITE 1

World Sales:


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Orchestra Wiener PhilharmonikerConductor Franz Welser-Möst


Chorus Masters Ernst RaffelsbergerWolfgang Götz

Stage Director Harry Kupfer

Feldm. Fürstin Werdenberg Krassimira StoyanovaOctavian Sophie Koch

Sophie Mojca ErdmannJungfer Marianne Leitmetzerin Silvana Dussmann

Annina Wiebke LehmkuhlBaron Ochs auf Lerchenau Günther Groissböck

Herr von Faninal Adrian ErödValzacchi Rudolf Schasching

et al.


“‘It is a dream, cannot be really true …’ – These heartfelt final words by the talented poet Hugo von Hofmannsthal, set in even more moving strains by his imaginative musical partner Richard Strauss, perfectly describe the high quality of the new production of their masterpiece Der Rosenkavalier at the Salzburg Festival. It is certainly the best and most universally satisfying staged opera of this summer, and that applies to direction, presentation, singers, conductor and orchestra alike.” (Opernnetz)

Familiar as the work may be, the 150th anniversary of Richard Strauss’s birthday is marked with an innovation. For the first time at the festival, the opera is presented without the cuts made since the 1911 premiere, as demanded by the censor, on account of excessive frivolity. The figures stand out in sharper profile, with the most significant change being to the first-act monologue of Baron Ochs, which now clearly defines his high position.The roles are brilliantly cast: Günther Groissböck’s singing is “of the finest, with a juicy lightness that lends him an irresistible roguish charm.” (Morgenpost) Krassimira Stoyanova as Marschallin “was simply breathtaking with her vocal and dramatic presence, her consummate voice control and exemplary clarity of enunciation.” (Drehpunkt Kultur) The Octavian of the experienced Sophie Koch is a delightful young nobleman and Mojca Erdmann portrays a self-confident young bourgeoise seeking to improve herself; together, they are “the perfect Strauss dream”. (Neue Musikzeitung)Franz Welser-Möst is the audience’s darling at the rostrum of the Vienna Philharmonic. “The audience purred. They took delight in a fascinating transparency, a refinement worthy of chamber music.” (SZ)

On the stage, the peerless master director Harry Kupfer and his set designer Hans Schavernoch recreate the 18th-century narrative in the era of the opera’s 1911 premiere. Vienna’s imperial edifices, parks, palaces and grand salons are imposingly projected aslant on the backdrop, opening up grand vistas on the widened stage. In this luxuriously elegant setting in black, white and grey, Harry Kupfer applies all his directorial artfullness to bring out the hopelessness of his precisely delineated characters and the tensions in their relationships.We sense “the aura of the eternally valid, timeless Gesamtkunstwerk, (…) dedicated to opulently sensual beauty. (…) Simply masterful!” (Nachrichten.at)


Cat. no. A 040 50031

A co-production of UNITEL, ORF, BR and NHK in cooperation with

SALZBURG FESTIVAL and Wiener Philharmoniker

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

UNABRIDGED

& UNCENSORED

VER SIO N

FOR TH

E FIRST TIME IN THE

(The Knight of the Rose)

World Sales:


J O H N D A S Z A KA N N A M A R I A C H I U R IA S M I K G R I G O R I A NG Á B O R B R E T ZJ U L I A N P R É G A R D I E N

W I E N E R P H I L H A R M O N I K E RC O N D U C T E D B Y F R A N Z W E L S E R-M Ö S T

S TA G E D B Y R O M E O C A S T E L L U C C I


S A L O M E

“Asmik Grigorian sweeps all in her wake in the title role of Strauss’s opera. […] Hers is a Salome to end all Salomes. […] In total, it is stunning...”

Financial Times

Richard Strauss’s opera at the Salzburg Festival, sensationally staged by Romeo Castellucci, was nothing short of “the miracle of Salzburg […] You have never experienced the Salome like this!” (Süddeutsche Zeitung) Debuting in the title role, Asmik Grigorian propelled herself to international soprano stardom, stunning critics and audience alike with her endlessly powerful voice and mesmerizing acting abilities. To witness Franz Welser-Möst at the helm of the Wiener Philharmoniker “makes you think you are hearing the piece in its most perfect incarnation yet” (Financial Times). By closing up the famous arcades of the Felsenreitschule, shaped out of the rock of the Mönchsberg, the award-winning Italian director set the stage for his visually compelling take on Salome. Strauss’s work, created in 1903 when the composer set an abridged German translation of Oscar Wilde’s bible-based play Salomé to music, caused a scandal when premiered in Dresden in 1905 and was even banned from the stages of London, Vienna and New York. Due to her infatuation with the imprisoned prophet Jochanaan, the figure of the princess Salome had become the epitome of perverted lust. In Salzburg, Asmik Grigorian touchingly and sensually traced the inner conflict and emotional distress of Salome. Her exuberant talent accomplishes the impossible, that is to outshine an ensemble that “may be regarded as perfect, even by the standards of the Salzburg Festival” (Spiegel Online). Julian Prégardien sent Narraboth to his doom with a beautifully clear voice, while Gábor Bretz shone as Jochanaan. Anna Maria Chiuri gave an outstanding festival debut as Herodias and at her side, John Daszak enthralled as Herodes. Amidst the orchestral power and brass thunderstorms, Franz Welser-Möst and the Wiener Philharmoniker celebrated the sparkling details of Strauss’s score. “A breathtakingly dense, musically epoch-making […] Salome, which brought the house down!” (Neue Zürcher Zeitung)


Cat. no. A 040 50093

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

Wiener Philharmoniker and Salzburg Festival

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Conductor Franz Welser-MöstOrchestra Wiener Philharmoniker

Stage Director / Set, Costume & Lighting Designer Romeo Castellucci

Herodes John DaszakHerodias Anna Maria Chiuri

Salome Asmik GrigorianJochanaan Gábor BretzNarraboth Julian Prégardien

A Page of Herodias / Slave Avery AmereauFirst Jew Matthäus Schmidlechner

Second Jew Mathias FreyThird Jew Patrick Vogel

Fourth Jew Jörg SchneiderFifth Jew David Steffens

First Nazarene Tilmann RönnebeckSecond Nazarene Paweł Trojak

Cappadocian Neven CrnićFirst Soldier Henning von Schulman

Second Soldier Dashon Burton

Video Director Henning Kasten

S A L O M ER I C H A R D S T R A U S S

World Sales:



Eugene OneginPyotr Ilyich Tchaikovsky


Eugene OneginPyotr Ilyich Tchaikovsky

Music by Pyotr Ilyich Tchaikovsky

Conductor Daniel Barenboim



Eugene Onegin Peter Mattei Tatyana Anna Samuil Olga Ekaterina Gubanova Lensky Joseph Kaiser Prince Gremin Ferruccio Furlanetto

Staged by Andrea Breth


Length 130'

A production of ORF and Unitel in co-production with Classica



Tchaikovsky is best known for his symphonic scores and ballets such as the “Nutcracker,“ “Swan Lake” and “Sleeping

Beauty.“ Yet his operas also occupy a place of honor in his oeuvre, and two of them, “Eugene Onegin” and “The Queen of Spades,” both based on novels by Pushkin, are among his very finest works. The plot of “Onegin” is quickly told: on a Russian country estate, awkward, inexperienced young Tatyana is seized by a sudden passion for the handsome, blasé new neighbor Eugene Onegin. She writes him a love letter, but he makes it clear to her that he is not interested. Later, Tatyana‘s sister flirts with Onegin, her fiancé challenges him to a duel and is killed by Onegin. Years later, Onegin returns, finds that Tatyana has married an aged prince, and tries to win her back but fails...

Tchaikovsky called his opera a sequence of “lyric scenes.” Its structure prefigures narrative techniques that later came into use in cinema: abrupt cuts and chronological leaps, intimate close-ups, atmospheric interjections... Bearing this practically cinematic structure in mind, director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors. The stage suggests both the concrete location of the action as well as the psychological condition of those driving the action forward. Breth‘s “phenomenal ‘Onegin’ interpretation” (F.A.Z.) even allows the integration of silent secondary episodes and miniature dramas.

The title role is a tour de force for any baritone, who must walk a tightrope between cynical, insufferable snob and sympathetic, broken-hearted lover. This is carried off superbly by Peter Mattei, who “has acquired a fabulous vocal profile and is a gifted actor blessed with debonair self-confidence.” (Peter Hagmann, Neue Zürcher Zeitung) But the true hero of the opera is Tatyana, a multi-layered, conflicted, driven, doubt-ridden heroine. As portrayed by the dazzling Russian soprano Anna Samuil, this Tatyana “is ready to start a revolution.” (Julia Spinola, F.A.Z.) Since her 2003 debut in the West, and her appearance as Musetta (“La Bohème”) at the Met alongside Anna Netrebko, Anna Samuil – a protegée of Daniel Barenboim – has been acclaimed as a vibrant new voice on the operatic stage. Daniel Barenboim and the Vienna Philharmonic accompany these “scenes of a marriage that could have been” with beguilingly dark sonorities that allow for brilliant flashes of light from the winds and waves of passionate lyricism in the third act.

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Eugene Onegin Music by Pyotr Ilyich Tchaikovsky

Conductor Daniel Barenboim



Eugene Onegin Peter Mattei Tatyana Anna Samuil Olga Ekaterina Gubanova Lensky Joseph Kaiser Prince Gremin Ferruccio Furlanetto

Staged by Andrea Breth


Length 130'

A production of ORF and Unitel in co-production with Classica



Tchaikovsky is best known for his symphonic scores and ballets such as the “Nutcracker,“ “Swan Lake” and “Sleeping

Beauty.“ Yet his operas also occupy a place of honor in his oeuvre, and two of them, “Eugene Onegin” and “The Queen of Spades,” both based on novels by Pushkin, are among his very finest works. The plot of “Onegin” is quickly told: on a Russian country estate, awkward, inexperienced young Tatyana is seized by a sudden passion for the handsome, blasé new neighbor Eugene Onegin. She writes him a love letter, but he makes it clear to her that he is not interested. Later, Tatyana‘s sister flirts with Onegin, her fiancé challenges him to a duel and is killed by Onegin. Years later, Onegin returns, finds that Tatyana has married an aged prince, and tries to win her back but fails...

Tchaikovsky called his opera a sequence of “lyric scenes.” Its structure prefigures narrative techniques that later came into use in cinema: abrupt cuts and chronological leaps, intimate close-ups, atmospheric interjections... Bearing this practically cinematic structure in mind, director Andrea Breth has produced an intimate chamber play that mines the depths of veracity, precision and charisma of her singer-actors. The stage suggests both the concrete location of the action as well as the psychological condition of those driving the action forward. Breth‘s “phenomenal ‘Onegin’ interpretation” (F.A.Z.) even allows the integration of silent secondary episodes and miniature dramas.

The title role is a tour de force for any baritone, who must walk a tightrope between cynical, insufferable snob and sympathetic, broken-hearted lover. This is carried off superbly by Peter Mattei, who “has acquired a fabulous vocal profile and is a gifted actor blessed with debonair self-confidence.” (Peter Hagmann, Neue Zürcher Zeitung) But the true hero of the opera is Tatyana, a multi-layered, conflicted, driven, doubt-ridden heroine. As portrayed by the dazzling Russian soprano Anna Samuil, this Tatyana “is ready to start a revolution.” (Julia Spinola, F.A.Z.) Since her 2003 debut in the West, and her appearance as Musetta (“La Bohème”) at the Met alongside Anna Netrebko, Anna Samuil – a protegée of Daniel Barenboim – has been acclaimed as a vibrant new voice on the operatic stage. Daniel Barenboim and the Vienna Philharmonic accompany these “scenes of a marriage that could have been” with beguilingly dark sonorities that allow for brilliant flashes of light from the winds and waves of passionate lyricism in the third act.

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Eugene Onegin

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THE QUEENOF SPADES

Brandon Jovanovich • Evgenia Muraveva • Vladislav SulimskyIgor Golovatenko • Hanna Schwarz

Wiener Philharmoniker conducted by Mariss JansonsStaged by Hans Neuenfels

P Y O T R I . T C H A I K O V S K Y

THE QUEENOF SPADES

Brandon Jovanovich • Evgenia Muraveva • Vladislav SulimskyIgor Golovatenko • Hanna Schwarz

Wiener Philharmoniker conducted by Mariss JansonsStaged by Hans Neuenfels


Hans Neuenfels’s new staging of Pyotr I. Tchaikovsky’s The Queen of Spades at Salzburg Festival “shows a compelling director in his element” (The New York Times). With a keen eye for the psychological aspects of Tchaikovsky’s operatic masterpiece, the luminary of modern director’s theatre creates a gripping narrative, carried by a strong, high-class cast that includes Brandon Jovanovich and Evgenia Muraveva in the lead roles. Mariss Jansons’s rare appearance

as an opera conductor, at the helm of the Wiener Philharmoniker, was “a triumph” (Frankfurter Allgemeine Zeitung).

When Hermann gets caught up in the mystery of three magic playing cards, he soon realizes

that playing with cards is perilous: the highest stake is your own soul. Alexander Pushkin’s

novella Pique Dame (The Queen of Spades), which tells the tragic story of the outsider Hermann in 18th century St Petersburg, has

a precise psychological focus, which inspired Pyotr I. Tchaikovsky 50 years later to create his

operatic masterpiece of the same name. And it takes a legend of theatre staging such as Hans

Neuenfels to perfectly capture the gripping tale of an individual spiralling out of control. In the stark, mostly abstract sets by Christian Schmidt, Neuenfels “draws gripping performances from a strong cast” (The New York Times): Brandon Jovanovich shines as Herman with tormented intensity. Evgenia Muraveva’s performance as Lisa is touching, you feel for her when she rejects a safe life with an adoring prince to take a chance on passion with the desperate Hermann – a wrong decision with dire consequences. The glorious sounding Wiener Philharmoniker under the dynamic conducting of Mariss Jansons create magical moments throughout: Jansons seems to bring music and time to a halt, when legendary singer Hanna Schwarz as Countess, lost in melancholy memories, is pressed by a troubled Hermann to give up the secret of the three cards and dies. Vladislav Sulimsky impresses as Count Tomsky, Oksana Volkova as Polina, and Igor Golovatenko shines with a noble, powerful baritone as Prince Yeletsky. Neuenfels achieves striking visuals with an ingenious use of the imposing choirs Konzertvereinigung Wiener Staatsopernchor and the Salzburger Festspiele und Theater Kinderchor, depicting the society of St Petersburg enjoying a sunny day in swim-wear or hailing a skeleton which is meant to be Catherine the Great. Mariss Jansons, “maybe the best connoisseur of this unjustly neglected opera” (Süddeutsche Zeitung), turns this Queen of Spades with as much verve as sensitivity into a “captivating musical drama” (Zeit).


A co-production of Servus TV, NHK and UNITEL in cooperation with Wiener Philharmoniker


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Conductor Mariss JansonsOrchestra Wiener PhilharmonikerChoruses Salzburger Festspiele und Theater

KinderchorKonzertvereinigung Wiener Staatsopernchor

Chorus Master Ernst RaffelsbergerStage Director Hans Neuenfels

Hermann Brandon JovanovichLisa Evgenia Muraveva

Count Tomsky / Plutus Vladislav SulimskyPrince Yeletsky Igor Golovatenko

Countess Hanna SchwarzChekalinsky Alexander Kravets

Surin Stanislav TrofimovNarumov Gleb Peryazev

Chaplitsky Pavel PetrovPolina / Daphnis Oksana Volkova

Governess Margarita NekrasovaMaster of Ceremonies Oleg Zalytskiy

Masha Vasilisa BerzhanskayaChloe / Prilepa Yulia Suleimanova


THE QUEEN OF SPADES


(Pique Dame)


Hans Neuenfels’s new staging of Pyotr I. Tchaikovsky’s The Queen of Spades at Salzburg Festival “shows a compelling director in his element” (The New York Times). With a keen eye for the psychological aspects of Tchaikovsky’s operatic masterpiece, the luminary of modern director’s theatre creates a gripping narrative, carried by a strong, high-class cast that includes Brandon Jovanovich and Evgenia Muraveva in the lead roles. Mariss Jansons’s rare appearance

as an opera conductor, at the helm of the Wiener Philharmoniker, was “a triumph” (Frankfurter Allgemeine Zeitung).

When Hermann gets caught up in the mystery of three magic playing cards, he soon realizes

that playing with cards is perilous: the highest stake is your own soul. Alexander Pushkin’s

novella Pique Dame (The Queen of Spades), which tells the tragic story of the outsider Hermann in 18th century St Petersburg, has

a precise psychological focus, which inspired Pyotr I. Tchaikovsky 50 years later to create his

operatic masterpiece of the same name. And it takes a legend of theatre staging such as Hans

Neuenfels to perfectly capture the gripping tale of an individual spiralling out of control. In the stark, mostly abstract sets by Christian Schmidt, Neuenfels “draws gripping performances from a strong cast” (The New York Times): Brandon Jovanovich shines as Herman with tormented intensity. Evgenia Muraveva’s performance as Lisa is touching, you feel for her when she rejects a safe life with an adoring prince to take a chance on passion with the desperate Hermann – a wrong decision with dire consequences. The glorious sounding Wiener Philharmoniker under the dynamic conducting of Mariss Jansons create magical moments throughout: Jansons seems to bring music and time to a halt, when legendary singer Hanna Schwarz as Countess, lost in melancholy memories, is pressed by a troubled Hermann to give up the secret of the three cards and dies. Vladislav Sulimsky impresses as Count Tomsky, Oksana Volkova as Polina, and Igor Golovatenko shines with a noble, powerful baritone as Prince Yeletsky. Neuenfels achieves striking visuals with an ingenious use of the imposing choirs Konzertvereinigung Wiener Staatsopernchor and the Salzburger Festspiele und Theater Kinderchor, depicting the society of St Petersburg enjoying a sunny day in swim-wear or hailing a skeleton which is meant to be Catherine the Great. Mariss Jansons, “maybe the best connoisseur of this unjustly neglected opera” (Süddeutsche Zeitung), turns this Queen of Spades with as much verve as sensitivity into a “captivating musical drama” (Zeit).


A co-production of Servus TV, NHK and UNITEL in cooperation with Wiener Philharmoniker


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Conductor Mariss JansonsOrchestra Wiener PhilharmonikerChoruses Salzburger Festspiele und Theater

KinderchorKonzertvereinigung Wiener Staatsopernchor

Chorus Master Ernst RaffelsbergerStage Director Hans Neuenfels

Hermann Brandon JovanovichLisa Evgenia Muraveva

Count Tomsky / Plutus Vladislav SulimskyPrince Yeletsky Igor Golovatenko

Countess Hanna SchwarzChekalinsky Alexander Kravets

Surin Stanislav TrofimovNarumov Gleb Peryazev

Chaplitsky Pavel PetrovPolina / Daphnis Oksana Volkova

Governess Margarita NekrasovaMaster of Ceremonies Oleg Zalytskiy

Masha Vasilisa BerzhanskayaChloe / Prilepa Yulia Suleimanova


THE QUEEN OF SPADES


(Pique Dame)


ANNA NETREBKO FRANCESCO MELI ROBERTO TAGLIAVINI LUCA SALSI

EKATERINA SEMENCHUKWIENER PHILHARMONIKER

CONDUCTED BY RICCARDO MUTISTAGED BY SHIRIN NESHAT

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

AIDA

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 Karajan. For its return as the centerpiece of Markus Hinterhäuser’s first season as new intendant, the Salzburg Festival assembled a superb artistic team, making this production the most sought after and over-booked in the Festival’s history. The supreme cast was led by Anna Netrebko in the title role, directed by Iranian-born New York based visual artist Shirin Neshat and conducted by the world’s finest Verdi conductor, Riccardo Muti. “Anna Netrebko storms Salzburg”, wrote the New York Times about her highly anticipated debut as Aida, while the Neue Zürcher Zeitung praised Netrebko’s “perfection and immaculacy”. Francesco Meli, among the finest Verdi tenors of our time, scores as “vocally excellent” Radamès (Der Standard). Ekaterina Semenchuk, the “primadonna among the mezzo-sopranos” (FAZ) stuns in the role of Amneris and Luca Salsi, one of today’s most sought after baritones, is “a luxury” (Corriere della Sera) as Amonasro. Riccardo Muti “creates effects you didn’t quite think possible. The Vienna Philharmonic plays for him with astonishing virtuosity: strings of tactile fullness; tangy winds; bursts of ideally round and peppery brasses.” (New York Times)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 Verdi’s most intimate works when focusing upon the private emotions experienced by the three victims of a tragic love triangle: Radamès, Egypt’s victorious captain of the guard, and the two rivalling women who adore him, the Pharaoh’s daughter Amneris and her Ethiopian slave Aida.Shirin Neshat, who won a Silver Lion as Best Director at the Venice Film Festival, is working across various visual mediums such as photography, video 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 and complex human narratives. An approach that is also reflected in her 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.


Cat. no. A 040 50077

A co-production of ORF, NHK, UNITEL and ZDF in cooperation with ARTE, Wiener Philharmoniker

and Salzburg FestivalAll

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Orchestra Wiener PhilharmonikerAngelika-Prokopp-Sommer- akademie of the Wiener Philharmoniker

Conductor Riccardo MutiChorus Konzertvereinigung Wiener

StaatsopernchorChorus Master Ernst RaffelsbergerStage Director Shirin Neshat

Aida Anna NetrebkoRadames Francesco Meli

The King of Egypt Roberto TagliaviniAmneris Ekaterina Semenchuk

Ramfis Dmitry BelosselskiyAmonasro Luca Salsi

A Messenger Bror Magnus TødenesThe High Priestess Benedetta Torre


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

AIDA

M° Riccardo Muti appears by courtesy of RM Music S.r.l.

World Sales:


GIUSEPPE VERDI

DoN CARLoJonas Kaufmann

Thomas HampsonAnja Harteros

Matti Salminen

Wiener PhilharmonikerConducted byAntonio PappanoStaged by Peter Stein

World Sales:

Filippo II. Matti Salminen Don Carlo Jonas Kaufmann Elisabetta di Valois Anja Harteros Rodrigo Thomas Hampson La Principessa Eboli Ekaterina Semenchuk Il Grande Inquisitore Eric Halfvarson Un frate (Carlo V) Robert Lloyd Tebaldo Maria Celeng Una voce dal cielo Sen Guo Il Conte di Lerma/Un Araldo reale Benjamin Bernheim

Produced by ORF Video Director Agnes Méth


Cat. no. A04050012

Conductor Antonio Pappano Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Jörn Hinnerk Andresen Stage Director Peter Stein

A co-production of ORF, UNITEL, NHK, ZDF for Arte


“Great stage and great drama, great gowns and grand gestures, great sound and great voices” – this was the apt summing-up by the Wiener Zeitung of Peter Stein’s “Don Carlo” at the Salzburg Festival. A stellar cast and the Vienna Philharmonic under the baton of Antonio Pappano made this drama of love and freedom into a triumph acclaimed by ecstatic applause.

The power of Church and State to keep two lovers apart, the clash of authority and liberalism from the days of the Spanish Inquisition have lost none of their compelling intensity and present-day relevance. In no other opera did Verdi introduce such a variety of human relationships. His music impressively conjures up the longing for love and happiness and the atmosphere of hopelessness that hangs over this sombre drama throughout. The doomed love of heir to the throne Don Carlo for the Queen, the bride once promised him and now the wife of his father, the bitter loneliness of this very father and king who is subject for all his power to the will of the implacable Grand Inquisitor are still a deeply moving spectacle for modern audiences.

Jonas Kaufmann and Anja Harteros are the young couple “who simply command our reverence “ (Neue Zürcher Zeitung). Kaufmann as Carlos is “an unsurpassable model of splendid tenor singing and ultra-sensitive gradations of expression” (Badische Zeitung), Anja Harteros a dramatic soprano of consummate excellence whose “’Tu che le vanità’ takes us as near to heaven as we earthlings will ever reach” (Telegraph). They are aptly matched by the character study of Matti Salminen as an utterly lonely ageing King and Thomas Hampson as Rodrigo, “splendid in his phrasing and deeply moving – an ideal casting” (Kurier). Great sound is assured with Antonio Pappano in command, given his long experience of Verdi. “Rarely did Verdi sound so lively. It thunders and rages, languishes and blazes” (Südwest Presse), “a sensation” (Badische Zeitung)!

The staging is the work of a true past master of the scenic art: lavish Cinemascope settings, such as only the exceptionally broad stage of the Great Festival Hall will allow, depict telling images as historical panorama. The action is elegantly cultivated without being torn out of context, while plumbing the true depths of the opera’s story. The director and conductor have chosen

to present a revised edition of the opera’s original version, with the Fontainebleau first act that tells the backstory, but in Italian and without the ballet scene specially added for Paris – in every respect a unique performance!

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GIUSEPPE VERDI

DoN CARLo

World Sales:


Giuseppe Verdi

FalstaFFAmbrogio Maestri Fiorenza Cedolins Massimo Cavalletti Elisabeth Kulman

Wiener Philharmonikerconducted by Zubin Mehta

staged by Damiano Michieletto

Giuseppe Verdi

FalstaFFAmbrogio Maestri Fiorenza Cedolins Massimo Cavalletti Elisabeth Kulman

Wiener Philharmonikerconducted by Zubin Mehta

staged by Damiano Michieletto

World Sales:


Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitelclassica.com

Sir John Falstaff Ambrogio Maestri Mrs. Alice Ford Fiorenza Cedolins Ford Massimo Cavalletti Nannetta Eleonora Buratto Mrs. Quickly Elisabeth Kulman Mrs. Meg Page Stephanie Houtzeel Fenton Javier Camarena Dott. Cajus Luca Casalin Bardolfo Gianluca Sorrentino Pistola Davide Fersini

Produced by ORF Video Director Karina Fibich


Cat. no. A04050010

Orchestra Wiener Philharmoniker Conductor Zubin Mehta Chorus Philharmonia Chor Wien Chorus Master Walter Zeh Stage Director Damiano Michieletto

A co-production of ORF/3sat and UNITEL in cooperation with Wiener Philharmoniker, Salzburg Festival and CLASSICA

Outside the Casa Verdi in Milan, the famous old people’s home for retired singers and musicians founded by Giuseppe Verdi, the afternoon traffic roars by. This establishing shot takes the viewer to Milan, the city where Verdi’s last opera – Falstaff – was premiered. The music begins and the stage is an elegant salon inside the house with its infirm but eccentric residents. “Michieletto shows old people who thanks to music are young again. It is a declaration of love for youth and age, for life and love, for wine and for the theatre” (Kurier).

One of these stars of yesteryear, sleeping off his intoxication on the sofa, dreams himself once more playing Sir John Falstaff, the role for which he was acclaimed in his heyday. The characters of the comedy appear as shadows of the past and now the drama, increasingly a mixture of dream and reality, can commence. This surprising and imaginative staging thought up by the Italian director Damiano Michieletto moves the action of Verdi’s late, great masterpiece from a fictitious London to that special care home, the Casa Verdi, a place rich in memories of great days past and impressions of a real-time present. “Damiano Michieletto is bursting with ideas when it comes to combining illusion and reality” (Tagesspiegel).

Ambrogio Maestri seems a tailor-made Falstaff. A giant of a man in real life, he is the ideal eponymous hero and the most sought after Falstaff singer of his time. “With a voice that can easily drown out battalions, but can also be as subtle as his wit” (Tagesspiegel), this old rascal lasciviously relishes the arts of seduction practised by the mature, experienced Alice (“radiantly sung”, says the Süddeutsche Zeitung, by Fiorenza Cedolins) and the ample charms of Mrs. Quickly (“enchantingly lovely”, Tagesspiegel – Elisabeth Kulman). “Zubin Mehta conducts with evident enjoyment of rich full sound, the colourful tones of the Vienna Philharmonic are a joy in themselves” (Salzburger Nachrichten)!

His physique is just right for the part, as are his powerful voice, flair for drama and feeling for the Verdi style. (New York Times)

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Giuseppe Verdi

FalstaFF

World Sales:



Sir John Falstaff Ambrogio Maestri Mrs. Alice Ford Fiorenza Cedolins Ford Massimo Cavalletti Nannetta Eleonora Buratto Mrs. Quickly Elisabeth Kulman Mrs. Meg Page Stephanie Houtzeel Fenton Javier Camarena Dott. Cajus Luca Casalin Bardolfo Gianluca Sorrentino Pistola Davide Fersini

Produced by ORF Video Director Karina Fibich


Cat. no. A04050010

Orchestra Wiener Philharmoniker Conductor Zubin Mehta Chorus Philharmonia Chor Wien Chorus Master Walter Zeh Stage Director Damiano Michieletto

A co-production of ORF/3sat and UNITEL in cooperation with Wiener Philharmoniker, Salzburg Festival and CLASSICA

Outside the Casa Verdi in Milan, the famous old people’s home for retired singers and musicians founded by Giuseppe Verdi, the afternoon traffic roars by. This establishing shot takes the viewer to Milan, the city where Verdi’s last opera – Falstaff – was premiered. The music begins and the stage is an elegant salon inside the house with its infirm but eccentric residents. “Michieletto shows old people who thanks to music are young again. It is a declaration of love for youth and age, for life and love, for wine and for the theatre” (Kurier).

One of these stars of yesteryear, sleeping off his intoxication on the sofa, dreams himself once more playing Sir John Falstaff, the role for which he was acclaimed in his heyday. The characters of the comedy appear as shadows of the past and now the drama, increasingly a mixture of dream and reality, can commence. This surprising and imaginative staging thought up by the Italian director Damiano Michieletto moves the action of Verdi’s late, great masterpiece from a fictitious London to that special care home, the Casa Verdi, a place rich in memories of great days past and impressions of a real-time present. “Damiano Michieletto is bursting with ideas when it comes to combining illusion and reality” (Tagesspiegel).

Ambrogio Maestri seems a tailor-made Falstaff. A giant of a man in real life, he is the ideal eponymous hero and the most sought after Falstaff singer of his time. “With a voice that can easily drown out battalions, but can also be as subtle as his wit” (Tagesspiegel), this old rascal lasciviously relishes the arts of seduction practised by the mature, experienced Alice (“radiantly sung”, says the Süddeutsche Zeitung, by Fiorenza Cedolins) and the ample charms of Mrs. Quickly (“enchantingly lovely”, Tagesspiegel – Elisabeth Kulman). “Zubin Mehta conducts with evident enjoyment of rich full sound, the colourful tones of the Vienna Philharmonic are a joy in themselves” (Salzburger Nachrichten)!

His physique is just right for the part, as are his powerful voice, flair for drama and feeling for the Verdi style. (New York Times)

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Giuseppe Verdi

FalstaFF

119

IL TROVATOREGIUSEPPE VERDI

FRANCESCO MELI ANNA NETREBKO PLÁCIDO DOMINGOWIENER PHILHARMONIKER CONDUCTED BY DANIELE GATTISTAGED BY ALVIS HERMANIS


FRANCESCO MELI ANNA NETREBKO PLÁCIDO DOMINGOWIENER PHILHARMONIKER CONDUCTED BY DANIELE GATTISTAGED BY ALVIS HERMANIS

World Sales:



Orchestra Wiener PhilharmonikerConductor Daniele Gatti



Manrico Francesco MeliLeonora Anna Netrebko

Il Conte di Luna Plácido Domingo Azucena Marie-Nicole LemieuxFerrando Riccardo Zanellato

Ines Diana HallerRuiz/ Un messo Gérard Schneider

Un vecchio zingaro Raimundas Juzuitis


“Anna Netrebko – better than Maria Callas” (Süddeutsche Zeitung) – Since her sensational success in “La Traviata” the soprano Anna Netrebko, now even more popular than ever before, returns regularly to the great festival hall at the Salzburg Festival. This time she shines as Leonora in Giuseppe Verdi’s tragic opera “Il Trovatore” at the side of Placido Domingo and the critics go wild: “A triumph” writes the New York Times, while the Neue Zürcher Zeitung speaks of “truly divine sounds”.

Francesco Meli as the troubadour Manrico whom Leonora loves is brilliant at her side: “He sings clearly and elegantly and has such vocal presence” (Der Standard). The Tagesspiegel is wowed by the enduring stage presence of Plácido Domingo as his rival, Count Luna: it “never fails to amaze people when they experience Plácido Domingo live, with his stage presence, the way he takes it all in his stride, how he now sings baritone parts without sounding different.” The strong cast is complemented by Marie-Nicole Lemieux, who as the gypsy Azucena provides spine-chilling and dramatic moments. The “most hotly anticipated spectacle of the Salzburg Festival” (Corriere della Sera) exceeds all expectations by a mile.

Alvis Hermanis staged the plot that revolves round two rival brothers who love the same woman and only learn they are related at the moment of her death, using sets that “in their opulent adherence to detail and fantastically

illuminated atmosphere (…) offer much more than just a decorative sight for sore eyes“

(Salzburger Nachrichten).

On the rostrum of the Vienna Philharmonic is none other than Daniele Gatti, who elicits undreamt-of cascades of sound from the orchestra: “employing the most fabulous colours, which the Vienna Phil savour in virtually impressionist manner, diligently and tenderly heeding every characteristic and every chord with skill” (Salzburger Nachrichten).


Cat. no. A04050025

A co-production of ORF, UNITEL CLASSICA and ZDF/Arte

in cooperation with the Salzburg Festival and the Wiener Philharmoniker

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World Sales:



Orchestra Wiener PhilharmonikerConductor Daniele Gatti



Manrico Francesco MeliLeonora Anna Netrebko

Il Conte di Luna Plácido Domingo Azucena Marie-Nicole LemieuxFerrando Riccardo Zanellato

Ines Diana HallerRuiz/ Un messo Gérard Schneider

Un vecchio zingaro Raimundas Juzuitis


“Anna Netrebko – better than Maria Callas” (Süddeutsche Zeitung) – Since her sensational success in “La Traviata” the soprano Anna Netrebko, now even more popular than ever before, returns regularly to the great festival hall at the Salzburg Festival. This time she shines as Leonora in Giuseppe Verdi’s tragic opera “Il Trovatore” at the side of Placido Domingo and the critics go wild: “A triumph” writes the New York Times, while the Neue Zürcher Zeitung speaks of “truly divine sounds”.

Francesco Meli as the troubadour Manrico whom Leonora loves is brilliant at her side: “He sings clearly and elegantly and has such vocal presence” (Der Standard). The Tagesspiegel is wowed by the enduring stage presence of Plácido Domingo as his rival, Count Luna: it “never fails to amaze people when they experience Plácido Domingo live, with his stage presence, the way he takes it all in his stride, how he now sings baritone parts without sounding different.” The strong cast is complemented by Marie-Nicole Lemieux, who as the gypsy Azucena provides spine-chilling and dramatic moments. The “most hotly anticipated spectacle of the Salzburg Festival” (Corriere della Sera) exceeds all expectations by a mile.

Alvis Hermanis staged the plot that revolves round two rival brothers who love the same woman and only learn they are related at the moment of her death, using sets that “in their opulent adherence to detail and fantastically

illuminated atmosphere (…) offer much more than just a decorative sight for sore eyes“

(Salzburger Nachrichten).

On the rostrum of the Vienna Philharmonic is none other than Daniele Gatti, who elicits undreamt-of cascades of sound from the orchestra: “employing the most fabulous colours, which the Vienna Phil savour in virtually impressionist manner, diligently and tenderly heeding every characteristic and every chord with skill” (Salzburger Nachrichten).


Cat. no. A04050025

A co-production of ORF, UNITEL CLASSICA and ZDF/Arte

in cooperation with the Salzburg Festival and the Wiener Philharmoniker

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Unitel and ClassiCa presentUnitel and ClassiCa present

2005

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“The most famous opera singer in the world” Frankfurter Allgemeine Sonntagszeitung

Within only a few years, Anna Netrebko has become one of the most acclaimed performers of our time, whose popularity transcends by far the boundaries of classical music. With her CDs garnering phenomenal sales and her stage appearances causing worldwide box-office stampedes, Anna Netrebko is on her way to becoming the new diva assoluta.This recording of Verdi‘s “La Traviata” from the 2005 Salzburg Festival – the uncontested and hopelessly sold-out highlight of the festival season – captures the triumphal performance not only of Anna Netrebko as Violetta Valéry, but also of Rolando Villazón as her lover Alfredo. The glamorous Russian soprano and the heartthrob Mexican tenor have become the new dream team of the opera world. The international press was unanimous in praising the singers‘ phenomenal range, heavenly timbre, musical finesse and powerful, charismatic stage presence. Portraying Alfredo‘s father is one of the leading baritones of our time, Thomas Hampson. The Austrian Broadcasting Corporation‘s (ORF) simultaneous telecast of the premiere scored a phenomenal 29% market share.Willy Decker‘s stark, elegantly stylish stage production makes Anna Netrebko the center of attention at all times. The sets and costumes are by Wolfgang Gussmann. “La Traviata” is conducted by Carlo Rizzi, performed by the world-renowned Vienna Philharmonic Orchestra and directed for television by Emmy-Award winner Brian Large.

A Coproduction of ORF, NHK, BR, Unitel and Classica in association with the Salzburger Festspiele © 2005

Length: 149’ · Shot in HDTV 1080

ConductorOrchestra

Choir

Staged bySet & Costume Design

ChoregraphyDirected by

Violetta ValeryAlfredo GermontGiorgio Germont

Carlo Rizzi


Konzertvereinigung Wiener Staatsopernchor

Willy Decker

Wolfgang Gussmann

Athol Farmer

Brian Large

Anna Netrebko

Rolando Villazón

Thomas Hampson

2005

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“The most famous opera singer in the world” Frankfurter Allgemeine Sonntagszeitung

Within only a few years, Anna Netrebko has become one of the most acclaimed performers of our time, whose popularity transcends by far the boundaries of classical music. With her CDs garnering phenomenal sales and her stage appearances causing worldwide box-office stampedes, Anna Netrebko is on her way to becoming the new diva assoluta.This recording of Verdi‘s “La Traviata” from the 2005 Salzburg Festival – the uncontested and hopelessly sold-out highlight of the festival season – captures the triumphal performance not only of Anna Netrebko as Violetta Valéry, but also of Rolando Villazón as her lover Alfredo. The glamorous Russian soprano and the heartthrob Mexican tenor have become the new dream team of the opera world. The international press was unanimous in praising the singers‘ phenomenal range, heavenly timbre, musical finesse and powerful, charismatic stage presence. Portraying Alfredo‘s father is one of the leading baritones of our time, Thomas Hampson. The Austrian Broadcasting Corporation‘s (ORF) simultaneous telecast of the premiere scored a phenomenal 29% market share.Willy Decker‘s stark, elegantly stylish stage production makes Anna Netrebko the center of attention at all times. The sets and costumes are by Wolfgang Gussmann. “La Traviata” is conducted by Carlo Rizzi, performed by the world-renowned Vienna Philharmonic Orchestra and directed for television by Emmy-Award winner Brian Large.

A Coproduction of ORF, NHK, BR, Unitel and Classica in association with the Salzburger Festspiele © 2005

Length: 149’ · Shot in HDTV 1080

ConductorOrchestra

Choir

Staged bySet & Costume Design

ChoregraphyDirected by

Violetta ValeryAlfredo GermontGiorgio Germont

Carlo Rizzi



Willy Decker

Wolfgang Gussmann

Athol Farmer

Brian Large

Anna Netrebko

Rolando Villazón

Thomas Hampson

123


Giuseppe

Verdi



Giuseppe

Verdi


An amazing range, with fresh young lows and girlish highs, full, glowing middle and high registers, a timbre of silk, champagne and sandpaper, a great

lyrical-dramatic soprano,” wrote Berlin’s Tagesspiegel about Marina Poplavskaya. The Moscow native was clearly “the queen of this operatic performance,” as the eminent critic Joachim Kaiser put it in the Süddeutsche Zeitung, and perhaps the most dazzling discovery of this Salzburg Festival production of Verdi’s “Otello.”

Poplavskaya’s Desdemona shares the limelight on the stage of Salzburg’s Großes Festspielhaus with her partner Aleksandrs Antonenko, an up-and-coming Latvian tenor with an impressive stage presence and a light, heady timbre that gives his Otello a youthful note.

Particularly noteworthy are Carlos Álvarez, a powerful, charismatic baritone who infuses his manipulating Jago with criminal energy and threatening darkness; and Stephen Costello, whose sensitive, elegant Cassio reminds us that this young American tenor is already singing Donizetti at the Metropolitan Opera. Leading the vocal ensemble and the Wiener Philharmoniker with commanding presence is the great Riccardo Muti, whose conducting is “the motor of this Verdi opera” (Wiener Zeitung).

With its “enlightened realism” (Die Welt), Stephen Langridge’s production remains within the boundaries of the

“classical” canon of Verdi interpretation. Using filmic means as well as sand, rain and fire, Langridge finds many images that underscore the fragility and volatility of Otello’s position as a social outcast and of his love for Desdemona. Unforgettable is the moment when we see the wronged woman no longer in her ornate Renaissance gown, but in a simple white nightgown, virginal, angelic, a lamb waiting for the slaughter...

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Conductor Riccardo Muti Orchestra Wiener Philharmoniker


Otello Aleksandrs Antonenko Desdemona Marina Poplavskaya Jago Carlos Álvarez Emilia Barbara Di Castri Cassio Stephen Costello Roderigo Antonello Ceron Lodovico Mikhail Petrenko Montano Simone Del Savio

Staged by Stephen Langridge

Directed by Peter Schöndorfer

Length 130'

Recorded at the Großes Festspielhaus, Salzburg

A production of UniTeL in coproduction with CLASSiCA

in cooperation with Salzburg Festival for ZDF/3sat


Otellofrom Salzburg Festival


An amazing range, with fresh young lows and girlish highs, full, glowing middle and high registers, a timbre of silk, champagne and sandpaper, a great

lyrical-dramatic soprano,” wrote Berlin’s Tagesspiegel about Marina Poplavskaya. The Moscow native was clearly “the queen of this operatic performance,” as the eminent critic Joachim Kaiser put it in the Süddeutsche Zeitung, and perhaps the most dazzling discovery of this Salzburg Festival production of Verdi’s “Otello.”

Poplavskaya’s Desdemona shares the limelight on the stage of Salzburg’s Großes Festspielhaus with her partner Aleksandrs Antonenko, an up-and-coming Latvian tenor with an impressive stage presence and a light, heady timbre that gives his Otello a youthful note.

Particularly noteworthy are Carlos Álvarez, a powerful, charismatic baritone who infuses his manipulating Jago with criminal energy and threatening darkness; and Stephen Costello, whose sensitive, elegant Cassio reminds us that this young American tenor is already singing Donizetti at the Metropolitan Opera. Leading the vocal ensemble and the Wiener Philharmoniker with commanding presence is the great Riccardo Muti, whose conducting is “the motor of this Verdi opera” (Wiener Zeitung).

With its “enlightened realism” (Die Welt), Stephen Langridge’s production remains within the boundaries of the

“classical” canon of Verdi interpretation. Using filmic means as well as sand, rain and fire, Langridge finds many images that underscore the fragility and volatility of Otello’s position as a social outcast and of his love for Desdemona. Unforgettable is the moment when we see the wronged woman no longer in her ornate Renaissance gown, but in a simple white nightgown, virginal, angelic, a lamb waiting for the slaughter...

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Music by Giuseppe Verdi

Conductor Riccardo Muti Orchestra Wiener Philharmoniker


Otello Aleksandrs Antonenko Desdemona Marina Poplavskaya Jago Carlos Álvarez Emilia Barbara Di Castri Cassio Stephen Costello Roderigo Antonello Ceron Lodovico Mikhail Petrenko Montano Simone Del Savio

Staged by Stephen Langridge

Directed by Peter Schöndorfer

Length 130'


A production of UniTeL in coproduction with CLASSiCA



Otellofrom Salzburg Festival


125

SIMON BOCCANEGRALuca Salsi · Marina RebekaRené Pape · Charles Castronovo

Wiener Philharmoniker conducted by Valery Gergiev

staged by Andreas Kriegenburg

G IUSEPPE V ERDI

SIMON BOCCANEGRALuca Salsi · Marina RebekaRené Pape · Charles Castronovo

Wiener Philharmoniker conducted by Valery Gergiev

staged by Andreas Kriegenburg

G IUSEPPE V ERDI

Giuseppe Verdi’s emotional political thriller, brilliantly captured in Andreas Kriegenburg’s puristic staging, becomes a musical feast in Salzburg, starring a high-class ensemble under Valery Gergiev’s baton. The gloomy plot of Simon Boccanegra is about fateful concatenations and intrigues of power, a reflection of the present radicalized world in Kriegenburg’s “clear and levelheaded staging, which highlighted the relationship between Boccanegra (an expressive Luca Salsi) and Fiesco (vibrant-sounding René Pape)” (The New York Times). The Latvian soprano Marina Rebeka enchants as Amelia with a clear and powerful lyrical voice and Charles Castronovo “sings himself as Gabriele Adorno as the most radiant soloist of the evening towards the top league” (orf.at). Valery Gergiev provides for an excellent musical realization, the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsopernchor perform superbly: “The Wiener Philharmoniker seemed to have virtually conspired with the conductor and the work, shining into every hidden sound angle, playing out all their sovereignty and opera experience” (Süddeutsche Zeitung).

Conductor Valery Gergiev Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Stage Director Andreas Kriegenburg

Simon Boccanegra Luca Salsi Amelia Grimaldi Marina Rebeka Jacopo Fiesco René Pape Gabriele Adorno Charles Castronovo Paolo Albiani André Heyboer Pietro Antonio Di Matteo Captain Long Long Maid Marianne Sattmann


Length: approx. 140’Cat. no. A 040 50116

A co-production of UNITEL, ORF/3sat in cooperation with Wiener Philharmoniker and Salzburg Festival

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GIUSEPPE VERDI

SIMON BOCCANEGRA


Giuseppe Verdi’s emotional political thriller, brilliantly captured in Andreas Kriegenburg’s puristic staging, becomes a musical feast in Salzburg, starring a high-class ensemble under Valery Gergiev’s baton. The gloomy plot of Simon Boccanegra is about fateful concatenations and intrigues of power, a reflection of the present radicalized world in Kriegenburg’s “clear and levelheaded staging, which highlighted the relationship between Boccanegra (an expressive Luca Salsi) and Fiesco (vibrant-sounding René Pape)” (The New York Times). The Latvian soprano Marina Rebeka enchants as Amelia with a clear and powerful lyrical voice and Charles Castronovo “sings himself as Gabriele Adorno as the most radiant soloist of the evening towards the top league” (orf.at). Valery Gergiev provides for an excellent musical realization, the Wiener Philharmoniker and the Konzertvereinigung Wiener Staatsopernchor perform superbly: “The Wiener Philharmoniker seemed to have virtually conspired with the conductor and the work, shining into every hidden sound angle, playing out all their sovereignty and opera experience” (Süddeutsche Zeitung).

Conductor Valery Gergiev Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Stage Director Andreas Kriegenburg

Simon Boccanegra Luca Salsi Amelia Grimaldi Marina Rebeka Jacopo Fiesco René Pape Gabriele Adorno Charles Castronovo Paolo Albiani André Heyboer Pietro Antonio Di Matteo Captain Long Long Maid Marianne Sattmann


Length: approx. 140’Cat. no. A 040 50116

A co-production of UNITEL, ORF/3sat in cooperation with Wiener Philharmoniker and Salzburg Festival

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GIUSEPPE VERDI

SIMON BOCCANEGRA


Die Meistersinger von Nürnberg

RICHARD WAGNER

Roberto Saccà Michael Volle Anna Gabler Markus Werba

Wiener PhilharmonikerConducted by Daniele GattiStaged by Stefan Herheim

World Sales:

Eva Anna Gabler Magdalene Monika Bohinec Hans Sachs Michael Volle Walther von Stolzing Roberto Saccà Veit Pogner Georg Zeppenfeld Sixtus Beckmesser Markus Werba David Peter Sonn Kunz Vogelsang Thomas Ebenstein Konrad Nachtigall Guido Jentjens Fritz Kothner Oliver Zwarg Balthasar Zorn Benedikt Kobel Ulrich Eißlinger Franz Supper Augustin Moser Thorsten Scharnke Hermann Ortel Karl Huml Hans Schwarz Dirk Aleschus Hans Foltz Roman Astakhov Ein Nachtwächter Tobias Kehrer

Produced by ORF Video Director Hannes Rossacher


Cat. no. A04050011

Conductor Daniele Gatti Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Stage Director Stefan Herheim

A co-production of ORF, UNITEL and ZDF/3sat in cooperation with Wiener Philharmoniker, Salzburg Festival

„All Dichtkunst und Poeterei ist nichts als Wahrtraumdeuterei“ (all narrative and poetry is nothing but the key to true dreams - Hans Sachs)

Spontaneously emerging from just such a truthful dream by the cobbler-poet on Midsummer Night, this new staging of Richard Wagner’s “Mastersingers” burst upon the Salzburg Festival like a thunderclap. Nuremberg medieval romanticism is not part of the scenario. What makes its triumphant appearance on the stage of the Great Festival Hall is Stefan Herheim’s idea of staging a midsummer night’s dream as a fairytale narrative – and it is quite enchanting.

Beginning in studio-theatre style in the cobbler’s drawing-room, there is a zoom-lens transformation to full-stage dimensions as the writing-desk turns into the Katharinenkirche, sideboards into a Nuremberg street and - as the magical climax of Act III – the bookcases open out into a thronged festival meadow. A true coup de théâtre. This unbelievably lavish and absolutely splendid stage set radiates youthful charm and conjures up – as always with Stefan Herheim – a flood of incomparable images. Imaginative ideas and little games, wit and humour, fun and food for thought, all seconds apart. As the New York Times wrote: a “fresh, charming and perceptive production, magical and irresistible!”

A good-natured, admirably matched ensemble of excellent singer-players, all of whom bring sharp contours to their roles, and the brilliant details of characterization make each scene an experience to cherish. Michael Volle has both the voice and the acting ability to flesh out a fascinatingly multi-layered portrait of the masterful Hans Sachs. “It has been years since we saw such an authoritative reading of this part.” (Neue Musikzeitung) Markus Werba as his opposite number is a Sixtus Beckmesser who presents the indispensable comic caricature while arousing our sympathies for the loser and Roberto Sacca is a Walther von Stolzing who “shows effortless control in his superb realization of the part” (Neue Musik Zeitung). Amazing to see how convincingly the chorus of the Vienna State Opera acts out the crowds and “how splendid the Vienna Philharmonic sounds” (Neue Zürcher Zeitung).

Richard Wagner set out in this work to teach a lesson about art and the production of art and its role in society – particularly the reconciliation of old and new – and this performance realized his intention brilliantly.

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Die Meistersinger von Nürnberg

RICHARD WAGNER

MAKING OF AVAILABLE Directed by Carl Plötzeneder

Length: 16' Cat. no. A04550026

World Sales:


Libretto by Emanuel Schikaneder

Christof FischesserJulia NovikovaMalin HarteliusMichael Schade

Ivor BoltonMozarteumorchester Salzburg

LabyrinthDer Zauberflöte zweyter Theil

Das

Peter von Winter

Libretto by Emanuel Schikaneder

Christof FischesserJulia NovikovaMalin HarteliusMichael Schade

Ivor BoltonMozarteumorchester Salzburg


Das

Peter von Winter

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Conductor IvorBolton Orchestra MozarteumorchesterSalzburg Chorus SalzburgerBachchor SalzburgerFestspieleund TheaterKinderchor ChorusMasters AloisGlaßner WolfgangGötz Sarastro ChristofFischesser The Queen of the Night JuliaNovikova Pamina MalinHartelius Tamino MichaelSchade Papageno ThomasTatzl Papagena RegulaMühlemann Old Papageno AntonScharinger Old Papagena UteGfrerer First Lady of the Queen (Venus) NinaBernsteiner Second Lady of the Queen (Amor) ChristinaDaletska Third Lady of the Queen (Page) MonicaBohinec Monostatos KlausKuttler

Staged by AlexandraLiedtke Video Director PeterSchönhofer

Length approx.150'


Right of Stage Manfred Appwww.papageno-music.com

Aco-productionofUNITELandZDF/3sat

incooperationwithSalzburgFestivalandCLASSICA

We are all familiar with Mozart’s Magic Flute to the libretto by Emanuel Schikaneder. What is far less well known, however, is the fact that Schikaneder wrote a sequel to The Magic Flute and entrusted the acclaimed composer and Palatinate-Bavarian Kapellmeister Peter von Winter with the task of setting it to music. Following the premiere in 1798 at the Freihaustheater in Vienna, the same venue where Mozart’s Magic Flute had begun its triumphal progress, the second opera enjoyed several years of lasting success until it fell foul of the French censor and was banished to the archives on the grounds that some of the characters in the performances bore too great a resemblance to Napoleon Bonaparte, who had just taken power.

In the year that marks the 200th anniversary of Emanuel Schikaneder’s death, the Salzburg Festival presents this operatic rarity at the city’s Residenzhof in the form of a glittering fairy-

tale opera in which magic and ghostly events play a decisive role. All of the characters from The Magic Flute are present plus numerous others, all in imaginatively colourful costumes, all involved in their seriously funny games, as they take the wrong paths through the labyrinth of the soul, fail or succeed in numerous tests, swear undying love and loyalty in the face of power, greed and revenge. They dance and revel, disappear into oblivion or float through the air on a crescent moon, and amid constantly changing scenery and a frenzy of phantasy and colours present a piece of lavish Baroque theatre tailored to today’s tastes.

Ivor Bolton conducts his Salzburg Mozarteum Orchestra energetically, smoothly and elegantly, bringing out the best in Winter’s charming music with its cleverly interwoven echoes of Mozart. The soloists are from the top drawer: Michael Schade triumphs as Tamino, while Thomas Tatzl and Anton Scharinger are a brilliant young and old Papageno. Coloratura soprano Julia Novikova is in full command of her role as the Queen of the Night. The excellent Salzburg Bach Choir delivers the double chorus parts with immense force and a pleasantly supple sound, depending on what the scene demands. The result is an evening of theatrical magic involving a chemistry made of music, a love of playing and scenic effects in the Baroque atmosphere of the Residenzhof, culminating in a rapturous response from the audience.

(Shortened Version)

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Conductor IvorBolton Orchestra MozarteumorchesterSalzburg Chorus SalzburgerBachchor SalzburgerFestspieleund TheaterKinderchor ChorusMasters AloisGlaßner WolfgangGötz Sarastro ChristofFischesser The Queen of the Night JuliaNovikova Pamina MalinHartelius Tamino MichaelSchade Papageno ThomasTatzl Papagena RegulaMühlemann Old Papageno AntonScharinger Old Papagena UteGfrerer First Lady of the Queen (Venus) NinaBernsteiner Second Lady of the Queen (Amor) ChristinaDaletska Third Lady of the Queen (Page) MonicaBohinec Monostatos KlausKuttler

Staged by AlexandraLiedtke Video Director PeterSchönhofer

Length approx.150'


Right of Stage Manfred Appwww.papageno-music.com

Aco-productionofUNITELandZDF/3sat


We are all familiar with Mozart’s Magic Flute to the libretto by Emanuel Schikaneder. What is far less well known, however, is the fact that Schikaneder wrote a sequel to The Magic Flute and entrusted the acclaimed composer and Palatinate-Bavarian Kapellmeister Peter von Winter with the task of setting it to music. Following the premiere in 1798 at the Freihaustheater in Vienna, the same venue where Mozart’s Magic Flute had begun its triumphal progress, the second opera enjoyed several years of lasting success until it fell foul of the French censor and was banished to the archives on the grounds that some of the characters in the performances bore too great a resemblance to Napoleon Bonaparte, who had just taken power.

In the year that marks the 200th anniversary of Emanuel Schikaneder’s death, the Salzburg Festival presents this operatic rarity at the city’s Residenzhof in the form of a glittering fairy-

tale opera in which magic and ghostly events play a decisive role. All of the characters from The Magic Flute are present plus numerous others, all in imaginatively colourful costumes, all involved in their seriously funny games, as they take the wrong paths through the labyrinth of the soul, fail or succeed in numerous tests, swear undying love and loyalty in the face of power, greed and revenge. They dance and revel, disappear into oblivion or float through the air on a crescent moon, and amid constantly changing scenery and a frenzy of phantasy and colours present a piece of lavish Baroque theatre tailored to today’s tastes.

Ivor Bolton conducts his Salzburg Mozarteum Orchestra energetically, smoothly and elegantly, bringing out the best in Winter’s charming music with its cleverly interwoven echoes of Mozart. The soloists are from the top drawer: Michael Schade triumphs as Tamino, while Thomas Tatzl and Anton Scharinger are a brilliant young and old Papageno. Coloratura soprano Julia Novikova is in full command of her role as the Queen of the Night. The excellent Salzburg Bach Choir delivers the double chorus parts with immense force and a pleasantly supple sound, depending on what the scene demands. The result is an evening of theatrical magic involving a chemistry made of music, a love of playing and scenic effects in the Baroque atmosphere of the Residenzhof, culminating in a rapturous response from the audience.

(Shortened Version)

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131

Alfred MuffLaura AikinTanja Ariane BaumgartnerCornelia KallischGabriela Beňačková

Ingo MetzmacherWiener Philharmoniker

DIE SOLDATENBernd Alois Zimmermann

Alfred MuffLaura AikinTanja Ariane BaumgartnerCornelia KallischGabriela Beňačková

Ingo MetzmacherWiener Philharmoniker

DIE SOLDATENBernd Alois Zimmermann

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Conductor IngoMetzmacher Orchestra WienerPhilharmoniker

Wesener AlfredMuff Marie LauraAikin Charlotte TanjaArianeBaumgartner Wesener’s old mother CorneliaKallisch Stolzius TomaszKonieczny Stolzius’s mother RenéeMorloc Countess de la Roche GabrielaBeňačková The Young Count, her son MatthiasKlink Obrist, Count of Spannheim ReinhardMayr Desportes DanielBrenna Pirzel WolfgangAblinger-Sperrhacke Eisenhardt BoazDaniel

et al.

Staged by AlvisHermanis

Video Director HannesRossacher

Length approx.120'


Aco-productionofUNITELandZDF/3satincooperationwithWienerPhilharmoniker,


Bernd Alois Zimmermann’s opera Die Soldaten (The Soldiers), the “highlight of the festival season” (Süddeutsche Zeitung), breaks all records! The style and structure of an opera, acknowledged as one of the 20th century’s key works, its musical and dramatic collage technique take it to the limits of what is playable. Now, in Salzburg’s Felsenreitschule, the opera has found the ideal performance venue and, with the Vienna Philharmonic under Ingo Metzmacher together with a top-flight cast of singers, its ideal performers too.

Everything in this production is on a massive scale: 170 musicians (around 50 of them in the side galleries) and 50 or so soloists on stage contribute to make this highly complex composition a direct and physically palpable experience for the audience. The sheer force of the music and its performance are reflected in the Latvian-born director Alvis Hermanis’s staging: setting the scene on a 40-metre wide stage in the riding school and taking advantage of the room’s full height, he portrays the individual episodes and stages of the plot in the simultaneity required by Zimmermann and condenses it into an exciting drama. Based on the play written by Reinhold Jakob Michael Lenz in 1776, and first performed in 1965, the work is moved to the period of the First World War: the innocent young Marie is engaged to be married to the cloth dealer Stolzius, but is seduced by an officer, Desportes, who then abandons her to a cruel fate as a social outcast. Zimmermann reveals characters to us “ just as we can meet them any time and anywhere, people who through no fault of their own can be destroyed.”

The critics have seldom agreed to such a degree: the soloists, the orchestra, conductor, director, scenery and the standard of singing were all sensational. There was frenetic applause for all those involved at the end and a standing ovation for a “twentieth-century masterpiece in a highly accomplished twenty-first-century interpretation” (Die Welt) – a triumphant success for a landmark of a century!

Bernd Alois Zimmermann

DIE SOLDATEN

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Conductor IngoMetzmacher Orchestra WienerPhilharmoniker

Wesener AlfredMuff Marie LauraAikin Charlotte TanjaArianeBaumgartner Wesener’s old mother CorneliaKallisch Stolzius TomaszKonieczny Stolzius’s mother RenéeMorloc Countess de la Roche GabrielaBeňačková The Young Count, her son MatthiasKlink Obrist, Count of Spannheim ReinhardMayr Desportes DanielBrenna Pirzel WolfgangAblinger-Sperrhacke Eisenhardt BoazDaniel

et al.

Staged by AlvisHermanis

Video Director HannesRossacher

Length approx.120'


Aco-productionofUNITELandZDF/3satincooperationwithWienerPhilharmoniker,


Bernd Alois Zimmermann’s opera Die Soldaten (The Soldiers), the “highlight of the festival season” (Süddeutsche Zeitung), breaks all records! The style and structure of an opera, acknowledged as one of the 20th century’s key works, its musical and dramatic collage technique take it to the limits of what is playable. Now, in Salzburg’s Felsenreitschule, the opera has found the ideal performance venue and, with the Vienna Philharmonic under Ingo Metzmacher together with a top-flight cast of singers, its ideal performers too.

Everything in this production is on a massive scale: 170 musicians (around 50 of them in the side galleries) and 50 or so soloists on stage contribute to make this highly complex composition a direct and physically palpable experience for the audience. The sheer force of the music and its performance are reflected in the Latvian-born director Alvis Hermanis’s staging: setting the scene on a 40-metre wide stage in the riding school and taking advantage of the room’s full height, he portrays the individual episodes and stages of the plot in the simultaneity required by Zimmermann and condenses it into an exciting drama. Based on the play written by Reinhold Jakob Michael Lenz in 1776, and first performed in 1965, the work is moved to the period of the First World War: the innocent young Marie is engaged to be married to the cloth dealer Stolzius, but is seduced by an officer, Desportes, who then abandons her to a cruel fate as a social outcast. Zimmermann reveals characters to us “ just as we can meet them any time and anywhere, people who through no fault of their own can be destroyed.”

The critics have seldom agreed to such a degree: the soloists, the orchestra, conductor, director, scenery and the standard of singing were all sensational. There was frenetic applause for all those involved at the end and a standing ovation for a “twentieth-century masterpiece in a highly accomplished twenty-first-century interpretation” (Die Welt) – a triumphant success for a landmark of a century!

Bernd Alois Zimmermann

DIE SOLDATEN

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Joel Prieto · Kathryn LewekMax Hopp · Anne Sofie von Otter

Wiener Philharmoniker conducted by Enrique Mazzola

Staged by Barrie Kosky

J A C Q U E S O F F E N B A C H

ORPHÉE AUX

ENFERS

Operetta enthusiast Barrie Kosky has landed a gigantic success with Offenbach’s subversive and hilarious reversion of the Orpheus myth at the Salzburg Festival. Kosky created a magically precise and witty staging with numerous extravagant costumes in a glittering opulent scenery and a literally devilish choreography. For the dialogues he has found an impressively ingenious solution as they are not spoken by the singers. Rather they are performed by the brilliant German actor Max Hopp as John Styx “who performs a true vocal miracle” (Neue Zürcher Zeitung) in a slapstick-like manner.

The superb cast impresses with virtuoso singing as well as ravishingly comedic acting, first and foremost the American coloratura soprano Kathryn Lewek as Eurydice “with crystal clear coloraturas and sovereign top tones” (Salzburger Nachrichten), the Swedish mezzo-soprano Anne Sofie von Otter as severe L’Opinion publique or the Austrian bass baritone Martin Winkler as foolish father of the gods Jupiter. Under the Italian conductor Enrique Mazzola’s precise conducting the Wiener Philharmoniker provide an exquisite “sparkling orchestral sound” (Frankfurter Allgemeine Zeitung).

Conductor Enrique Mazzola Orchestra Wiener Philharmoniker Chorus Vocalconsort Berlin Chorus Master David Cavelius Choreographer Otto Pichler Stage Director Barrie Kosky

Orphée Joel Prieto Eurydice Kathryn Lewek Aristée / Pluton Marcel Beekman Jupiter Martin Winkler L’Opinion publique Anne Sofie von Otter Diane Vasilisa Berzhanskaya Vénus Lea Desandre Junon Frances Pappas Cupidon Nadine Weissmann Mars Rafał Pawnuk Mercure Peter Renz


Length: approx. 140'Shot in HDTV 1080/50i

Cat. no. A 040 50113

A co-production of UNITEL, ORF and ZDF in cooperation with ARTE, Wiener Philharmoniker and Salzburg Festival

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J A C Q U E S O F F E N B A C H

ORPHÉE AUX

ENFERS“A frantic and fabulous show”

New York Times

World Sales:


Dance & QuartetThree Ballets by Heinz Spoerli

Lettres intimes In Spillville Der Tod und das Mädchen

Hagen QuartettZürcher Ballett

Dance & QuartetThree Ballets by Heinz Spoerli

Lettres intimes In Spillville Der Tod und das Mädchen

Hagen QuartettZürcher Ballett

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Lettres intimes Leoš Janáček

String Quartet No. 2 “Intimate Letters”

In Spillville Antonín Dvořák

String Quartet in F major, Op. 96 “American”

Der Tod und das Mädchen Franz Schubert

String Quartet in D minor, D 810 “Death and the maiden”

Ballet Zürcher Ballett Quartet Hagen Quartett Choreographer Heinz Spoerli Video Director Agnes Méth Length 95'


A co-production of UNITEL, ORF and ZDF/Arte

in cooperation with Salzburg Festival and CLASSICA

A singular project is staged at the Salzburg Festival with the famous Summer Riding School as a backdrop: the renowned Hagen Quartet appears for the first time at the festival accompanied by a dance company. The Swiss grand master of dance Heinz Spoerli presents three works he choreographed for his Zurich Ballet set to three of the great works of the quartet literature: Leos Janáček’s string quartet “Intimate Letters”, Antonín Dvořák’s “American Quartet” and Franz Schubert’s string quartet “Death and the Maiden”.

Heinz Spoerli is acknowledged as one of the great storytellers and contemporary choreographers. However, in his version of “Intimate Letters” he does not portray the true and disturbing story of the love triangle between Janáček, his much younger muse Kamila Stösslová and his jealous wife. Instead, Spoerli portrays a young couple whose relationship remains open. The cool and elegant choreographic vocabulary of Spoerli’s Lettres Intimes – danced en pointe – creates a sense of distance to Janáček’s emotionally charged, unreservedly confessional music. The yearning strains of Antonín Dvořák’s “American Quartet” allow the dancers of the Zurich Ballet to demonstrate their flawless technique. Inspired by the vitality, the passion for the dance rhythm and the Slavic expressivity, musicians and dancers alike indulge in Dvořák’s folk dance tunes with tremendous grace and sensitivity, before concluding with Schubert’s “Death and the Maiden” where the correlation between dance and music is fully revealed. In a sensitively chosen repertoire of movement, death gradually becomes the maiden’s friend, culminating in the final pas de deux that is the highlight of the programme.

Ultimately however, the evening belongs to the Hagen Quartet. Based in Salzburg, the ensemble is highly popular with the public for its high standard of musicality, serious artistic approach and its enthusiastic love of playing. The Hagens do not give themselves airs and graces; instead, an almost tender dedication to the composers is characteristic of their work. This is a triumph on home ground for the Hagen Quartet.

Dance & Quartet

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Lettres intimes Leoš Janáček

String Quartet No. 2 “Intimate Letters”

In Spillville Antonín Dvořák

String Quartet in F major, Op. 96 “American”

Der Tod und das Mädchen Franz Schubert

String Quartet in D minor, D 810 “Death and the maiden”

Ballet Zürcher Ballett Quartet Hagen Quartett Choreographer Heinz Spoerli Video Director Agnes Méth Length 95'




A singular project is staged at the Salzburg Festival with the famous Summer Riding School as a backdrop: the renowned Hagen Quartet appears for the first time at the festival accompanied by a dance company. The Swiss grand master of dance Heinz Spoerli presents three works he choreographed for his Zurich Ballet set to three of the great works of the quartet literature: Leos Janáček’s string quartet “Intimate Letters”, Antonín Dvořák’s “American Quartet” and Franz Schubert’s string quartet “Death and the Maiden”.

Heinz Spoerli is acknowledged as one of the great storytellers and contemporary choreographers. However, in his version of “Intimate Letters” he does not portray the true and disturbing story of the love triangle between Janáček, his much younger muse Kamila Stösslová and his jealous wife. Instead, Spoerli portrays a young couple whose relationship remains open. The cool and elegant choreographic vocabulary of Spoerli’s Lettres Intimes – danced en pointe – creates a sense of distance to Janáček’s emotionally charged, unreservedly confessional music. The yearning strains of Antonín Dvořák’s “American Quartet” allow the dancers of the Zurich Ballet to demonstrate their flawless technique. Inspired by the vitality, the passion for the dance rhythm and the Slavic expressivity, musicians and dancers alike indulge in Dvořák’s folk dance tunes with tremendous grace and sensitivity, before concluding with Schubert’s “Death and the Maiden” where the correlation between dance and music is fully revealed. In a sensitively chosen repertoire of movement, death gradually becomes the maiden’s friend, culminating in the final pas de deux that is the highlight of the programme.

Ultimately however, the evening belongs to the Hagen Quartet. Based in Salzburg, the ensemble is highly popular with the public for its high standard of musicality, serious artistic approach and its enthusiastic love of playing. The Hagens do not give themselves airs and graces; instead, an almost tender dedication to the composers is characteristic of their work. This is a triumph on home ground for the Hagen Quartet.

Dance & Quartet

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137

Rachel HarnischRoberta Invernizzi

Sara MingardoJavier Camarena

Paolo FanaleAlex Esposito

WolFgAng AMAdEuS MozARtMissa solemnis in C minor“Waisenhausmesse“

FRAnz SCHubERtMass in E flat major

Ouverture spirituelle

ClaudiO abbadOarnOld SChOenberg ChOrOrCheStra MOzart bOlOgna

Rachel HarnischRoberta Invernizzi

Sara MingardoJavier Camarena

Paolo FanaleAlex Esposito

WolFgAng AMAdEuS MozARtMissa solemnis in C minor“Waisenhausmesse“

FRAnz SCHubERtMass in E flat major


ClaudiO abbadOarnOld SChOenberg ChOrOrCheStra MOzart bOlOgna


ClaudiO abbadOarnOld SChOenberg ChOr

OrCheStra MOzart bOlOgna

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Wolfgang Amadeus Mozart Missa solemnis in C minor, K. 139

“Waisenhausmesse“

Franz Schubert Mass in E flat major, D. 950

Conductor Claudio Abbado Orchestra Orchestra Mozart Bologna Chorus Arnold Schoenberg Chor Chorus Master Erwin Ortner Soprano Rachel Harnisch Soprano Roberta Invernizzi Alto Sara Mingardo Tenor Javier Camarena Tenor Paolo Fanale Bass Alex Esposito Video Director Michael Beyer Length approx. 110'




After a gap of ten years, Claudio Abbado takes to the rostrum again to conduct a new special facet of the Salzburg Festival of Sacred Music, the Ouverture Spirituelle. The Italian maestro conducts the Orchestra Mozart of Bologna, an ensemble specially dedicated to performing the work of Mozart.

The programme includes two masses: Wolfgang Amadeus Mozart’s 1768 Mass in C minor K. 139, better known as the Waisenhausmesse (Orphanage Mass), and Franz Schubert’s Mass in E flat major D. 950 of 1828.

The two works combine to make a touching and intimate experience, performed by the renowned soprano Rachel Harnisch and the tenors Javier Camarena and Paolo Fanale. The music is “fresh, with a rapid tempo and solemn”, according to the Kleine Zeitung, while the Münchner Merkur makes special mention of the “impressive level of detail”. The New York Times meanwhile thought that the concert was clearly the “high point of the Ouverture Spirituelle”.

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ClaudiO abbadOarnOld SChOenberg ChOr

OrCheStra MOzart bOlOgna

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Wolfgang Amadeus Mozart Missa solemnis in C minor, K. 139

“Waisenhausmesse“

Franz Schubert Mass in E flat major, D. 950

Conductor Claudio Abbado Orchestra Orchestra Mozart Bologna Chorus Arnold Schoenberg Chor Chorus Master Erwin Ortner Soprano Rachel Harnisch Soprano Roberta Invernizzi Alto Sara Mingardo Tenor Javier Camarena Tenor Paolo Fanale Bass Alex Esposito Video Director Michael Beyer Length approx. 110'




After a gap of ten years, Claudio Abbado takes to the rostrum again to conduct a new special facet of the Salzburg Festival of Sacred Music, the Ouverture Spirituelle. The Italian maestro conducts the Orchestra Mozart of Bologna, an ensemble specially dedicated to performing the work of Mozart.

The programme includes two masses: Wolfgang Amadeus Mozart’s 1768 Mass in C minor K. 139, better known as the Waisenhausmesse (Orphanage Mass), and Franz Schubert’s Mass in E flat major D. 950 of 1828.

The two works combine to make a touching and intimate experience, performed by the renowned soprano Rachel Harnisch and the tenors Javier Camarena and Paolo Fanale. The music is “fresh, with a rapid tempo and solemn”, according to the Kleine Zeitung, while the Münchner Merkur makes special mention of the “impressive level of detail”. The New York Times meanwhile thought that the concert was clearly the “high point of the Ouverture Spirituelle”.

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139

W

EST-EASTERN

DIVAN ORCHESTRA

DANIEL BARENBOIM

MARTHA ARGERICH

SCHUBERTS YM PH O N Y N O. 7

TCHAIKOVSKYCO N CER TO FO R PI A N O A N D O R CH E S T R A N O. 1

LUTOSŁAWSKICO N CER TO FO R O R CH E S T R A

WEST-EASTERN DIVAN ORCHESTRA DANIEL BARENBOIMMARTHA ARGERICH

Acclaimed by critics as an evening of superlative, Martha Argerich – arguably the greatest living pianist – joins Daniel Barenboim and his West-Eastern Divan Orchestra for an unfor-gettable interpretation of Tchaikovsky’s First Piano Concerto. Argerich’s playing is full of astonishing virtuosity and uncompro-mising, alternating with breakneck passages and tender tones. The audience thanked her with unanimous applause. In addition to Tchaikovsky’s brilliant piece, Schubert’s Symphony “Unfin-ished” is played, a work that has never been performed during the composer’s lifetime, as well as Lutosławski’s Concerto for Orchestra, completed in 1945 – a highly demanding technical piece that challenges orchestra members as virtuosos. The young musicians from Israel, Palestine, and other countries of the Middle East accomplish this task seemingly effortlessly and fascinate with their intense and dynamic playing, fantasy and clarity are kept in excellent balance.The orchestra plays Schubert’s “Unfinished” with round and romantic tempi and warm sound, the woodwinds in particular are outstanding.Barenboim also sat down at the piano for the encore and, together with Martha Argerich, played the Rondo in A major by Franz Schubert, followed by standing ovations.

FRANZ SCHUBERTSymphony No. 7 in B minor, D. 759 “Unfinished”

PYOTR ILYICH TCHAIKOVSKYConcerto for Piano and Orchestra No. 1 in B flat minor, Op. 23

WITOLD LUTOSŁAWSKIConcerto for Orchestra

– Encore –

FRANZ SCHUBERTRondo in A major, D. 951

Piano Martha Argerich

Conductor Daniel Barenboim Orchestra West-Eastern Divan Orchestra

Video Director Elisabeth Malzer


Cat. no. A 045 50118 0000

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

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WEST-EASTERN

DIVAN ORCHESTRA

DANIEL BARENBOIM

L

ISA BATIASHVILI

TCHAIKOVSKYP O LO N A I S E FR O M EU G EN E O N EG I N

CO N CER TO FO R V I O L I N A N D O R CH E S T R A

DEBUSSYL A M ER – T R O I S E S Q U I S S E S S YM PH O N I Q U E S

SKRIABINL E P O È M E D E L’ E X TA S E

WEST-EASTERN DIVAN ORCHESTRA DANIEL BARENBOIMLISA BATIASHVILI

David Strongin, violinist of the West-Eastern Divan Orchestra, on playing Tchaikovsky’s Violin Concerto with Lisa Batiashvili and Daniel Barenboim: “Her and Barenboim’s interpretation of Tchaikovsky’s works is something very special. Barenboim teaches us the composer’s musical language. I have been listening to this piece a thousand times, yet it impresses me again and again.”


Cat. no. A 045 50093 0000

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

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Violin Lisa Batiashvili

Conductor Daniel BarenboimOrchestra West-Eastern Divan Orchestra


PYOTR ILYICH TCHAIKOVSKYPolonaise from Eugene Onegin

Concerto for Violin and Orchestra in D major, Op. 35

CLAUDE DEBUSSYLa Mer – Trois esquisses symphoniques

ALEXANDER SKRIABINLe Poème de l’extase, Op. 54

– Encores –

JEAN-MARIE LECLAIR2nd movement from Sonata for Two Violins

No. 2 in A Major, Op. 3

EDWARD ELGAR“Nimrod” from Variations on an Original Theme,

Op. 36 (Enigma Variations)

World Sales:



Daniel Barenboim Wiener Philharmoniker


Salzburg FestivalOpening Concert

Dorothea Röschmann

Elīna Garanča

Klaus Florian Vogt

RenéPape


Daniel Barenboim Wiener Philharmoniker



Dorothea Röschmann

Elīna Garanča

Klaus Florian Vogt

RenéPape


With two major landmark anniversaries in 2010 – the 90th anniversary of the salzburg Festival and the 50th of the Grosses Festspielhaus – it was clear that

the festival would be opened with a very special concert. next to the Wiener Philharmoniker the Konzertvereinigung Wiener staatsopernchor and a quartet of world-class singers – Doro-thea Röschmann, elīna Garanča, Klaus Florian Vogt and René Pape – introduced the Festival this year. the concert was con-ducted by another jubilee: Daniel Barenboim who celebrates his 60th stage anniversary in 2010.

in the concert’s first work, Beethoven’s Piano Concerto no. 4, Barenboim takes up a practice that is rarely found today but which was common up to the early 19th century: conducting the orchestra and simultaneously performing the solo part. Project-ing form and texture from the piano stool while controlling the rhythmic pulse of the complex work, he entices a powerful yet lyrical interpretation from the Viennese star orchestra.

Reflecting the Festival’s reputation as a showcase for new musi-cal directions is the second work, “notations” by Pierre Boulez. the work calls for gigantic orchestral forces and therefore is rarely performed. and indeed the large stage of the Grosses Festspielhaus is filled to the very last centimeter. the highly rhythmic, almost impressionistic work is a scintillating compen-dium of 20th- and 21st-century orchestral effects and colors.

Concluding the concert is anton Bruckner’s mighty “te Deum”, perhaps the composer’s most personal musical profession of faith. the Konzertvereinigung Wiener staatsopernchor pours forth imposing cascades of sound, offset by lyrical solo passages by Dorothea Röschmann, elīna Garanča, Klaus Florian Vogt and René Pape, whose voices mesh to form a delicate plea for God’s mercy. it was truly, as the Frankfurter Allgemeine Zeitung wrote “an impressive depiction of the work”.

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ENTERTAINMENT GMBH


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LUDWIG VAN BEETHOVEN Piano Concerto no. 4 in G major, Op. 58

PIERRE BOULEZ notations i-iV and Vii for orchestra

ANTON BRUCKNER te Deum for chorus, soloists, orchestra and organ in C major

Conductor and Piano Daniel Barenboim



soprano Dorothea Röschmann Mezzo-soprano Elīna Garanča tenor Klaus Florian Vogt Bass René Pape


length 85¹


Pierre Boulez “notations“ © Universal edition aG, Wien

by courtesy of sCHOtt MUsiC GmbH & Co. KG, Mainz

A production of ORF on behalf of UNITEL

in co-production with ZDF/3sat in cooperation with Salzburg Festival and CLASSICA


With two major landmark anniversaries in 2010 – the 90th anniversary of the salzburg Festival and the 50th of the Grosses Festspielhaus – it was clear that

the festival would be opened with a very special concert. next to the Wiener Philharmoniker the Konzertvereinigung Wiener staatsopernchor and a quartet of world-class singers – Doro-thea Röschmann, elīna Garanča, Klaus Florian Vogt and René Pape – introduced the Festival this year. the concert was con-ducted by another jubilee: Daniel Barenboim who celebrates his 60th stage anniversary in 2010.

in the concert’s first work, Beethoven’s Piano Concerto no. 4, Barenboim takes up a practice that is rarely found today but which was common up to the early 19th century: conducting the orchestra and simultaneously performing the solo part. Project-ing form and texture from the piano stool while controlling the rhythmic pulse of the complex work, he entices a powerful yet lyrical interpretation from the Viennese star orchestra.

Reflecting the Festival’s reputation as a showcase for new musi-cal directions is the second work, “notations” by Pierre Boulez. the work calls for gigantic orchestral forces and therefore is rarely performed. and indeed the large stage of the Grosses Festspielhaus is filled to the very last centimeter. the highly rhythmic, almost impressionistic work is a scintillating compen-dium of 20th- and 21st-century orchestral effects and colors.

Concluding the concert is anton Bruckner’s mighty “te Deum”, perhaps the composer’s most personal musical profession of faith. the Konzertvereinigung Wiener staatsopernchor pours forth imposing cascades of sound, offset by lyrical solo passages by Dorothea Röschmann, elīna Garanča, Klaus Florian Vogt and René Pape, whose voices mesh to form a delicate plea for God’s mercy. it was truly, as the Frankfurter Allgemeine Zeitung wrote “an impressive depiction of the work”.

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ENTERTAINMENT GMBH


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LUDWIG VAN BEETHOVEN Piano Concerto no. 4 in G major, Op. 58

PIERRE BOULEZ notations i-iV and Vii for orchestra

ANTON BRUCKNER te Deum for chorus, soloists, orchestra and organ in C major

Conductor and Piano Daniel Barenboim



soprano Dorothea Röschmann Mezzo-soprano Elīna Garanča tenor Klaus Florian Vogt Bass René Pape


length 85¹


Pierre Boulez “notations“ © Universal edition aG, Wien

by courtesy of sCHOtt MUsiC GmbH & Co. KG, Mainz

A production of ORF on behalf of UNITEL

in co-production with ZDF/3sat in cooperation with Salzburg Festival and CLASSICA

145


and the

West- Eastern

Divan Orchestra

Daniel Barenboim Unitel and ClassiCa present

and the

West- Eastern

Divan Orchestra

Daniel Barenboim

The idea of uniting young musicians from Israel, Palestine and various Arab countries into a musical ensemble still

seems incredible today. Yet such an orchestra has been flour-ishing since 1999, when Daniel Barenboim and Edward Said founded the West-Eastern Divan Orchestra. The project, says Barenboim, brings together these young people “not so that

they forget or hide their differences, but so that they can understand them.” He adds that “making music together gives us the best opportunity to learn to live with one another.” The concerts pre-sented here were recorded at the 2007 Salzburg Festival, during the orchestras

residency. The ensemble “proved its status as a first-class or-chestra that has no need to shy from comparisons with the philharmonic ‘top dogs’ from Vienna or Berlin” (Munich’s Abendzeitung).”

Among the highlights of the concerts are Mozart’s “Sinfo-nia concertante” K. 297b, which gives four young soloists a chance to dazzle, and Igor Stravinsky’s “L’histoire du soldat,” an airy piece with a demanding percussion part. Songs and chamber music, including Schubert’s “Trout” Quintet, show-case the individual talents of the young players. The major or-chestral concert comprises a Beethoven overture, an intricate and multi-layered piece by Schoenberg, and Tchaikovsky’s Symphony No. 6, the “Pathétique,” in which Barenboim pulls out all the stops and coaxes rarely heard instrumental lines and accents from the depth of his ensemble.

On three afternoons, Daniel Barenboim led a musical workshop called “The School for the Ear.” In the first part, Barenboim explores the phenomenon of sound and the im-portance of the human ear. The second part features the fiery 24-year-old conductor Robin Ticciati in a rehearsal of Beethoven’s third Leonore Overture punctuated by the Maes-tro’s insightful comments and heated discussions with the young conductor. In the third part the great composer and conductor Pierre Boulez rehearses Béla Bartók’s rarely played Four Orchestral Pieces, answering questions from the audi-ence and the musicians. Throughout, Barenboim’s enthusiasm, humor and directness make this three-part series an excep-tionally informative and entertaining event

The orchestra’s residency at the 2007 Salzburg Festival will be rounded off with the documentary “Music Is Never The Same,” available in May 2008.

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Conducted by Daniel Barenboim Orchestra West-Eastern Divan Orchestra

COnCErts

Wolfgang Amadeus Mozart Sinfonia concertante in E flat major, K. 297b robert schumann, richard Wagner, Anton Webern Songs and chamber music Cat. no. A04500520 0001 . . . . . . . . . . . . . . . . . . . . . . . .55'

Igor strawinsky L’Histoire du Soldat Cat. no. A04500520 0005 . . . . . . . . . . . . . . . . . . . . . . . .56'

Max Bruch, Felix Mendelssohn, Franz schubert, richard strauss, Hugo Wolf, Pierre Boulez, Kinan Azmeh Songs and chamber music Cat. no. A04500523 0001 . . . . . . . . . . . . . . . . . . . . . . . 53'

Franz schubert Piano Quintet in A major, D. 667 “The Trout” Heitor Villa-Lobos Aria Cat. no. A04500523 0011 . . . . . . . . . . . . . . . . . . . . . . . 47'

Ludwig van Beethoven Overture Leonore No. 3 Arnold schönberg Variations for Orchestra, Op. 31 Cat. no. A04500521 0001 . . . . . . . . . . . . . . . . . . . . . . . 43'

Pyotr Ilyich tchaikovsky Symphony No. 6 in B minor, Op. 74 “Pathétique” Cat. no. A04500521 0003 . . . . . . . . . . . . . . . . . . . . . . . 52'

Soloists Waltraud Meier Dorothea röschmann Patrice Chéreau thomas Hampson Members of the West-Eastern Divan Orchestra

sCHOOL FOr tHE EAr

The “School for the Ear” documents a three day lecture with Daniel Barenboim, Pierre Boulez and robin ticciati Cat. no. A04500525 0000 . . . . . . . . . . . . . . . . . . . . 3 × 45'

Directed by Agnes Méth

A production of Fundación Barenboim-said in cooperation with Unitel

with the support of Junta de Andalucía

shot in HDtV 1080

Daniel Barenboim

and the West-Eastern Divan Orchestra

The idea of uniting young musicians from Israel, Palestine and various Arab countries into a musical ensemble still

seems incredible today. Yet such an orchestra has been flour-ishing since 1999, when Daniel Barenboim and Edward Said founded the West-Eastern Divan Orchestra. The project, says Barenboim, brings together these young people “not so that

they forget or hide their differences, but so that they can understand them.” He adds that “making music together gives us the best opportunity to learn to live with one another.” The concerts pre-sented here were recorded at the 2007 Salzburg Festival, during the orchestras

residency. The ensemble “proved its status as a first-class or-chestra that has no need to shy from comparisons with the philharmonic ‘top dogs’ from Vienna or Berlin” (Munich’s Abendzeitung).”

Among the highlights of the concerts are Mozart’s “Sinfo-nia concertante” K. 297b, which gives four young soloists a chance to dazzle, and Igor Stravinsky’s “L’histoire du soldat,” an airy piece with a demanding percussion part. Songs and chamber music, including Schubert’s “Trout” Quintet, show-case the individual talents of the young players. The major or-chestral concert comprises a Beethoven overture, an intricate and multi-layered piece by Schoenberg, and Tchaikovsky’s Symphony No. 6, the “Pathétique,” in which Barenboim pulls out all the stops and coaxes rarely heard instrumental lines and accents from the depth of his ensemble.

On three afternoons, Daniel Barenboim led a musical workshop called “The School for the Ear.” In the first part, Barenboim explores the phenomenon of sound and the im-portance of the human ear. The second part features the fiery 24-year-old conductor Robin Ticciati in a rehearsal of Beethoven’s third Leonore Overture punctuated by the Maes-tro’s insightful comments and heated discussions with the young conductor. In the third part the great composer and conductor Pierre Boulez rehearses Béla Bartók’s rarely played Four Orchestral Pieces, answering questions from the audi-ence and the musicians. Throughout, Barenboim’s enthusiasm, humor and directness make this three-part series an excep-tionally informative and entertaining event

The orchestra’s residency at the 2007 Salzburg Festival will be rounded off with the documentary “Music Is Never The Same,” available in May 2008.

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Conducted by Daniel Barenboim Orchestra West-Eastern Divan Orchestra

COnCErts

Wolfgang Amadeus Mozart Sinfonia concertante in E flat major, K. 297b robert schumann, richard Wagner, Anton Webern Songs and chamber music Cat. no. A04500520 0001 . . . . . . . . . . . . . . . . . . . . . . . .55'

Igor strawinsky L’Histoire du Soldat Cat. no. A04500520 0005 . . . . . . . . . . . . . . . . . . . . . . . .56'

Max Bruch, Felix Mendelssohn, Franz schubert, richard strauss, Hugo Wolf, Pierre Boulez, Kinan Azmeh Songs and chamber music Cat. no. A04500523 0001 . . . . . . . . . . . . . . . . . . . . . . . 53'

Franz schubert Piano Quintet in A major, D. 667 “The Trout” Heitor Villa-Lobos Aria Cat. no. A04500523 0011 . . . . . . . . . . . . . . . . . . . . . . . 47'

Ludwig van Beethoven Overture Leonore No. 3 Arnold schönberg Variations for Orchestra, Op. 31 Cat. no. A04500521 0001 . . . . . . . . . . . . . . . . . . . . . . . 43'

Pyotr Ilyich tchaikovsky Symphony No. 6 in B minor, Op. 74 “Pathétique” Cat. no. A04500521 0003 . . . . . . . . . . . . . . . . . . . . . . . 52'

Soloists Waltraud Meier Dorothea röschmann Patrice Chéreau thomas Hampson Members of the West-Eastern Divan Orchestra

sCHOOL FOr tHE EAr

The “School for the Ear” documents a three day lecture with Daniel Barenboim, Pierre Boulez and robin ticciati Cat. no. A04500525 0000 . . . . . . . . . . . . . . . . . . . . 3 × 45'

Directed by Agnes Méth

A production of Fundación Barenboim-said in cooperation with Unitel

with the support of Junta de Andalucía

shot in HDtV 1080

Daniel Barenboim

and the West-Eastern Divan Orchestra

147

Pierre Boulez

Daniel

Barenboim

SALZBURG FESTIVAL

OPENING CONCERT


Pierre Boulez

Daniel

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SALZBURG FESTIVAL

OPENING CONCERT


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Maurice Ravel Valses nobles et sentimentales

Béla Bartók Concerto for Piano and Orchestra No. 1 Sz 83

Igor Stravinsky The Firebird (1910)

Conductor Pierre Boulez


Soloist Daniel Barenboim (Piano)

Directed by Michael Beyer

Length 90'


A production of UNITEL in coproduction with CLASSICA


shot in HDTV 1080 Cat. no.: A045005360000

Put one of the world’s greatest orchestras in the hands of one of the foremost specialists of 20th-century music, add a soloist who is one of today’s

leading pianists and conductors, and you are assured of a concert of superlatives that pays glowing tribute to three ma-jor works of the past century. The official Salzburg Festival opening concert of the Wiener Philharmoniker is conducted by Pierre Boulez, once the “enfant terrible” of the musical world, now a sensitive, analytical conductor of works from the 19th and 20th centuries (including the Centennial Ring from Bayreuth, available from UNITEL CLASSICA).

Combining Béla Bartók’s Piano Concerto No. 1 – Daniel Barenboim is the soloist – with Maurice Ravel’s “Valses nobles et sentimentales” and Igor Stravinsky’s “Firebird” ballet in its full-length version of 1910, Boulez weaves a compelling musi-cal texture that uncovers the links among the three works and the three composers. The concert begins with a shimmering rendition of the “Valses nobles et sentimentales,” an homage to Schubert and a farewell to the waltz itself. This work of bold dissonances, abrasive harmonies and colorful chromati-cism is followed by Bartók’s concerto of 1926, which seems to animate Ravel’s tonal language with a percussive fury.

The nearly 50-minute long “Firebird,” which a virtually unknown 28-year-old Stravinsky wrote for the Ballets Russes in 1910, also seems to have been inspired by Ravel’s har-monic language, while anticipating Bartók’s wild accents and syncopations. “Boulez at his most responsive and insightful in all three works. And a grandiose orchestra – the Wiener Philharmoniker in top form” (Kurier).

SALZBURG FESTIVAL

OPENING CONCERT

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Maurice Ravel Valses nobles et sentimentales

Béla Bartók Concerto for Piano and Orchestra No. 1 Sz 83

Igor Stravinsky The Firebird (1910)

Conductor Pierre Boulez


Soloist Daniel Barenboim (Piano)

Directed by Michael Beyer

Length 90'


A production of UNITEL in coproduction with CLASSICA


shot in HDTV 1080 Cat. no.: A045005360000

Put one of the world’s greatest orchestras in the hands of one of the foremost specialists of 20th-century music, add a soloist who is one of today’s

leading pianists and conductors, and you are assured of a concert of superlatives that pays glowing tribute to three ma-jor works of the past century. The official Salzburg Festival opening concert of the Wiener Philharmoniker is conducted by Pierre Boulez, once the “enfant terrible” of the musical world, now a sensitive, analytical conductor of works from the 19th and 20th centuries (including the Centennial Ring from Bayreuth, available from UNITEL CLASSICA).

Combining Béla Bartók’s Piano Concerto No. 1 – Daniel Barenboim is the soloist – with Maurice Ravel’s “Valses nobles et sentimentales” and Igor Stravinsky’s “Firebird” ballet in its full-length version of 1910, Boulez weaves a compelling musi-cal texture that uncovers the links among the three works and the three composers. The concert begins with a shimmering rendition of the “Valses nobles et sentimentales,” an homage to Schubert and a farewell to the waltz itself. This work of bold dissonances, abrasive harmonies and colorful chromati-cism is followed by Bartók’s concerto of 1926, which seems to animate Ravel’s tonal language with a percussive fury.

The nearly 50-minute long “Firebird,” which a virtually unknown 28-year-old Stravinsky wrote for the Ballets Russes in 1910, also seems to have been inspired by Ravel’s har-monic language, while anticipating Bartók’s wild accents and syncopations. “Boulez at his most responsive and insightful in all three works. And a grandiose orchestra – the Wiener Philharmoniker in top form” (Kurier).

SALZBURG FESTIVAL

OPENING CONCERT

149

ALBAN BERGLulu SuiteDer Wein

GUSTAV MAHLERDas klagende Lied

Anna Prohaska

Dorothea Röschmann

Anna Larsson

Johan Botha

UNiTEL and CLASSiCA present

PiERRE BoULEz WiENER PHiLHARMoNiKER

Salzburg Festival 2011Opening Concert

ALBAN BERGLulu SuiteDer Wein


Anna Prohaska

Dorothea Röschmann

Anna Larsson

Johan Botha

UNiTEL and CLASSiCA present

PiERRE BoULEz WiENER PHiLHARMoNiKER


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ALBAN BERGLulu Suite

Symphonic Pieces from the opera Lulu for Coloratura Soprano and orchestra

Soprano Anna Prohaska

Der WeinConcert Aria for Soprano and orchestra

Soprano Dorothea Röschmann


for Solo Voices, Mixed Choir and orchestra (1898/99 Version)

Soprano Dorothea Röschmann Alto Anna Larsson Tenor Johan Botha

Conductor Pierre Boulez orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Jörn H. Andresen Video Director Michael Beyer Length 95'


A production of UNITEL in co-production with ZDF/Arte,

in cooperation with Wiener Philharmoniker, Salzburger Festspiele

and CLASSICA

In the Mahler anniversary year 2011 Pierre Boulez, the “grandseigneur of subtle minimalism and exquisitely beguiling sounds” (Der Standard), was given the honor of conducting this

year’s traditional opening concert of the Wiener Philharmoniker at the Salzburg Festival. As a tribute to the composer, the concert centers around Mahler’s “Das klagende Lied” and begins with two works by his pupil and admirer Alban Berg. The first, the “Lulu Suite” of 1934, is compiled from Berg’s unfinished opera of the same name and contains music for the tragic temptress. She is sung here by “dazzling” (Der Standard) and “sensational” (Die Presse) young British-Austrian soprano Anna Prohaska, while Dorothea Röschmann delivers a “masterful interpretation” (Die Presse) of Berg’s concert aria “Der Wein”.

The main work of the concert is Gustav Mahler’s large-scale cantata “Das klagende Lied” of 1898/99 – a “great spectral opera for the mind’s eye” (Wiener Zeitung). Scored for massive orchestral and choral forces, the work also calls for three soloists, who are sung here with power and intensity by Dorothea Röschmann, Anna Larsson and Johan Botha. Conductor Pierre Boulez “clearly brings out the Mahlerian stylistic gestures found in this early work. Yet he also does not neglect the waves of overpowering energy” (Der Standard).

The Salzburg Festival, the Wiener Philharmoniker and Pierre Boulez dedicated the concert to Dr. Leo Kirch, the late founder of UNiTEL CLASSiCA.


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ALBAN BERGLulu Suite

Symphonic Pieces from the opera Lulu for Coloratura Soprano and orchestra

Soprano Anna Prohaska

Der WeinConcert Aria for Soprano and orchestra

Soprano Dorothea Röschmann


for Solo Voices, Mixed Choir and orchestra (1898/99 Version)

Soprano Dorothea Röschmann Alto Anna Larsson Tenor Johan Botha

Conductor Pierre Boulez orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Jörn H. Andresen Video Director Michael Beyer Length 95'


A production of UNITEL in co-production with ZDF/Arte,

in cooperation with Wiener Philharmoniker, Salzburger Festspiele

and CLASSICA

In the Mahler anniversary year 2011 Pierre Boulez, the “grandseigneur of subtle minimalism and exquisitely beguiling sounds” (Der Standard), was given the honor of conducting this

year’s traditional opening concert of the Wiener Philharmoniker at the Salzburg Festival. As a tribute to the composer, the concert centers around Mahler’s “Das klagende Lied” and begins with two works by his pupil and admirer Alban Berg. The first, the “Lulu Suite” of 1934, is compiled from Berg’s unfinished opera of the same name and contains music for the tragic temptress. She is sung here by “dazzling” (Der Standard) and “sensational” (Die Presse) young British-Austrian soprano Anna Prohaska, while Dorothea Röschmann delivers a “masterful interpretation” (Die Presse) of Berg’s concert aria “Der Wein”.

The main work of the concert is Gustav Mahler’s large-scale cantata “Das klagende Lied” of 1898/99 – a “great spectral opera for the mind’s eye” (Wiener Zeitung). Scored for massive orchestral and choral forces, the work also calls for three soloists, who are sung here with power and intensity by Dorothea Röschmann, Anna Larsson and Johan Botha. Conductor Pierre Boulez “clearly brings out the Mahlerian stylistic gestures found in this early work. Yet he also does not neglect the waves of overpowering energy” (Der Standard).

The Salzburg Festival, the Wiener Philharmoniker and Pierre Boulez dedicated the concert to Dr. Leo Kirch, the late founder of UNiTEL CLASSiCA.


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151

with works by RAVEL, GERSHWIN and KODÁLY

YUJA WANGCAMERATA SALZBURG LIONEL BRINGUIER

The Camerata Salzburg, a long time orchestral partner of the Salzburg Festival, joins forces with the young French conductor 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 20th century at Salzburg’s Haus für Mozart. At the centre of the program is Maurice Ravel’s Piano Concerto in G major, a sparkling work composed – as Ravel put it himself – “in the spirit of Mozart and Saint-Saëns”. “Yuja Wang played the Ravel superbly. She was refined, sly, jazzy, French, propulsive - everything. This was first-class playing, inarguably.” (National Review)

With its echoes of jazz and folklore, it recalls and is followed by Gershwin’s “Rhapsody in Blue”, “a sort of musical kaleidoscope of America” as George Gershwin himself has put it, that has remained a hit ever since its triumphal premiere in February 1924. Gershwin was very fond of Ravel and, so goes the anecdote, wrote him a letter asking if Ravel would give him lessons. Ravel is said to have replied with a question in return, asking how much money Gershwin earned last year and when Gershwin answered “about a million dollars”, which was at the time then an even more impressive amount, Ravel is said to have written to Gershiwn, if he instead could take lessons from him!

Thanks to his long performance history with Yuja Wang and thanks his “stupendous conducting technique” (Salzburger Nachrichten) Lionel Bringuier leads the Camerata superbly through both pieces. Already in the opening piece, the poetic cosmos of Ravels “Ma Mère l’Oye,” Bringuier casts an “atmospheric spell on the audience, devoting much space to the delicate worlds of sound.” (Neue Züricher Zeitung)

“Storms of applause for the Chinese pianist Yuja Wang and Lionel Bringuier” summarized the Press.

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

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


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Piano Yuja WangOrchestra Camerata Salzburg

Conductor Lionel Bringuier

Produced by BFMIVideo Director Michael Beyer

MAURICE RAVEL Ma Mère l’oye, Suite for Orchestra

GEORGE GERSHWINRhapsody in Blue

MAURICE RAVELConcerto for Piano and Orchestra in G

ZOLTÁN KODÁLYGalántai táncok (Dances from Galánta)

WOLFGANG AMADEUS MOZARTOverture to Le nozze di Figaro KV 492

YUJA WANGCAMERATA SALZBURG LIONEL BRINGUIER

World Sales:


ANNA PROHASKA · MAURO PETERKATHARINA MAGIERA · TAREQ NAZMI

MUSICAETERNA CHOIR

TEODOR CURRENTZISMUSICAETERNA

MOZART REQUIEM

Teodor Currentzis and his Russian ensemble musicAeterna give their long awaited Salzburg Festival debut at the Felsenreitschule with an exhilarating interpretation of Wolfgang Amadeus Mozart’s Requiem. The Greek-Russian star conductor, “visually the rock star amongst all conductors” (Kleine Zeitung), is for many today’s most exciting Mozart conductor, a reputation gained through his revolutionary Da Ponte Cycle, recorded at his home base, the Perm Opera House. Mozart’s final composition with its famous “Dies irae” and “Lacrimosa” movements is one of his most famous and noble works. Despite the complexity of its origins – its composition on Mozart’s deathbed and its completion after his death by his pupil Franz Xaver Süssmayr – the Requiem is doubtless a milestone of sacred music. Divergent from Süssmayr’s version, which is standard in the concert repertoire, Currentzis includes Mozart’s short “Amen” fragment at the end of the “Lacrimosa”, as most probably intended by the composer himself. Currentzis’ interpretation reflects his deep and serious examination of Mozart’s oeuvre. Under his baton, the music is of “impressive precision and clarity – radical, uncompromising.” (Wiener Zeitung) The conductor sharpens what his predecessors have achieved in the field of period music and “gives it an effortlessness that can rarely be found in anyone else” (Salzburger Nachrichten). The musicAeterna orchestra and its fabulous choir, completely dressed in solemn black cassocks and afoot throughout the concert, play with full verve and complement each other perfectly: “compelling and in its greatness hardly comparable” (Kronen Zeitung). The young quartet of excellent soloists - Anna Prohaska, Katharina Magiera, Mauro Peter and Tareq Nazmi - is “smoothly blending in with the ensemble” (Salzburg.com). In the striking visuals provided by the location itself, the Salzburg Felsenreitschule with its impressive arcades, the “phenomen Teodor Currentzis sets Salzburg on fire.” (Kleine Zeitung)Also available in the Unitel catalogue is Teodor Currentzis’ take on Mozart’s last major operatic work, La clemenza di Tito, completed only a few months before the composition of the Requiem.


Cat. no. A 040 50081

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

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Orchestra musicAeternaConductor Teodor Currentzis

Chorus musicAeterna ChoirChorus Master Vitaly Polonsky

Soprano Anna ProhaskaAlto Katharina Magiera

Tenor Mauro PeterBass Tareq Nazmi

Video Director Henning Kasten

WOLFGANG AMADEUS MOZARTRequiem in D Minor, K. 626

TEODOR CURRENTZISMUSICAETERNA

MOZART REQUIEM

World Sales:


Gustavo DuDamelSimón Bolívar

Youth orcheStraof venezuela

from SalzBurg feStival


Gustavo DuDamelSimón Bolívar

Youth orcheStraof venezuela



U nder the heading “Party in the Felsenreitschule,” the Munich daily Münchner Merkur boldly proclaimed:

“Venezuela’s Simón Bolívar Youth Orchestra guests at the Salzburg Festival – and delivers the biggest audience hit of the summer.” Rarely has an orchestra reached out and grabbed its audience in such a visceral manner; and even more rarely has such a feat been accomplished by an orchestra of youngsters between the ages of 12 and 26!

The Simón Bolívar Youth Orchestra, the Salzburg Festival’s resident orchestra of 2008, is a product of the “Sistema de Orquestas” set up to allow children of all social levels to learn a musical instrument and play in an ensemble. Today, 250,000 youths are learning from 15,000 instructors and playing in over 120 youth orchestras and nearly 60 children’s orchestras. Some of the Sistema’s finest players were picked to form the S.B.Y.O. and to work in Salzburg with such outstanding musicians as Nikolaus Harnoncourt and Martha Argerich. Documenting their activity there is the program “School of Listening” featuring works by Beethoven and Mahler (also available from UNITEL CLASSICA).

Conducting the present concert is the Sistema’s most celebrated alumnus, Gustavo Dudamel, born in 1981. The young maestro, who was appointed chief conductor of the Los Angeles Philharmonic Orchestra in 2007, is, in the words of the Salzburg Festival’s music director, Markus Hinterhäuser,

“the most charismatic conductor since Leonard Bernstein.” The concert opens with Tchaikovsky’s Fifth Symphony, which Dudamel whips onward with a rhythmic furor reminiscent of Rossini rather than late romanticism. The large ensemble’s enormous reserves of energy really get tapped after the intermission, when the S.B.Y.O. transforms Evencio Castellanos’ Symphonic Suite and Arturo Márquez’s Danzón No. 2 into churning seas of color and rhythm. And when the youths begin to dance in the encores, it’s definitely time for a “Party in the Felsenreitschule” – to which UNITEL CLASSICA most cordially invites you!

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Orchestral cOncert

ludwig van Beethoven Triple Concerto

for Piano, Violin, Violoncello and Orchestra in C major, op. 56

Modest Mussorgsky Pictures at an Exhibition

Orchestra simón Bolívar Youth Orchestra of Venezuela Conductor Gustavo Dudamel

Soloists Martha argerich Piano renaud capuçon Violin Gautier capuçon Violoncello

Length 75' Cat. No. A045005370000

schOOl Of listeninG

ludwig van Beethoven Symphony No. 5 in C minor, op. 67

Conductor nikolaus harnoncourt Cat. No. A045005380001

Gustav Mahler Symphony No. 1 in in D major – “Titan”

Conductor Gustavo Dudamel Cat. No. A045005380002

Length 2 × 45'

Directed by chris Kurt Weisz

salsa in salzBurG

Directed by Martin schneider

Length 90' & 56' Cat. No. A04001513

a production of unitel classica in cooperation with salzburg festival for zDf / arte

Simón Bolívar Youth orcheStra

of venezuela


GustavoDuDamel


U nder the heading “Party in the Felsenreitschule,” the Munich daily Münchner Merkur boldly proclaimed:

“Venezuela’s Simón Bolívar Youth Orchestra guests at the Salzburg Festival – and delivers the biggest audience hit of the summer.” Rarely has an orchestra reached out and grabbed its audience in such a visceral manner; and even more rarely has such a feat been accomplished by an orchestra of youngsters between the ages of 12 and 26!

The Simón Bolívar Youth Orchestra, the Salzburg Festival’s resident orchestra of 2008, is a product of the “Sistema de Orquestas” set up to allow children of all social levels to learn a musical instrument and play in an ensemble. Today, 250,000 youths are learning from 15,000 instructors and playing in over 120 youth orchestras and nearly 60 children’s orchestras. Some of the Sistema’s finest players were picked to form the S.B.Y.O. and to work in Salzburg with such outstanding musicians as Nikolaus Harnoncourt and Martha Argerich. Documenting their activity there is the program “School of Listening” featuring works by Beethoven and Mahler (also available from UNITEL CLASSICA).

Conducting the present concert is the Sistema’s most celebrated alumnus, Gustavo Dudamel, born in 1981. The young maestro, who was appointed chief conductor of the Los Angeles Philharmonic Orchestra in 2007, is, in the words of the Salzburg Festival’s music director, Markus Hinterhäuser,

“the most charismatic conductor since Leonard Bernstein.” The concert opens with Tchaikovsky’s Fifth Symphony, which Dudamel whips onward with a rhythmic furor reminiscent of Rossini rather than late romanticism. The large ensemble’s enormous reserves of energy really get tapped after the intermission, when the S.B.Y.O. transforms Evencio Castellanos’ Symphonic Suite and Arturo Márquez’s Danzón No. 2 into churning seas of color and rhythm. And when the youths begin to dance in the encores, it’s definitely time for a “Party in the Felsenreitschule” – to which UNITEL CLASSICA most cordially invites you!

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Orchestral cOncert

ludwig van Beethoven Triple Concerto

for Piano, Violin, Violoncello and Orchestra in C major, op. 56

Modest Mussorgsky Pictures at an Exhibition

Orchestra simón Bolívar Youth Orchestra of Venezuela Conductor Gustavo Dudamel

Soloists Martha argerich Piano renaud capuçon Violin Gautier capuçon Violoncello

Length 75' Cat. No. A045005370000

schOOl Of listeninG

ludwig van Beethoven Symphony No. 5 in C minor, op. 67

Conductor nikolaus harnoncourt Cat. No. A045005380001

Gustav Mahler Symphony No. 1 in in D major – “Titan”

Conductor Gustavo Dudamel Cat. No. A045005380002

Length 2 × 45'

Directed by chris Kurt Weisz

salsa in salzBurG

Directed by Martin schneider

Length 90' & 56' Cat. No. A04001513

a production of unitel classica in cooperation with salzburg festival for zDf / arte

Simón Bolívar Youth orcheStra

of venezuela


GustavoDuDamel


157

El SiStEma rESidEncy Salzburg FEStival

guStavo dudamElSimón bolívar Symphony orchEStra oF vEnEzuEla

Gustav MahlerSymphony No. 8“Symphony of a Thousand”

emily Magee Juliane Banse

anna ProhaskaYvonne Naef

Birgit remmertKlaus Florian vogt


guStavo dudamElSimón bolívar Symphony orchEStra oF vEnEzuEla

Gustav MahlerSymphony No. 8“Symphony of a Thousand”

emily Magee Juliane Banse

anna ProhaskaYvonne Naef

Birgit remmertKlaus Florian vogt


World Sales:



Produced by Bernhard Fleischer Moving Images Video Director Andreas Morell


Cat. no. A04050009

Orchestra Simón Bolívar Symphony Orchestra of Venezuela Conductor Gustavo Dudamel Chorus Wiener Singverein Members of “superar” Salzburger Festspiele und Theater Kinderchor Simón Bolívar National Youth Choir of Venezuela Chorus Masters Johannes Prinz Gerald Wirth Wolfgang Götz Lourdes Sánchez

Soprano Emily Magee Soprano Juliane Banse Soprano Anna Prohaska Contralto Yvonne Naef Contralto Birgit Remmert Tenor Klaus Florian Vogt Baritone Detlef Roth Bass Kurt Rydl

A production of UNITEL in cooperation with


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Which work could be more suitable for Gustavo Dudamel and his Simón Bolivár Symphony Orchestra – formerly known as the Simón Bolívar Youth Orchestra, the most well-known flagship ensemble of El Sistema – to mark the highlight of the residency of El Sistema at the Salzburg Festival than Mahler’s Eighth, the “Symphony of a Thousand”? Eight top-notch soloists - among them Emily Magee, Anna Prohaska and Klaus Florian Vogt -, four choruses and the 200 orchestra musicians stretch the limits of the immense stage of the Großes Festspielhaus.

The orchestra consists of over 200 young musicians who explore a challenging repertoire in master classes and concerts, and soloists from leading orchestras are regularly invited to join them. The orchestra has performed under internationally renowned conductors like Simon Rattle and Claudio Abbado, has toured extensively through Europe, Asia and North and South America, and has performed at all the major festivals and the most important concert venues, including the BBC Proms, the Salle Pleyel, Carnegie Hall and Vienna’s Konzerthaus.

“The invasion of sheer enthusiasm” (Der Standard)

“Crystal clear, highly defined Mahler sound” (Frankfurter Rundschau)


World Sales:



Produced by Bernhard Fleischer Moving Images Video Director Andreas Morell


Cat. no. A04050009

Orchestra Simón Bolívar Symphony Orchestra of Venezuela Conductor Gustavo Dudamel Chorus Wiener Singverein Members of “superar” Salzburger Festspiele und Theater Kinderchor Simón Bolívar National Youth Choir of Venezuela Chorus Masters Johannes Prinz Gerald Wirth Wolfgang Götz Lourdes Sánchez

Soprano Emily Magee Soprano Juliane Banse Soprano Anna Prohaska Contralto Yvonne Naef Contralto Birgit Remmert Tenor Klaus Florian Vogt Baritone Detlef Roth Bass Kurt Rydl



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Which work could be more suitable for Gustavo Dudamel and his Simón Bolivár Symphony Orchestra – formerly known as the Simón Bolívar Youth Orchestra, the most well-known flagship ensemble of El Sistema – to mark the highlight of the residency of El Sistema at the Salzburg Festival than Mahler’s Eighth, the “Symphony of a Thousand”? Eight top-notch soloists - among them Emily Magee, Anna Prohaska and Klaus Florian Vogt -, four choruses and the 200 orchestra musicians stretch the limits of the immense stage of the Großes Festspielhaus.

The orchestra consists of over 200 young musicians who explore a challenging repertoire in master classes and concerts, and soloists from leading orchestras are regularly invited to join them. The orchestra has performed under internationally renowned conductors like Simon Rattle and Claudio Abbado, has toured extensively through Europe, Asia and North and South America, and has performed at all the major festivals and the most important concert venues, including the BBC Proms, the Salle Pleyel, Carnegie Hall and Vienna’s Konzerthaus.

“The invasion of sheer enthusiasm” (Der Standard)

“Crystal clear, highly defined Mahler sound” (Frankfurter Rundschau)

159

DUDAMEL STRAUSS VORDERSEITE 1


DUDAMEL STRAUSS RÜCKSEITE 1

World Sales:

Orchestra Wiener PhilharmonikerConductor Gustavo Dudamel

Produced by BFMIVideo Director Henning Kasten

“Dudamel gets the Vienna Philharmonic dancing” (Salzburger Nachrichten)

Since his debut at the Salzburg Festival in 2008, the young Venezuelan conductor Gustavo Dudamel has excited both the audience and the world’s most famous orchestras. He now returns to Salzburg, to the rostrum of the Vienna Philharmonic, in order to pay homage to Richard Strauss. The co-founder of the Salzburg Festival is being celebrated with two of his so called tone poems, Strauss’s monumental “Death and Transfiguration” and “Thus spake Zarathustra”. The concert is complemented by the contemporary work by the Graz composer and Vienna Phil musician “Time Recycling”.

The tone poem “Death and Transfiguration” depicts the death throes of a terminally ill individual: riddled by cramps and haunted by memories of his youth, he longs to attain the ideal that he has been unable to realize during his lifetime. Only when the soul departs the body – illustrated by the 32 soft beats on the tam-tam – does he behold his ideal in the afterlife.

Transience is also the motif of the contemporary work “Time Recycling”, though not expressed with the same basic solemnity: inspired by the fact that time cannot be reversed in human terms, René Staar’s work strikes the orchestra up in playful manner: “leader Rainer Küchl plays salsa (…) but it is above all the double basses that begin to dance with their sound furniture (…)” (Salzburger Nachrichten). What is remarkable about this performance is that for the first time in the 170-year history of the orchestra, the Vienna Philharmonic’s musicians have commissioned a work from one of their own members – and it has to be said, with great success: “Staar (…) was rewarded with a veritable (…) standing ovation” (Giornale della musica online).

Strauss’s opulent tone poem “Thus spake Zarathustra” after Friedrich Nietzsche’s poem, on the other hand, takes up the concept of a cyclical understanding of time which is evident in “Time Recycling” too. Strauss set the predominant ideas of Nietzsche’s philosophy of eternal return. Under Dudamel’s baton the Vienna Philharmonic unfolded its vast aural splendour: “Gustavo Dudamel understands (…) how to light a fire” (Die Krone).

RICHARD STRAUSSTod und Verklärung, Op. 24

RENÉ STAAR

Time Recycling, Op. 22n

RICHARD STRAUSSAlso sprach Zarathustra, Op. 30

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A production of UNITEL in co-production with ZDF/Arte


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Charles DutoitNhK symphoNy orChestra

Tōru TakemiTsuNovember Steps

Toshio hosokawaKlage

hecTor BerliozSymphonie fantastique

kakujo Nakamurakaoru kakizakaianna Prohaska


Tōru TakemiTsuNovember Steps

Toshio hosokawaKlage

hecTor BerliozSymphonie fantastique

kakujo Nakamurakaoru kakizakaianna Prohaska


World Sales:



Produced by Bernhard Fleischer Moving Images Video Director Yoko Ishida


Cat. no. A045500160000

Orchestra NHK Symphony Orchestra Tokyo Conductor Charles Dutoit Chorus Wiener Singverein

Biwa Kakujo Nakamura Shakuhachi Kaoru Kakizakai Soprano Anna Prohaska

Tōru TAKeMITSu November Steps for biwa, shakuhachi and orchestra (1967)

TOSHIO HOSOKAWA Klage for soprano and orchestra after poems by Georg Trakl

HeCTOr BerLIOz Symphonie fantastique, Op. 14

A co-production of uNITeL and NHK in cooperation with


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For their Salzburg Festival debut, the NHK Symphony Orchestra under Charles Dutoit chose a classic of the concert literature, Berlioz’s Symphonie fantastique, and combined it with two works from their native land of Japan – “a ‘fantastic’ Salzburg Festival launch.” (Die Presse)

Hector Berlioz’s (1803-1869) Symphonie fantastique is a pivotal work for the romantic period and a textbook example

of programme music: in this symphony (for the premiere in 1830, Berlioz even provided a specially prepared narrative to be read during the performance) the composer portrays an episode from his own youth, wavering between dream and reality – the “Episode de la vie d’un artiste”.

Also Tōru Takemitsu’s (1930-1996) November Steps is a key work of its period that has entered the international concert repertoire since it was premiered by Leonard Bernstein and the New York Philharmonic in 1967.

Toshio Hosokawa (*1955) is the most important Japanese composer of the present day. The literary basis for his “Lament”, a piece specially commissioned by the Salzburg Festival, comes from the writings of Georg Trakl, a letter and a poem that gives the piece its name: “Klage” – a composed memorial in mourning for a mother who lost her child to the sea in the tsunami of 2011. “The waves of orchestral sound break with icy precision in the Felsenreitschule into the narrative of Anna Prohaska, this fabulous soprano who is so wonderfully at home in worlds of contemporary sound between dream, trance and ecstasy.” (Süddeutsche Zeitung)


World Sales:



Produced by Bernhard Fleischer Moving Images Video Director Yoko Ishida


Cat. no. A045500160000

Orchestra NHK Symphony Orchestra Tokyo Conductor Charles Dutoit Chorus Wiener Singverein

Biwa Kakujo Nakamura Shakuhachi Kaoru Kakizakai Soprano Anna Prohaska

Tōru TAKeMITSu November Steps for biwa, shakuhachi and orchestra (1967)

TOSHIO HOSOKAWA Klage for soprano and orchestra after poems by Georg Trakl

HeCTOr BerLIOz Symphonie fantastique, Op. 14

A co-production of uNITeL and NHK in cooperation with


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For their Salzburg Festival debut, the NHK Symphony Orchestra under Charles Dutoit chose a classic of the concert literature, Berlioz’s Symphonie fantastique, and combined it with two works from their native land of Japan – “a ‘fantastic’ Salzburg Festival launch.” (Die Presse)

Hector Berlioz’s (1803-1869) Symphonie fantastique is a pivotal work for the romantic period and a textbook example

of programme music: in this symphony (for the premiere in 1830, Berlioz even provided a specially prepared narrative to be read during the performance) the composer portrays an episode from his own youth, wavering between dream and reality – the “Episode de la vie d’un artiste”.

Also Tōru Takemitsu’s (1930-1996) November Steps is a key work of its period that has entered the international concert repertoire since it was premiered by Leonard Bernstein and the New York Philharmonic in 1967.

Toshio Hosokawa (*1955) is the most important Japanese composer of the present day. The literary basis for his “Lament”, a piece specially commissioned by the Salzburg Festival, comes from the writings of Georg Trakl, a letter and a poem that gives the piece its name: “Klage” – a composed memorial in mourning for a mother who lost her child to the sea in the tsunami of 2011. “The waves of orchestral sound break with icy precision in the Felsenreitschule into the narrative of Anna Prohaska, this fabulous soprano who is so wonderfully at home in worlds of contemporary sound between dream, trance and ecstasy.” (Süddeutsche Zeitung)

163

Igor StravInSkySymphony of Psalms

ModeSt MuSorgSkySongs and Dances of Death

Sergey ProkofIevSymphony No. 5

Sergei Semishkur

Valery GerGieVWiener Philharmoniker

Igor StravInSkySymphony of Psalms

ModeSt MuSorgSkySongs and Dances of Death

Sergey ProkofIevSymphony No. 5

Sergei Semishkur

Valery GerGieVWiener Philharmoniker

Valery GerGieV Wiener Philharmoniker

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IGOR STRAVINSKY Symphony of Psalms for Choir and Orchestra

MODEST MUSORGSKYSongs and Dances of Death

Orchestration and Interludes by Alexander Raskatov (2007)

SERGEY PROKOFIEVSymphony No. 5 in B flat major, Op. 100

Conductor Valery Gergiev Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Tenor Sergei Semishkur Video Director Andreas Morell Length approx. 90'


A co-production of UNITEL and ORF in cooperation with

Wiener Philharmoniker, Salzburg Festival and CLASSICA

The vibrant heart of the Salzburg Festival, the Vienna Philharmonic Orchestra under the Russian conductor Valery Gergiev presents an exclusively Russian programme whose theme and content revolve around the most profound questions of human life.

The concert opens with Igor Stravinsky’s Symphony of Psalms, a work of exquisite beauty. For his setting of three Psalms from the Old Testament Stravinsky chose to rely heavily on his Russian roots and old church music, reinforcing them in their ritualistic effect by borrowing from Gregorian chorales. Modest Musorgsky’s Songs and Dances of Death on the other hand concentrate on an end to human life without any prospect of mercy or a better life beyond the grave. The four settings are based on poems by his friend Arseny Golenishchev-Kutuzov that in turn reflect the medieval motif of a “dance of death”. Here, Death personified seeks victim irrespective of rank or standing: he sings a small child to sleep, overpowers a young woman disguised as a charming lover, breaks the will of a farmer lost in a snowstorm by offering him a vision of spring, appears to the victims of a battle as an authoritarian general. “The Russian tenor Sergei Semishkur [lent] these fascinatingly dark songs an alarming intensity” (Der Standard) – a masterly feat on the brink of the existential abyss. The ghostly character of these poems is elaborated with the greatest degree of sensitivity and immense dynamic diversity by the Vienna Philharmonic and Valery Gergiev.

Finally, the Vienna Philharmonic excels in its performance of Sergey Prokofiev’s Fifth Symphony, demonstrating outstanding virtuosity and exceptional musicality. The composer spent some eleven years collecting the thematic material for this symphony, always in search of absolute “clarity of the melodic line”. As a result, and independent of the strong political pressures of the Stalinist censor on this magnificent work, this all too seldom played symphony is a splendid masterpiece.

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Valery GerGieV Wiener Philharmoniker

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IGOR STRAVINSKY Symphony of Psalms for Choir and Orchestra

MODEST MUSORGSKYSongs and Dances of Death

Orchestration and Interludes by Alexander Raskatov (2007)

SERGEY PROKOFIEVSymphony No. 5 in B flat major, Op. 100

Conductor Valery Gergiev Orchestra Wiener Philharmoniker Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger Tenor Sergei Semishkur Video Director Andreas Morell Length approx. 90'


A co-production of UNITEL and ORF in cooperation with


The vibrant heart of the Salzburg Festival, the Vienna Philharmonic Orchestra under the Russian conductor Valery Gergiev presents an exclusively Russian programme whose theme and content revolve around the most profound questions of human life.

The concert opens with Igor Stravinsky’s Symphony of Psalms, a work of exquisite beauty. For his setting of three Psalms from the Old Testament Stravinsky chose to rely heavily on his Russian roots and old church music, reinforcing them in their ritualistic effect by borrowing from Gregorian chorales. Modest Musorgsky’s Songs and Dances of Death on the other hand concentrate on an end to human life without any prospect of mercy or a better life beyond the grave. The four settings are based on poems by his friend Arseny Golenishchev-Kutuzov that in turn reflect the medieval motif of a “dance of death”. Here, Death personified seeks victim irrespective of rank or standing: he sings a small child to sleep, overpowers a young woman disguised as a charming lover, breaks the will of a farmer lost in a snowstorm by offering him a vision of spring, appears to the victims of a battle as an authoritarian general. “The Russian tenor Sergei Semishkur [lent] these fascinatingly dark songs an alarming intensity” (Der Standard) – a masterly feat on the brink of the existential abyss. The ghostly character of these poems is elaborated with the greatest degree of sensitivity and immense dynamic diversity by the Vienna Philharmonic and Valery Gergiev.

Finally, the Vienna Philharmonic excels in its performance of Sergey Prokofiev’s Fifth Symphony, demonstrating outstanding virtuosity and exceptional musicality. The composer spent some eleven years collecting the thematic material for this symphony, always in search of absolute “clarity of the melodic line”. As a result, and independent of the strong political pressures of the Stalinist censor on this magnificent work, this all too seldom played symphony is a splendid masterpiece.

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165

WIENER

PHILHARMONIKER

BERNARD HAITINK

EMANUEL AX

BEETHOVENCO N CER TO FO R PI A N O A N D O R CH E S T R A N O. 4

BRUCKNERS YM PH O N Y N O. 7

WIENER

PHILHARMONIKER

BERNARD HAITINK

EMANUEL AX

BEETHOVENCO N CER TO FO R PI A N O A N D O R CH E S T R A N O. 4

BRUCKNERS YM PH O N Y N O. 7

“No more Bruckner under Haitink, that’s a cut in the history of interpretation”

Wiener Zeitung

To end his active conducting career after 65 years, maestro Bernard Haitink together with the Wiener Philharmoniker gives a farewell concert at the Großes Festspielhaus, leaving no doubt of being one of the best Bruckner interpreters ever.The Dutch conductor, who was appointed honorary member of the Wiener Philharmoniker shortly before the concert, is joined by star pianist Emanuel Ax in Beethoven’s Piano Concerto No. 4: a musical interaction “of a depth of sentiment and an agreement in making music together that sounds wonderfully natural” (Salzburger Nachrichten). The concert ends with Bruckner’s monumental Symphony No. 7 with its famous second movement, which marked the composer’s breakthrough and remains one of his most popular symphonies. The Wiener Philharmoniker play under Haitink’s masterful baton completely focused, but dynamic and with deepest sensation. The atmosphere of this last performance is without doubt exceptional and a visibly emotional Haitink was celebrated by the audience with long standing ovations. “You shouldn’t throw terms like ‘magic moments’ around easily. But what could be heard in Salzburg was certainly one” (Klassikinfo.de).

LUDWIG VAN BEETHOVEN Concerto for Piano and Orchestra No. 4 in G major op. 58

ANTON BRUCKNERSymphony No. 7 in E major, WAB 107

– Encore –

FRÉDÉRIC CHOPIN Waltz in A minor, Op. 34/2

Piano Emanuel Ax

Conductor Bernard Haitink Orchestra Wiener Philharmoniker Video Director Hisao Tonooka

Length: approx. 120'Cat. no. A 045 50119 0000

A production of NHK and UNITEL in cooperation with Wiener Philharmoniker and Salzburg Festival

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WIENER PHILHARMONIKERBERNARD HAITINK EMANUEL AX


“No more Bruckner under Haitink, that’s a cut in the history of interpretation”

Wiener Zeitung

To end his active conducting career after 65 years, maestro Bernard Haitink together with the Wiener Philharmoniker gives a farewell concert at the Großes Festspielhaus, leaving no doubt of being one of the best Bruckner interpreters ever.The Dutch conductor, who was appointed honorary member of the Wiener Philharmoniker shortly before the concert, is joined by star pianist Emanuel Ax in Beethoven’s Piano Concerto No. 4: a musical interaction “of a depth of sentiment and an agreement in making music together that sounds wonderfully natural” (Salzburger Nachrichten). The concert ends with Bruckner’s monumental Symphony No. 7 with its famous second movement, which marked the composer’s breakthrough and remains one of his most popular symphonies. The Wiener Philharmoniker play under Haitink’s masterful baton completely focused, but dynamic and with deepest sensation. The atmosphere of this last performance is without doubt exceptional and a visibly emotional Haitink was celebrated by the audience with long standing ovations. “You shouldn’t throw terms like ‘magic moments’ around easily. But what could be heard in Salzburg was certainly one” (Klassikinfo.de).

LUDWIG VAN BEETHOVEN Concerto for Piano and Orchestra No. 4 in G major op. 58

ANTON BRUCKNERSymphony No. 7 in E major, WAB 107

– Encore –

FRÉDÉRIC CHOPIN Waltz in A minor, Op. 34/2

Piano Emanuel Ax

Conductor Bernard Haitink Orchestra Wiener Philharmoniker Video Director Hisao Tonooka

Length: approx. 120'Cat. no. A 045 50119 0000

A production of NHK and UNITEL in cooperation with Wiener Philharmoniker and Salzburg Festival

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WIENER PHILHARMONIKERBERNARD HAITINK EMANUEL AX



A MOZART GALAfrom Salzburg

DANIEL HARDING

ANNA NETREBKO

MAGDALENA KOŽENÁ

PATRICIA PETIBON

MICHAEL SCHADE

THOMAS HAMPSON

EKATERINA SIURINA

RENÉ PAPE


A MOZART GALAfrom Salzburg

DANIEL HARDING

ANNA NETREBKO

MAGDALENA KOŽENÁ

PATRICIA PETIBON

MICHAEL SCHADE

THOMAS HAMPSON

EKATERINA SIURINA

RENÉ PAPE

The most spectacular homage to Wolfgang Amadeus Mozart on his 250th birthday in 2006 was incontestably the presentation of all of his operas and operatic

fragments at the Salzburg Festival, “Mozart22”. Recorded on film (available from Unitel Classica), this monumental project has been preserved for posterity as a benchmark of Mozart interpretation in the early 21st century.

The “Mozart Gala“ held at the Felsenreitschule on 30 July 2006, in the first days of the 2006 Salzburg Festival, presents a kind of microcosm of the Mozart festivities, with a selection of arias and orchestral music performed by the Vienna Philharmonic under Daniel Harding and featuring some of the top vocalists of the 2006 Salzburg Festival. A sampling of exquisite hors d‘œuvres prepared by the most outstanding musical chefs!

Internationally celebrated soprano Anna Netrebko lives up to her reputation as a fiery, dramatic diva in her passionate rendition of Elettra‘s aria “D‘Oreste, d‘Aiace” from Idomeneo. Thomas Hampson, one of the greatest baritones of our time, burnishes Guglielmo‘s aria “Rivolgete a lui lo sguardo“ from Così fan tutte with his full, rich, mellow tone. Leading Mozart tenor Michael Schade appears twice, in arias from Don Giovanni and La clemenza di Tito.

A particularly bright moment awaits listeners when René Pape gives a spirited rendition of Leporello‘s „catalogue“ aria from Don Giovanni. Sopranos Patricia Petibon and Ekaterina Siurina dazzle in arias from Mitridate and Idomeneo, whereby Siurina is joined by mezzo Magdalena Kožená in the duet of Idamante and Ilia, „S‘io non moro a questi accenti,“ from Idomeneo. Kožená, who was acclaimed for her passionate account of Idamante in the Salzburg Festival production of Idomeneo, also sings an aria of Sesto from La clemenza di Tito. The Vienna Philharmonic, which adds orchestral accents with the overtures to Don Giovanni and Idomeneo, concludes the program with Mozart‘s Prague Symphony K. 504.

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A MOZART GALA from Salzburg


Conductor Daniel Harding Orchestra Wiener Philharmoniker Soloists Anna Netrebko Magdalena Kožená Ekaterina Siurina Patricia Petibon Thomas Hampson René Pape Michael Schade Directed by Brian Large

Don Giovanni Overture “Madamina, il catalogo è questo“ (René Pape) “Dalla sua pace“ (Michael Schade)

Mitridate, Re di Ponto “Nel grave tormento“ (Patricia Petibon)

La clemenza di Tito “Se all‘impero, amici Dei“ (Michael Schade) “Parto, ma tu ben mio“ (Magdalena Kožená)

Così fan tutte “Rivolgete a lui lo sguardo“ (Thomas Hampson)

Idomeneo Overture “Se il padre perdei“ (Ekaterina Siurina) “S‘io non moro a questi accenti“ (Magdalena Kožená, Ekaterina Siurina) D‘Oreste, d‘Aiace“ (Anna Netrebko)

Symphony in D major K. 504 “Prague“

Recorded at the Felsenreitschule Salzburg

Total length 93'

A co-production of ORF, Thirteen/WNET New York, NHK and Unitel Classica

in co-operation with Salzburg Festival

shot in HDTV 1080Cat. no. A04500459000

René Pape Daniel Harding

Anna Netrebko

Magdalena KoženáPatricia Petibon

Michael SchadeThomas Hampson Ekaterina Siurina

The most spectacular homage to Wolfgang Amadeus Mozart on his 250th birthday in 2006 was incontestably the presentation of all of his operas and operatic

fragments at the Salzburg Festival, “Mozart22”. Recorded on film (available from Unitel Classica), this monumental project has been preserved for posterity as a benchmark of Mozart interpretation in the early 21st century.

The “Mozart Gala“ held at the Felsenreitschule on 30 July 2006, in the first days of the 2006 Salzburg Festival, presents a kind of microcosm of the Mozart festivities, with a selection of arias and orchestral music performed by the Vienna Philharmonic under Daniel Harding and featuring some of the top vocalists of the 2006 Salzburg Festival. A sampling of exquisite hors d‘œuvres prepared by the most outstanding musical chefs!

Internationally celebrated soprano Anna Netrebko lives up to her reputation as a fiery, dramatic diva in her passionate rendition of Elettra‘s aria “D‘Oreste, d‘Aiace” from Idomeneo. Thomas Hampson, one of the greatest baritones of our time, burnishes Guglielmo‘s aria “Rivolgete a lui lo sguardo“ from Così fan tutte with his full, rich, mellow tone. Leading Mozart tenor Michael Schade appears twice, in arias from Don Giovanni and La clemenza di Tito.

A particularly bright moment awaits listeners when René Pape gives a spirited rendition of Leporello‘s „catalogue“ aria from Don Giovanni. Sopranos Patricia Petibon and Ekaterina Siurina dazzle in arias from Mitridate and Idomeneo, whereby Siurina is joined by mezzo Magdalena Kožená in the duet of Idamante and Ilia, „S‘io non moro a questi accenti,“ from Idomeneo. Kožená, who was acclaimed for her passionate account of Idamante in the Salzburg Festival production of Idomeneo, also sings an aria of Sesto from La clemenza di Tito. The Vienna Philharmonic, which adds orchestral accents with the overtures to Don Giovanni and Idomeneo, concludes the program with Mozart‘s Prague Symphony K. 504.

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A MOZART GALA from Salzburg


Conductor Daniel Harding Orchestra Wiener Philharmoniker Soloists Anna Netrebko Magdalena Kožená Ekaterina Siurina Patricia Petibon Thomas Hampson René Pape Michael Schade Directed by Brian Large

Don Giovanni Overture “Madamina, il catalogo è questo“ (René Pape) “Dalla sua pace“ (Michael Schade)

Mitridate, Re di Ponto “Nel grave tormento“ (Patricia Petibon)

La clemenza di Tito “Se all‘impero, amici Dei“ (Michael Schade) “Parto, ma tu ben mio“ (Magdalena Kožená)

Così fan tutte “Rivolgete a lui lo sguardo“ (Thomas Hampson)

Idomeneo Overture “Se il padre perdei“ (Ekaterina Siurina) “S‘io non moro a questi accenti“ (Magdalena Kožená, Ekaterina Siurina) D‘Oreste, d‘Aiace“ (Anna Netrebko)

Symphony in D major K. 504 “Prague“

Recorded at the Felsenreitschule Salzburg

Total length 93'

A co-production of ORF, Thirteen/WNET New York, NHK and Unitel Classica

in co-operation with Salzburg Festival

shot in HDTV 1080Cat. no. A04500459000

René Pape Daniel Harding

Anna Netrebko

Magdalena KoženáPatricia Petibon

Michael SchadeThomas Hampson Ekaterina Siurina

169

Nikolaus HarNoNcourtWieNer PHilHarmoNikerkoNzertvereiNiguNg WieNer staatsoPerNcHor

Joseph haydnDie Jahreszeiten

dorothea Röschmann Michael schade Florian Boesch

Nikolaus HarNoNcourtWieNer PHilHarmoNikerkoNzertvereiNiguNg WieNer staatsoPerNcHor

Joseph haydnDie Jahreszeiten

dorothea Röschmann Michael schade Florian Boesch

Nikolaus HarNoNcourtkoNzertvereiNiguNg WieNer staatsoPerNcHor

WieNer PHilHarmoNiker

World Sales:



Soprano Dorothea Röschmann Tenor Michael Schade Bass Florian Boesch

DOCUMENTARY Nikolaus Harnoncourt rehearsing

Joseph Haydn’s “The Seasons” Video Director Eric Schulz


Produced by ORF Video Director Michael Beyer


Cat. no. A04050008

Orchestra Wiener Philharmoniker Conductor Nikolaus Harnoncourt Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger

JOSEPH HAYDN Die Jahreszeiten

(The Seasons)

A co-production of ORF, ZDF for 3sat and UNITEL in cooperation with Wiener Philharmoniker,


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“Jubilation!” (Kronen Zeitung) in the Great Festival Hall in Salzburg for Joseph Haydn’s oratorio The Seasons with Nikolaus Harnoncourt conducting the Vienna Philharmonic. The conductor tunes his “Wiener” to peak performance and shows as few others can how “to coax the tenderest expressive pianissimo shiver from the violins and violas into the almost inaudible”, enthuses the Frankfurter Allgemeine Zeitung.

The Seasons, a late work of Haydn’s and the last oratorio he wrote, is a work that well expresses Haydn’s musical wit. Imitatively and self-mockingly “Papa Haydn” presents spring, summer, autumn and winter in four sections. A ploughman whistles the well known theme from Haydn’s “Surprise” Symphony, another passage depicts a hunting scene with positively brutal musical effects: a shot bird plummets from heaven with a percussion-enhanced fortissimo chord. The musical manifesto addressed to nature and the countryfolk, represented by the three soloists, breaks ground with its hitherto unexplored subject-matter as it heralds the dawning Romantic era in music, thus occupying a special place in Haydn’s oeuvre.

Nikolaus Harnoncourt brings out the simplicity of the work, “creating one sonic miracle after another” (Drehpunktkultur). The autumn hunting scenes are suitably jolly, the summer thunder ominously threatening. He is ably supported by Dorothea Röschmann as Hanne, admirable with her “soprano free of sharpness” (Salzburger Volkszeitung) and “superbe déclamation lyrique” (Diapason), Michael Schade as an expressive Lukas who puts “so much mellowness, so much warmth, so much colour” (Drehpuktkultur) into the realization of his part and finally Florian Boesch as Simon, who “... uses his songful baritone voice, his legato finesse, his mere breaths of piano to fling out a great narrative arch” (Salzburger Volkszeitung). Enhanced by the well-rehearsed choir of the Vienna State Opera, the performance proves a “stroke of luck, when the grandezza of this music is brought home to one like this, without airs and graces!”, concludes the Salzburger Nachrichten.

Nikolaus HarNoNcourtkoNzertvereiNiguNg WieNer staatsoPerNcHor

WieNer PHilHarmoNiker

World Sales:



Soprano Dorothea Röschmann Tenor Michael Schade Bass Florian Boesch

DOCUMENTARY Nikolaus Harnoncourt rehearsing

Joseph Haydn’s “The Seasons” Video Director Eric Schulz


Produced by ORF Video Director Michael Beyer


Cat. no. A04050008

Orchestra Wiener Philharmoniker Conductor Nikolaus Harnoncourt Chorus Konzertvereinigung Wiener Staatsopernchor Chorus Master Ernst Raffelsberger

JOSEPH HAYDN Die Jahreszeiten

(The Seasons)

A co-production of ORF, ZDF for 3sat and UNITEL in cooperation with Wiener Philharmoniker,


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“Jubilation!” (Kronen Zeitung) in the Great Festival Hall in Salzburg for Joseph Haydn’s oratorio The Seasons with Nikolaus Harnoncourt conducting the Vienna Philharmonic. The conductor tunes his “Wiener” to peak performance and shows as few others can how “to coax the tenderest expressive pianissimo shiver from the violins and violas into the almost inaudible”, enthuses the Frankfurter Allgemeine Zeitung.

The Seasons, a late work of Haydn’s and the last oratorio he wrote, is a work that well expresses Haydn’s musical wit. Imitatively and self-mockingly “Papa Haydn” presents spring, summer, autumn and winter in four sections. A ploughman whistles the well known theme from Haydn’s “Surprise” Symphony, another passage depicts a hunting scene with positively brutal musical effects: a shot bird plummets from heaven with a percussion-enhanced fortissimo chord. The musical manifesto addressed to nature and the countryfolk, represented by the three soloists, breaks ground with its hitherto unexplored subject-matter as it heralds the dawning Romantic era in music, thus occupying a special place in Haydn’s oeuvre.

Nikolaus Harnoncourt brings out the simplicity of the work, “creating one sonic miracle after another” (Drehpunktkultur). The autumn hunting scenes are suitably jolly, the summer thunder ominously threatening. He is ably supported by Dorothea Röschmann as Hanne, admirable with her “soprano free of sharpness” (Salzburger Volkszeitung) and “superbe déclamation lyrique” (Diapason), Michael Schade as an expressive Lukas who puts “so much mellowness, so much warmth, so much colour” (Drehpuktkultur) into the realization of his part and finally Florian Boesch as Simon, who “... uses his songful baritone voice, his legato finesse, his mere breaths of piano to fling out a great narrative arch” (Salzburger Volkszeitung). Enhanced by the well-rehearsed choir of the Vienna State Opera, the performance proves a “stroke of luck, when the grandezza of this music is brought home to one like this, without airs and graces!”, concludes the Salzburger Nachrichten.

171


NikOlaus HarNONcOurt arNOld scHOeNberg cHOr cONceNtus Musicus WieN

Wolfgang amadeus mozartMissa longaLitaniae de venerabili altaris sacramento

sylvia schwartzelisabeth von magnus

Jeremy ovendenflorian Boesch


NikOlaus HarNONcOurt arNOld scHOeNberg cHOr cONceNtus Musicus WieN

Wolfgang amadeus mozartMissa longaLitaniae de venerabili altaris sacramento

sylvia schwartzelisabeth von magnus

Jeremy ovendenflorian Boesch

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WOLFGANG AMADEUS MOZART Missa C major K. 262

“Missa longa“

WOLFGANG AMADEUS MOZART Litaniae de venerabili altaris sacramento K. 243

Conductor Nikolaus Harnoncourt Orchestra Concentus Musicus Wien Chorus Arnold Schoenberg Chor Chorus Master Erwin Ortner

Soprano Sylvia Schwartz Mezzo-Soprano Elisabeth von Magnus Tenor Jeremy Ovenden Baritone Florian Boesch

Video Director Felix Breisach

Length approx. 80'


A co-production of UNITEL and ZDF

in cooperation with Arte, Salzburg Festival and CLASSICA

Nikolaus Harnoncourt places the emphasis on Wolfgang Amadeus Mozart in the Ouverture Spirituelle, featuring sacred music within the Salzburg Festival, by choosing two seldom heard works by the Salzburg-born composer. Together with the Arnold Schoenberg Choir and his Concentus Musicus Wien ensemble, the Mozart specialist conducts the Litaniae de venerabili altaris sacramento K. 243 and the Missa longa in C major K. 262 in the unique venue that is Salzburg Cathedral, a jewel of Baroque architecture. These two highly expressive works, written by the virtuoso composer when he was a mere twenty years old, were first performed in that very building.

“Harnoncourt revealed the historic richness of Mozart’s Litanei … in the finest colours and dynamic shading”, wrote the Kleine Zeitung. The Austrian baritone Florian Boesch and mezzosoprano Elisabeth von Magnus delivered their parts in especially sensitive manner. Jeremy Ovenden’s vocal line is truly elegant coupled with that of the ambitious Spanish soprano Sylvia Schwatz. “Ovenden’s attractive, bright tenor … his rhythm, diction and easy flexibility of voice are exemplary”, according to The Sunday Times.

Rarely revealed tapestries from the prince-archbishop’s treasury were hung in the cathedral especially for this concert, in order to give a better impression of how the works might have sounded in Mozart’s day.


NikOlaus HarNONcOurt arNOld scHOeNberg cHOrcONceNtus Musicus WieN

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WOLFGANG AMADEUS MOZART Missa C major K. 262

“Missa longa“

WOLFGANG AMADEUS MOZART Litaniae de venerabili altaris sacramento K. 243

Conductor Nikolaus Harnoncourt Orchestra Concentus Musicus Wien Chorus Arnold Schoenberg Chor Chorus Master Erwin Ortner

Soprano Sylvia Schwartz Mezzo-Soprano Elisabeth von Magnus Tenor Jeremy Ovenden Baritone Florian Boesch

Video Director Felix Breisach

Length approx. 80'


A co-production of UNITEL and ZDF

in cooperation with Arte, Salzburg Festival and CLASSICA

Nikolaus Harnoncourt places the emphasis on Wolfgang Amadeus Mozart in the Ouverture Spirituelle, featuring sacred music within the Salzburg Festival, by choosing two seldom heard works by the Salzburg-born composer. Together with the Arnold Schoenberg Choir and his Concentus Musicus Wien ensemble, the Mozart specialist conducts the Litaniae de venerabili altaris sacramento K. 243 and the Missa longa in C major K. 262 in the unique venue that is Salzburg Cathedral, a jewel of Baroque architecture. These two highly expressive works, written by the virtuoso composer when he was a mere twenty years old, were first performed in that very building.

“Harnoncourt revealed the historic richness of Mozart’s Litanei … in the finest colours and dynamic shading”, wrote the Kleine Zeitung. The Austrian baritone Florian Boesch and mezzosoprano Elisabeth von Magnus delivered their parts in especially sensitive manner. Jeremy Ovenden’s vocal line is truly elegant coupled with that of the ambitious Spanish soprano Sylvia Schwatz. “Ovenden’s attractive, bright tenor … his rhythm, diction and easy flexibility of voice are exemplary”, according to The Sunday Times.

Rarely revealed tapestries from the prince-archbishop’s treasury were hung in the cathedral especially for this concert, in order to give a better impression of how the works might have sounded in Mozart’s day.


NikOlaus HarNONcOurt arNOld scHOeNberg cHOrcONceNtus Musicus WieN

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173

Conducted by

Nikolaus Harnoncourt

OPENING CONCERT

WIENERPHILHARMONIKER

UNitel and ClassiCa present

Conducted by

Nikolaus Harnoncourt

OPENING CONCERT

WIENERPHILHARMONIKER

UNitel and ClassiCa present

Conductor Nikolaus Harnoncourt Orchestra Wiener Philharmoniker

FraNz ScHubert / aNtoN WeberNSechs Deutsche tänze, D. 820

By courtesy of Universal edition aG Wien

JoSeF StrauSSFrauenherz – Polka mazur, op. 166

JoSeF StrauSSDelirien – Waltz, op. 212

JoSeF StrauSSPêle-mêle – Polka schnell, op. 161

FraNz ScHubertSymphony in c major, D. 944

Directedby Michael beyer Length 95'

a production of orF on behalf of uNIteL cLaSSIca in co-production with zDF/arte


shot in HDtV 1080 Cat.no. A045005540000

T he opening of the salzburg Festival, for many re-garded as the world’s most renowned music fes-

tival, is by tradition a high-profile event. in 2009, this first concert given by the Wiener Philharmoniker was conducted by Nikolaus Harnoncourt. the pro-gram is, in honor of the 80th birthday of the great austrian conductor (6 Dec. 2009), a purely austrian. though it may seem unusual at first glance, under Harnon-court’s direction, the disparate works fuse into a moving, slightly melancholy portrait of the Viennese dance in the early 19th century. the concert opens with anton We-bern’s delicate orchestration of schubert’s “six German Dances,” which segue into two polkas and a waltz by Josef strauß, the younger – and bolder – composer brother of

“Walzerkönig” Johann strauß Jr. With this alternation of bittersweet and brassy dances, the stage is set for Harnon-court’s staggering reading of schubert’s “Great” C major symphony, in which the dance of death – so Viennese yet so universal – seems to have served as the composer’s model. this concert adds a new milestone to UNitel ClassiCa’s longtime partnership with the salzburg Festival, as well as with Harnoncourt and the Wiener Philharmoniker.

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O P E N I N GC O N C E R TWIENER PHILHARMONIKERNIKOLAVS HARNONCOVRT

Conductor Nikolaus Harnoncourt Orchestra Wiener Philharmoniker

FraNz ScHubert / aNtoN WeberNSechs Deutsche tänze, D. 820

By courtesy of Universal edition aG Wien

JoSeF StrauSSFrauenherz – Polka mazur, op. 166

JoSeF StrauSSDelirien – Waltz, op. 212

JoSeF StrauSSPêle-mêle – Polka schnell, op. 161

FraNz ScHubertSymphony in c major, D. 944

Directedby Michael beyer Length 95'

a production of orF on behalf of uNIteL cLaSSIca in co-production with zDF/arte


shot in HDtV 1080 Cat.no. A045005540000

T he opening of the salzburg Festival, for many re-garded as the world’s most renowned music fes-

tival, is by tradition a high-profile event. in 2009, this first concert given by the Wiener Philharmoniker was conducted by Nikolaus Harnoncourt. the pro-gram is, in honor of the 80th birthday of the great austrian conductor (6 Dec. 2009), a purely austrian. though it may seem unusual at first glance, under Harnon-court’s direction, the disparate works fuse into a moving, slightly melancholy portrait of the Viennese dance in the early 19th century. the concert opens with anton We-bern’s delicate orchestration of schubert’s “six German Dances,” which segue into two polkas and a waltz by Josef strauß, the younger – and bolder – composer brother of

“Walzerkönig” Johann strauß Jr. With this alternation of bittersweet and brassy dances, the stage is set for Harnon-court’s staggering reading of schubert’s “Great” C major symphony, in which the dance of death – so Viennese yet so universal – seems to have served as the composer’s model. this concert adds a new milestone to UNitel ClassiCa’s longtime partnership with the salzburg Festival, as well as with Harnoncourt and the Wiener Philharmoniker.

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O P E N I N GC O N C E R TWIENER PHILHARMONIKERNIKOLAVS HARNONCOVRT

175

Mariss Jansons Wiener PhilharMoniker

RICHARD STRAUSSDon Juan

RICHARD WAGNERWesendonck-Lieder

JOHANNES BRAHMSSymphony No. 1

Nina Stemme


RICHARD STRAUSSDon Juan

RICHARD WAGNERWesendonck-Lieder

JOHANNES BRAHMSSymphony No. 1

Nina Stemme

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RICHARD STRAUSS Don Juan

Tone poem after Nikolaus Lenau for large orchestra, Op. 20

RICHARD WAGNER Five songs for female voice

after poems by Mathilde Wesendonck WWV 91 “Wesendonck-Lieder“

Orchestration by Felix Mottl

JOHANNES BRAHMS Symphony No. 1 C minor, Op. 68

Conductor Mariss Jansons Orchestra Wiener Philharmoniker Soprano Nina Stemme


Length 95'


A co-production of UNITEL, ORF and ZDF/3sat

in cooperation with Wiener Philharmoniker, Salzburg Festival

and CLASSICA

With a programme dedicated to the second half of the 19th century, Mariss Jansons, the Vienna Philharmonic and soprano Nina Stemme offer a “superlative concert experience.” (Kurier).

A brilliant reading of Richard Strauss’s tone poem Don Juan, which sparkled especially in the woodwinds, opened the concert. Written in 1888, this was only the second symphonic work by the 24-year-old composer. The acclaimed premiere cemented Strauss’s later reputation as the outstanding champion of late Romantic works. In his youthful exuberance he created a seductive musical monument to the erotic, mythical figure of Don Juan, which Mariss Jansons delivered in peerless quality.

In complementary style – and yet emotionally almost the opposite – were Richard Wagner’s Wesendonck Lieder pervaded by the aura of Tristan, sung by the outstanding Swedish soprano Nina Stemme. They sounded deeply tender, almost lost in dreams, these “studies” for the opera Tristan and Isolde. Singer, orchestra and conductor were all able to draw on their long experience of this score, with the result that the songs emerge readily understandable and delivered in beautifully supple and delicate style.

To round off the concert there is the consciously down-to-earth symphonic answer of Johannes Brahms to Richard Wagner: his Symphony No. 1 in C minor. It is performed in all its complexity with wonderful solos and a deeply illuminating orchestral sound of unbelievably beautiful tone. “Jansons stimulates the philharmonic powers and leads them to produce an unparalleled quality - magical.” (Der Standard)


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RICHARD STRAUSS Don Juan

Tone poem after Nikolaus Lenau for large orchestra, Op. 20

RICHARD WAGNER Five songs for female voice

after poems by Mathilde Wesendonck WWV 91 “Wesendonck-Lieder“

Orchestration by Felix Mottl

JOHANNES BRAHMS Symphony No. 1 C minor, Op. 68

Conductor Mariss Jansons Orchestra Wiener Philharmoniker Soprano Nina Stemme


Length 95'


A co-production of UNITEL, ORF and ZDF/3sat

in cooperation with Wiener Philharmoniker, Salzburg Festival

and CLASSICA

With a programme dedicated to the second half of the 19th century, Mariss Jansons, the Vienna Philharmonic and soprano Nina Stemme offer a “superlative concert experience.” (Kurier).

A brilliant reading of Richard Strauss’s tone poem Don Juan, which sparkled especially in the woodwinds, opened the concert. Written in 1888, this was only the second symphonic work by the 24-year-old composer. The acclaimed premiere cemented Strauss’s later reputation as the outstanding champion of late Romantic works. In his youthful exuberance he created a seductive musical monument to the erotic, mythical figure of Don Juan, which Mariss Jansons delivered in peerless quality.

In complementary style – and yet emotionally almost the opposite – were Richard Wagner’s Wesendonck Lieder pervaded by the aura of Tristan, sung by the outstanding Swedish soprano Nina Stemme. They sounded deeply tender, almost lost in dreams, these “studies” for the opera Tristan and Isolde. Singer, orchestra and conductor were all able to draw on their long experience of this score, with the result that the songs emerge readily understandable and delivered in beautifully supple and delicate style.

To round off the concert there is the consciously down-to-earth symphonic answer of Johannes Brahms to Richard Wagner: his Symphony No. 1 in C minor. It is performed in all its complexity with wonderful solos and a deeply illuminating orchestral sound of unbelievably beautiful tone. “Jansons stimulates the philharmonic powers and leads them to produce an unparalleled quality - magical.” (Der Standard)


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177


The Zarzuela concert with Plácido Domingo and Ana María Martínez

from the Salzburg Festival

Amor,vida de mi vida


The Zarzuela concert with Plácido Domingo and Ana María Martínez



Conductor Jesús López Cobos Orchestra Mozarteum Orchester Salzburg

Tenor Plácido Domingo Soprano Ana María Martínez

Directed by Karina Fibich

Length 103’

A production of UNITEL in co-production with ORF, Arte and Classica



A typically Spanish musical genre, the zarzuela is a Spanish-language opera

with spoken dialogues and filled with pleasant-sounding, often folkloric tunes cast in arias, duets, four-part choruses and dances. While zarzuelas never really made it into the repertoires of theaters outside the Spanish-speaking countries, the many passionate, fiery, or lyrical vocal pieces have continued to thrive in concerts and recitals all over the world. One of the most renowned and ardent supporters of zarzuela melodies is Plácido Domingo, who is featured here in a concert given at the 2007 Salzburg Festival.

Belying his 66 years, the world-famous tenor sings these rousing, seductive melodies with the beguiling sweetness of a much younger man. Delicately painted character studies enhanced with occasional harmonic slides, sighing motifs and castanet laughter – Domingo transports the enraptured listener to the calles and plazas of Madrid and Seville. His phrasing is “subtly shaded, with the wisdom of an older man; the voice is always perfectly focused and led both dazzlingly and intelligently... The audience cheers.” (F.A.Z.).

Domingo is accompanied by the Mozarteum Orchestra under Jesús López Cobos and, above all, by his partner for the evening, soprano Ana María Martínez, “a beautiful woman with a fascinating voice, full of velvety mezzoish half-tints in the middle and bottom ranges, with a gleaming top.” (London Times) The young, internationally celebrated soprano made her Salzburg debut as Fiordiligi in Mozart‘s “Così fan tutte” in 2006 (part of Unitel‘s Mozart 22 collection). Martínez and Domingo serve up an evening of infectious good spirits and exquisite vocal treats. “The dazzle of genuine stars shone brightly over Salzburg!” (Die Welt)

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Plácido Domingo and Ana María Martínez



“ The dazzle of genuine stars shone brightly over Salzburg!”

Conductor Jesús López Cobos Orchestra Mozarteum Orchester Salzburg

Tenor Plácido Domingo Soprano Ana María Martínez

Directed by Karina Fibich

Length 103’

A production of UNITEL in co-production with ORF, Arte and Classica



A typically Spanish musical genre, the zarzuela is a Spanish-language opera

with spoken dialogues and filled with pleasant-sounding, often folkloric tunes cast in arias, duets, four-part choruses and dances. While zarzuelas never really made it into the repertoires of theaters outside the Spanish-speaking countries, the many passionate, fiery, or lyrical vocal pieces have continued to thrive in concerts and recitals all over the world. One of the most renowned and ardent supporters of zarzuela melodies is Plácido Domingo, who is featured here in a concert given at the 2007 Salzburg Festival.

Belying his 66 years, the world-famous tenor sings these rousing, seductive melodies with the beguiling sweetness of a much younger man. Delicately painted character studies enhanced with occasional harmonic slides, sighing motifs and castanet laughter – Domingo transports the enraptured listener to the calles and plazas of Madrid and Seville. His phrasing is “subtly shaded, with the wisdom of an older man; the voice is always perfectly focused and led both dazzlingly and intelligently... The audience cheers.” (F.A.Z.).

Domingo is accompanied by the Mozarteum Orchestra under Jesús López Cobos and, above all, by his partner for the evening, soprano Ana María Martínez, “a beautiful woman with a fascinating voice, full of velvety mezzoish half-tints in the middle and bottom ranges, with a gleaming top.” (London Times) The young, internationally celebrated soprano made her Salzburg debut as Fiordiligi in Mozart‘s “Così fan tutte” in 2006 (part of Unitel‘s Mozart 22 collection). Martínez and Domingo serve up an evening of infectious good spirits and exquisite vocal treats. “The dazzle of genuine stars shone brightly over Salzburg!” (Die Welt)

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Plácido Domingo and Ana María Martínez



“ The dazzle of genuine stars shone brightly over Salzburg!”

179

HEINRICH IGNAZ FRANZ BIBERMISSA SALISBURGENSIS

AND SACRED WORKS BY CLAUDIO MONTEVERDI

F R O M T H E S A L Z B U R G C A T H E D R A L

Collegium 1704 · Collegium Vocale 1704conducted by Václav Luks

HEINRICH IGNAZ FRANZ BIBERMISSA SALISBURGENSIS

AND SACRED WORKS BY CLAUDIO MONTEVERDI

“An extravagant but joyous enterprise, a real festival event. Long will this spectacular Mass continue to resound in my memory” (Salzburger Nachtrichten).

One of the supreme masterworks of Baroque polyphony, the Missa Salisburgensis by the brilliant Bohemian-born composer-violinist Heinrich Biber is here performed in the Salzburg Cathedral – the very building where it was first heard – as part of the Festival’s celebrations for the bicentenary of the former prince-bishopric’s union with Austria.

Originally performed in 1682 to mark the 1.100th anniversary of the founding of the Salzburg archdiocese, and only rediscovered by chance in a Salzburg greengrocer’s shop some 200 years later.Biber’s Mass was specifically designed to exploit the acoustics and architecture of the Cathedral and is here presented in authentic 360º surround sound, with the contributions of its two choirs and multiple instrumental ensembles – divided into a staggering total of 53 individual parts – ricocheting around the building in all directions from both the platform and the four raised galleries at each corner of the central crossing.

Performed by the renowned Prague-based period ensembles Collegium 1704 and Collegium Vocale 1704 under their founder-director Václav Luks, and bringing into play all four of the Cathedral’s organs, Biber’s Mass is prefaced by a selection of sacred choral works composed by Monteverdi during his time as choirmaster at St Mark’s, Venice – masterpieces whose polyphonic richness served as a model for Biber and is equally suited to the Italianate splendour of Salzburg’s Cathedral.

“As a listener, one could believe that, for once, one was actually experiencing in real life the fabled Music of the Spheres which people have talked about since Antiquity” (Süddeutsche Zeitung).

Length: approx. 110' Shot in HDTV 1080/50i Cat. no. A 045 50064X

A co-production of Ozango, Collegium 1704 and UNITEL

with the support of CNCwith the participation of M_Media - Classicall TV and SZENIK

in cooperation with ORF/3sat and Salzburg Festival

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CLAUDIO MONTEVERDI

“Dixit Dominus” (Psalm 110), SV 264 from Selva morale e spirituale

“Beatus vir” (Psalm 112), SV 268 from Selva morale e spirituale

Sonata sopra “Sancta Maria Ora pro nobis”, SV 206:11 from Vespro della Beata Vergine

“Laudate pueri” primo (Psalm 113), SV 270 from Selva morale e spirituale

“Laudate pueri” primo (Psalm 113), SV 270 from Selva morale e spirituale

HEINRICH IGNAZ FRANZ BIBER

“Missa Salisburgensis”

Orchestra Collegium 1704Chorus Collegium Vocale 1704

Conductor Václav Luks

Soprano 1 Silvia Frigato, Miriam Feuersinger

Soprano 2 Franscesca Cassinari, Barbora Kabátková

Alto 1 Terry Wey, Kamila MazalováAlto 2 Julia Böhme, Aneta Petrasová

Tenor 1 Václav Čížek, David HernándezTenor 2 Alessio Tosi, Robert Buckland

Baritone 1 Tomáš Král, Stephan MacLeodBaritone 2 Lisandro Abadie, Jaromír Nosek

Video Director Sébastien Glas

World Sales:


RICCARDO MUTIANNE-SOPHIE MUTTERWIENER PHILHARMONIKERTchaikovsky Violin Concerto in D majorBrahms Symphony No. 2

The Salzburg Festival can always be relied upon to offer compelling couplings of artistic personalities: in this case star violinist Anne-Sophie Mutter and Maestro Riccardo Muti on the podium to conduct the Vienna Philharmonic Orchestra.

Exactly 30 years to the day since Anne-Sophie Mutter first performed Tchaikovsky’s Violin Concerto at the festival under the direction of Herbert von Karajan, Tchaikovsky’s masterpiece – originally deemed to be unplayable – is back on the programme. And Mutter’s playing is stupendous: whether in her restrained, vibratoless playing in the middle movement or her bold approach in the finale, she succeeds in a way that draws astonishment. There is no doubt that the virtuoso, especially in combination with Riccardo Muti and the Vienna Philharmonic, “is at the peak of her art”, as the Salzburger Nachrichten observed. The diva of the violin dedicated the encore she gave that memorable day, Bach’s Sarabande in D minor, to her mentor, Karajan.

“The second half of the morning concert was a triumph of tonal beauty,” according to the Salzburger Nachrichten. In Brahms’s Symphony No. 2, which like Tchaikovsky’s Violin Concerto was premiered by the Vienna Philharmonic, the veteran conductor Muti “lets the string and wind groups demonstrate in exemplary manner how it can sound when all the musicians are in perfect harmony with one another.” A wonderfully transparent tonal sound that seems to make time stand still resulted in a thoroughly justified standing ovation in the Großes Festspielhaus!


Cat. no. A 045 50050 0000

A production ofORF, UNITEL and NHKin co-production with BR

in cooperation with Salzburg Festival and Wiener Philharmoniker

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Violin Anne-Sophie MutterOrchestra Wiener Philharmoniker

Conductor Riccardo Muti


PYOTR I. TCHAIKOVSKYViolin Concerto in D major, Op. 35

JOHANNES BRAHMSSymphony No. 2 in D major, Op. 73

RICCARDO MUTIANNE-SOPHIE MUTTER

WIENER PHILHARMONIKER

World Sales:


WIENER

PHILHARMONIKER

ANDRIS NELSONS

H Å K A N H A R D E N B E R G E RL U C Y C R O W E

E K AT E R I N A G U B A N OVA

M A H L E RSYMPHON Y NO. 2 ” RESURREC TION”

Z I M M E R M A N NNOBODY K NOWS DE TROUBL E I SEE

CONCERTO FOR TRUMPE T A ND ORCHES TR A

WIENER

PHILHARMONIKER

ANDRIS NELSONS

H Å K A N H A R D E N B E R G E RL U C Y C R O W E

E K AT E R I N A G U B A N OVA

M A H L E RSYMPHON Y NO. 2 ” RESURREC TION”

Z I M M E R M A N NNOBODY K NOWS DE TROUBL E I SEE

CONCERTO FOR TRUMPE T A ND ORCHES TR A

WIENER PHILHARMONIKER ANDRIS NELSONS

A passionate rendition of Mahler’s Resurrection Symphony, “oscillating between dream and grotesque,

between idyll and Hellmouth” – Wiener Zeitung –

The notion of passion, in music, initially referred to accounts of the suffering and death of Jesus. But would any form of art be conceivable without ardent passion and that kind of suffering which mobilizes creative forces as starting point for new artistic endeavours? Conducting the Wiener Philharmoniker, Andris Nelsons presents a concert night which concentrates every conceivable passion: Bernd Alois Zimmermann’s Trumpet Concerto “Nobody knows de trouble I see” and Mahler’s Symphony No. 2 in C minor “Resurrection”.


Cat. no. A 045 50092 0000

A co-production of BR/ARTE and UNITEL in cooperation withWiener Philharmoniker and Salzburg Festival

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Trumpet Håkan Hardenberger Soprano Lucy Crowe

Contralto Ekaterina Gubanova

Conductor Andris NelsonsOrchestra Wiener Philharmoniker

Chorus Chor des Bayerischen RundfunksChorus Master Howard Arman


BERND ALOIS ZIMMERMANNNobody Knows de Trouble I See

Concerto for Trumpet and Orchestra

GUSTAV MAHLERSymphony No. 2 in C minor “Resurrection”


WIENER PHILHARMONIKER ANDRIS NELSONS

A passionate rendition of Mahler’s Resurrection Symphony, “oscillating between dream and grotesque,

between idyll and Hellmouth” – Wiener Zeitung –

The notion of passion, in music, initially referred to accounts of the suffering and death of Jesus. But would any form of art be conceivable without ardent passion and that kind of suffering which mobilizes creative forces as starting point for new artistic endeavours? Conducting the Wiener Philharmoniker, Andris Nelsons presents a concert night which concentrates every conceivable passion: Bernd Alois Zimmermann’s Trumpet Concerto “Nobody knows de trouble I see” and Mahler’s Symphony No. 2 in C minor “Resurrection”.


Cat. no. A 045 50092 0000

A co-production of BR/ARTE and UNITEL in cooperation withWiener Philharmoniker and Salzburg Festival

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Trumpet Håkan Hardenberger Soprano Lucy Crowe

Contralto Ekaterina Gubanova

Conductor Andris NelsonsOrchestra Wiener Philharmoniker

Chorus Chor des Bayerischen RundfunksChorus Master Howard Arman


BERND ALOIS ZIMMERMANNNobody Knows de Trouble I See

Concerto for Trumpet and Orchestra

GUSTAV MAHLERSymphony No. 2 in C minor “Resurrection”


ANTONIO PAPPANOORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIACORO DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

BENJAMIN BRITTENWar Requiem

Anna NetrebkoIan Bostridge

Thomas Hampson

ANTONIO PAPPANOORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIACORO DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

BENJAMIN BRITTENWar Requiem

Anna NetrebkoIan Bostridge

Thomas Hampson

ANTONIO PAPPANOORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

CORO DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

World Sales:



Produced by ORF Video Director Henning Kasten


Cat. no. A04050013

Conductor Antonio Pappano Orchestra Orchestra dell’Accademia Nazionale di Santa Cecilia Chorus Coro dell’Accademia Nazionale di Santa Cecilia Chorus Master Ciro Visco

Soprano Anna Netrebko Tenor Ian Bostridge Baritone Thomas Hampson

A co-production of ORF and UNITEL in cooperation with


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

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

This is the first time that Anna Netrebko has sung 20th-century music at the Salzburg Festival and she wins us over right from the outset: “Anna Netrebko’s Rex tremendae is profoundly ominous, her Sanctus full of passion, her Lacrimosa overflows with tortuous transcendence – a complex tour de force” (Süddeutsche Zeitung). Ian Bostridge “provided the poignant moments” and “gave a profound impression of the creative impact of the War Requiem” (Die Presse). The Kurier newspaper recognises in Thomas Hampson a “profoundly touching baritone, unparalleled in this fach”, and continues: “Each soloist is ideally cast – that’s the way we want a music festival.”

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

ANTONIO PAPPANOORCHESTRA DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

CORO DELL’ACCADEMIA NAZIONALE DI SANTA CECILIA

World Sales:



Produced by ORF Video Director Henning Kasten


Cat. no. A04050013

Conductor Antonio Pappano Orchestra Orchestra dell’Accademia Nazionale di Santa Cecilia Chorus Coro dell’Accademia Nazionale di Santa Cecilia Chorus Master Ciro Visco

Soprano Anna Netrebko Tenor Ian Bostridge Baritone Thomas Hampson

A co-production of ORF and UNITEL in cooperation with


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

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

This is the first time that Anna Netrebko has sung 20th-century music at the Salzburg Festival and she wins us over right from the outset: “Anna Netrebko’s Rex tremendae is profoundly ominous, her Sanctus full of passion, her Lacrimosa overflows with tortuous transcendence – a complex tour de force” (Süddeutsche Zeitung). Ian Bostridge “provided the poignant moments” and “gave a profound impression of the creative impact of the War Requiem” (Die Presse). The Kurier newspaper recognises in Thomas Hampson a “profoundly touching baritone, unparalleled in this fach”, and continues: “Each soloist is ideally cast – that’s the way we want a music festival.”

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

187

Antonio PappanoOrchestra dell’Accademia Nazionale di Santa Cecilia


Stabat MaterGioachino rossini

Anna Netrebko Marianna PizzolatoMatthew Polenzani Ildebrando D’Arcangelo


Antonio PappanoOrchestra dell’Accademia Nazionale di Santa Cecilia



Anna Netrebko Marianna PizzolatoMatthew Polenzani Ildebrando D’Arcangelo


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Soprano AnnaNetrebko Mezzo-Soprano MariannaPizzolato Tenor MatthewPolenzani Bass IldebrandoD’Arcangelo

Conductor AntonioPappano Orchestra Orchestradell’Accademia NazionalediSantaCecilia Chorus Corodell’Accademia NazionalediSantaCecilia Chorus Master CiroVisco Video Director MichaelBeyer Length approx.110'


AproductionofUNITELinco-productionwithZDF/ArteandORF


Four superb soloists - Anna Netrebko, Marianna Pizzolato, Matthew Polenzani and Ildebrando d’Arcangelo - transform Rossini’s “Stabat mater”

into a feast of “italianità”, uniting their voices in a warm, mellow whole. After several successful performances of this rarely played sacred work in various cities, the Chorus and Orchestra of the Accademia di Santa Cecilia of Rome wind up their Rossini project with a performance at the Salzburg Festival, their f irst-ever guest appearance there. Anna Netrbko, whose aria “Inflammatus” was for many the concert’s “unspoken high point” (Die Presse), succeeded in “blending her voice beautifully into the soloist ensemble – one voice among equals in an excellent, well-balanced quartet” (Salzburger Nachrichten).

Shaping the contours of this quartet is the Accademia’s principal conductor, Antonio Pappano, who has propelled the Accademia to the top ranks of the world’s orchestras. Pappano, one of the leading opera conductors of our time and musical director of London’s Covent Garden Opera, does full justice to Rossini’s undeniably operatic work, a dramatic piece full of melodious choral passages and varied solos and ensembles for different combinations of soloists.

Also on the program is Josef Haydn’s last “London” Symphony No. 104, in which Pappano proved himself a connoisseur of Viennese classicism and “in which the orchestra demonstrated its high standing in a vital interpretation”, wrote Die Presse.


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Soprano AnnaNetrebko Mezzo-Soprano MariannaPizzolato Tenor MatthewPolenzani Bass IldebrandoD’Arcangelo

Conductor AntonioPappano Orchestra Orchestradell’Accademia NazionalediSantaCecilia Chorus Corodell’Accademia NazionalediSantaCecilia Chorus Master CiroVisco Video Director MichaelBeyer Length approx.110'


AproductionofUNITELinco-productionwithZDF/ArteandORF


Four superb soloists - Anna Netrebko, Marianna Pizzolato, Matthew Polenzani and Ildebrando d’Arcangelo - transform Rossini’s “Stabat mater”

into a feast of “italianità”, uniting their voices in a warm, mellow whole. After several successful performances of this rarely played sacred work in various cities, the Chorus and Orchestra of the Accademia di Santa Cecilia of Rome wind up their Rossini project with a performance at the Salzburg Festival, their f irst-ever guest appearance there. Anna Netrbko, whose aria “Inflammatus” was for many the concert’s “unspoken high point” (Die Presse), succeeded in “blending her voice beautifully into the soloist ensemble – one voice among equals in an excellent, well-balanced quartet” (Salzburger Nachrichten).

Shaping the contours of this quartet is the Accademia’s principal conductor, Antonio Pappano, who has propelled the Accademia to the top ranks of the world’s orchestras. Pappano, one of the leading opera conductors of our time and musical director of London’s Covent Garden Opera, does full justice to Rossini’s undeniably operatic work, a dramatic piece full of melodious choral passages and varied solos and ensembles for different combinations of soloists.

Also on the program is Josef Haydn’s last “London” Symphony No. 104, in which Pappano proved himself a connoisseur of Viennese classicism and “in which the orchestra demonstrated its high standing in a vital interpretation”, wrote Die Presse.


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189


Simon rattlEJESúS Parranational childrEn’S SymPhony orchEStra oF vEnEzuEla

GeorGe GershwinCuban Overture

Alberto GinAsterADanzas de Estancia, Op. 8a

GustAv MAhlerSymphony No. 1 in D major


Simon rattlEJESúS Parranational childrEn’S SymPhony orchEStra oF vEnEzuEla

GeorGe GershwinCuban Overture

Alberto GinAsterADanzas de Estancia, Op. 8a

GustAv MAhlerSymphony No. 1 in D major


World Sales:



Produced by Bernhard Fleischer Moving Images Video Director Henning Kasten


Cat. no. A045500180000

Orchestra National Children’s Symphony Orchestra of Venezuela Conductors Simon Rattle Jesús Parra

GeORGe GeRSHWIN Cuban Overture

ALBeRTO GINASTeRA Danzas de Estancia, Op. 8a

GuSTAV MAHLeR Symphony No. 1 in D major

A BFMI production for ServusTV in cooperation with

Salzburg Festival and uNITeL CLASSICA

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“When I first conducted the Infantil Orchestra in Caracas, I could not believe that children as young as nine and never older than 14 could not only play all the notes, but also could make such wonderful music. It is exhilarating and life-enhancing. This is, quite simply, the future of music. Those of you lucky enough to hear the concerts will see why.” (Simon Rattle)

Rarely has an orchestra enchanted and thrilled its audience as the National Children’s Orchestra of Venezuela did at the Salzburg Festival: their concert combined pure joy of playing and an exceptional musical knowledge - “Musical quality of the highest level, a miracle!”, as the press wrote. The concert features Mahler’s Symphony No. 1 as the central work, in addition to Gershwin’s “Cuban Overture” and “Danzas de Estancia” by the Argentinean composer Alberto Ginastera.

The Orchestra was founded in 2010 by José Antonio Abreu as part of El Sistema, Simon Rattle took the podium himself and conducted the first-ever concert of the new Venezuelan children’s orchestra at the University of Caracas. Following the invitation of the Salzburg Festival, the National Children’s Symphony Orchestra embarks upon its first tour abroad. And once again, it’s Simon Rattle who conducts the children’s orchestra in its international debut. As a special bonus the “Danzas” by Ginastera are conducted by 18-year-old Jesús Parra, the latest child prodigy to come of out El Sistema’s educational program.


World Sales:



Produced by Bernhard Fleischer Moving Images Video Director Henning Kasten


Cat. no. A045500180000

Orchestra National Children’s Symphony Orchestra of Venezuela Conductors Simon Rattle Jesús Parra

GeORGe GeRSHWIN Cuban Overture

ALBeRTO GINASTeRA Danzas de Estancia, Op. 8a

GuSTAV MAHLeR Symphony No. 1 in D major


Salzburg Festival and uNITeL CLASSICA

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“When I first conducted the Infantil Orchestra in Caracas, I could not believe that children as young as nine and never older than 14 could not only play all the notes, but also could make such wonderful music. It is exhilarating and life-enhancing. This is, quite simply, the future of music. Those of you lucky enough to hear the concerts will see why.” (Simon Rattle)

Rarely has an orchestra enchanted and thrilled its audience as the National Children’s Orchestra of Venezuela did at the Salzburg Festival: their concert combined pure joy of playing and an exceptional musical knowledge - “Musical quality of the highest level, a miracle!”, as the press wrote. The concert features Mahler’s Symphony No. 1 as the central work, in addition to Gershwin’s “Cuban Overture” and “Danzas de Estancia” by the Argentinean composer Alberto Ginastera.

The Orchestra was founded in 2010 by José Antonio Abreu as part of El Sistema, Simon Rattle took the podium himself and conducted the first-ever concert of the new Venezuelan children’s orchestra at the University of Caracas. Following the invitation of the Salzburg Festival, the National Children’s Symphony Orchestra embarks upon its first tour abroad. And once again, it’s Simon Rattle who conducts the children’s orchestra in its international debut. As a special bonus the “Danzas” by Ginastera are conducted by 18-year-old Jesús Parra, the latest child prodigy to come of out El Sistema’s educational program.

191

RichaRd StRauSS LiederALpensinfonie

S a l z b u r g F e S t i v a l

Renée FlemingchRiStian thielemann

WieneR PhilhaRmonikeR

unitel and ClaSSiCa present


S a l z b u r g F e S t i v a l

Renée FlemingchRiStian thielemann

WieneR PhilhaRmonikeR

unitel and ClaSSiCa present

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RICHARD STRAUSSBefreit, Op. 39/4

Winterliebe, Op. 48/5Traum durch die Dämmerung, Op. 29/1Gesang der Apollopriesterin, Op. 33/2

Scene from the opera Arabella

Soprano Renée Fleming

RICHARD STRAUSSEine Alpensinfonie, Op. 64

Conductor Christian Thielemann Orchestra Wiener Philharmoniker video Director Michael Beyer length approx. 84'




A magical evening at the Salzburg Festival: soprano renée Fleming, conductor Christian thielemann and the Wiener Philharmoniker perform works by richard

Strauss – “one of those musical events that prove that excellence truly is possible” (El País).

in her interpretation of four songs for voice and orchestra by richard Strauss, along with a scene from “arabella”, Fleming wanders along the summits of vocal artistry as a diva who dares to project the innermost emotions of the music she sings. in her every nuance and every pianissimo, she is “treated like a queen” (Der Standard) by thielemann and the Wiener Philharmoniker. “it is wondrous how discreetly the Philharmoniker respond to thielemann’s invocation and embrace the gold of her voice…”, exclaimed vienna’s Die Presse.

in his “alpensymphonie”, Strauss musically depicts a romantic excursion to mountain woodlands and meadows, to glaciers, waterfalls and icy summits, through fog and storms, with cowbells and alphorns. Without a trace of bombast or heaviness, thielemann and the Philharmoniker elaborate, as Der Standard writes, “a new vision of the alpine Symphony” that is characterized by a “chamber-music-like transparency”.


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RICHARD STRAUSSBefreit, Op. 39/4

Winterliebe, Op. 48/5Traum durch die Dämmerung, Op. 29/1Gesang der Apollopriesterin, Op. 33/2

Scene from the opera Arabella

Soprano Renée Fleming

RICHARD STRAUSSEine Alpensinfonie, Op. 64

Conductor Christian Thielemann Orchestra Wiener Philharmoniker video Director Michael Beyer length approx. 84'




A magical evening at the Salzburg Festival: soprano renée Fleming, conductor Christian thielemann and the Wiener Philharmoniker perform works by richard

Strauss – “one of those musical events that prove that excellence truly is possible” (El País).

in her interpretation of four songs for voice and orchestra by richard Strauss, along with a scene from “arabella”, Fleming wanders along the summits of vocal artistry as a diva who dares to project the innermost emotions of the music she sings. in her every nuance and every pianissimo, she is “treated like a queen” (Der Standard) by thielemann and the Wiener Philharmoniker. “it is wondrous how discreetly the Philharmoniker respond to thielemann’s invocation and embrace the gold of her voice…”, exclaimed vienna’s Die Presse.

in his “alpensymphonie”, Strauss musically depicts a romantic excursion to mountain woodlands and meadows, to glaciers, waterfalls and icy summits, through fog and storms, with cowbells and alphorns. Without a trace of bombast or heaviness, thielemann and the Philharmoniker elaborate, as Der Standard writes, “a new vision of the alpine Symphony” that is characterized by a “chamber-music-like transparency”.


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LORENZO VIOTTI SERGEY KHACHATRYAN CAMERATA SALZBURG

BEETHOVEN VIOLIN CONCERTO IN D MAJOR

SCHUMANN SYMPHONY NO. 3 “RHENISH”

Hailed as one of the most talented conductors of his generation, Lorenzo Viotti returns to the Salzburg Festival, which proved to be a stepping stone for the young Swiss: After he won the festival’s „Young Conductors Award“, leading the renowned Camerata Salzburg, he took the classical world by storm. Reunited with the Camerata, Viotti is joined by Sergey Khachatryan in the picturesque Großer Saal of the Stiftung Mozarteum. Another rising star, the Armenian violinist has been collecting numerous prizes during his ascent: apart from being a former scholarship holder of the Anne-Sophie-Mutter Foundation, Khachatryan was crowned the youngest ever winner of the International Jean Sibelius Competition in Helsinki and won the prestigious Queen Elisabeth Competition in Brussels.

In their “debut of the young and wild” (ARD), Viotti, Khachatryan and the Camerata Salzburg rise to the challenge that is Beethoven’s Violin Concerto: After all, Beethoven’s work – one of the most important pieces of concert literature for violin – was deemed too difficult whilst not being virtuosic enough when it premiered in 1806. Under the gifted Viotti, the “darling of the public” (Salzburger Nachrichten), Khachatryan demonstrates his extensive skills, producing “celestially delicate sounds” (drehpunktkultur.at). Viotti’s treatment of the “Renish”, Robert Schumann’s Third Symphony, is “youthful and brisk” (Kronenzeitung) – a joyful second half of the Festspiel-concert. A co-production of BR, ARTE and UNITEL


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Violin Sergey KhachatryanOrchestra Camerata Salzburg

Conductor Lorenzo Viotti


LORENZO VIOTTI SERGEY KHACHATRYAN CAMERATA SALZBURG

LUDWIG VAN BEETHOVENViolin Concerto in D major, Op. 61

ROBERT SCHUMANNSymphony No. 3 in E flat major, Op. 97 “Rhenish”

– Encore –

VARTAPET KOMITAS Tsirani tsar (The Apricot Tree)

Armenian Folk Song

Available bonus material: Interview with Lorenzo Viotti

Length: 7'


Cat. no. A 045 50082 0000

World Sales:


NAME VORDERSEITE 1

RUDOLFBUCHBINDERTHE COMPLETE BEETHOVEN PIANO SONATAS

NAME RÜCKSEITE 1

Video Director Frédéric Delesques

“When one giant crowns the other” (Kurier)

Beethoven’s opus of 32 piano sonatas, known as “the New Testament of piano music”, is a landmark in piano literature. Spanning Beethoven’s entire life, the sonatas reflect his whole development as a human being and a musician, moving from one century into the next, from one epoch in music in to another. With the sonatas “Pathétique”, “Moonshine”, “Waldstein”, “Appassionata”, “Hammerklavier” and the final sonata Op. 111, which was named the final of all sonatas in Thomas Mann’s “Doctor Faustus”, the cycle contains some of the most known piano pieces of all time.

Now, for the first time in its history the complete cycle was performed at the Salzburg Festival. For this challenge the Festival asked no less than the world-renowned and influential Beethoven expert and pianist Rudolf Buchbinder. Buchbinder has spent his life contemplating Beethoven’s inexhaustible works. With more than 45 performances of Beethoven’s complete sonata cycle in concert halls all over the world and his relentless drive to discover new details and facets in the sonatas through meticulous study of the scores, “Buchbinder has set new standards in the interpretation of Beethoven’s works” summarizes the German radio BR. For his late recording of the cycle Buchbinder received an Echo and was celebrated by the critics as well as by the public

Buchbinder’s performance is “that of a real master, effortless changing between lightning fast, technically challenging moments and tender lyrical passages. Where others can pride themselves in getting through without any accidents, Buchbinder is a poet, precise in every arpeggio touching in every keystroke” (Kurier). “Brilliant in his virtuosity” (Die Presse). “A real natural” (Der Standart).

Evening lSonata No. 1 in F minor, Op. 2/1Sonata No. 10 in G major, Op. 14/2Sonata No. 13 in E flat major, Op. 27/1, “Sonata quasi una fantasia”Sonata No. 17 in D minor, Op. 31/2, “Der Sturm”Sonata No. 18 in E flat major, Op. 31/3, “Die Jagd”Evening llSonata No. 5 in C minor, Op. 10/1Sonata No. 12 in A flat major, Op. 26Sonata No. 22 in F major, Op. 54Sonata No. 4 E flat major, Op. 7, “Grande Sonate”Sonata No. 14 in sharp minor, Op. 27/2, “Mondschein-Sonate”Evening lllSonata No. 3 in C major, Op. 2/3 Sonata No. 19 in G minor, Op. 49/1Sonata No. 26 in E flat major, Op. 81a, “Les Adieux”Sonata No. 7 in D major, Op. 10/3Sonata No. 28 in A major, Op. 101Evening lVSonata No. 6 in F major, Op. 10/2Sonata No. 24 in F sharp major, Op. 78Sonata No. 16 in G major, Op. 31/1Sonata No. 29 in B flat major, Op. 106, “Hammerklavier-Sonate”Evening VSonata No. 2 in A major, Op. 2/2Sonata No. 9 in E major, Op. 14/1Sonata No. 15 in D major, Op. 28, “Sonate pastorale”Sonata No. 27 in E minor, Op. 90Sonata No. 23 in F minor, Op. 57, “Sonata appassionata”Evening VlSonata No. 11 in B flat major, Op. 22Sonata No. 20 in G major, Op. 49/2Sonata No. 8 in C minor, Op. 13, “Grande Sonate pathétique”Sonata No. 25 in G major, Op. 79Sonata No. 21 in C major, Op. 53, “Waldstein-Sonate”Evening VllSonata No. 30 in E major, Op. 109Sonata No. 31 in A flat major, Op. 110Sonata No. 32 in C minor, Op. 111

Recorded at the Großer Saal, Mozarteum Salzburg

Next to the cycle there will be extensive bonus materials available, which are still in production. The sonatas will be available one by one and as performed on the evenings.

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Cat. no. A 045 50038 0000

A co-production of ORF, Heliox Film and UNITEL



World Sales:


NAME RÜCKSEITE 1

Video Director Frédéric Delesques

“When one giant crowns the other” (Kurier)

Beethoven’s opus of 32 piano sonatas, known as “the New Testament of piano music”, is a landmark in piano literature. Spanning Beethoven’s entire life, the sonatas reflect his whole development as a human being and a musician, moving from one century into the next, from one epoch in music in to another. With the sonatas “Pathétique”, “Moonshine”, “Waldstein”, “Appassionata”, “Hammerklavier” and the final sonata Op. 111, which was named the final of all sonatas in Thomas Mann’s “Doctor Faustus”, the cycle contains some of the most known piano pieces of all time.

Now, for the first time in its history the complete cycle was performed at the Salzburg Festival. For this challenge the Festival asked no less than the world-renowned and influential Beethoven expert and pianist Rudolf Buchbinder. Buchbinder has spent his life contemplating Beethoven’s inexhaustible works. With more than 45 performances of Beethoven’s complete sonata cycle in concert halls all over the world and his relentless drive to discover new details and facets in the sonatas through meticulous study of the scores, “Buchbinder has set new standards in the interpretation of Beethoven’s works” summarizes the German radio BR. For his late recording of the cycle Buchbinder received an Echo and was celebrated by the critics as well as by the public

Buchbinder’s performance is “that of a real master, effortless changing between lightning fast, technically challenging moments and tender lyrical passages. Where others can pride themselves in getting through without any accidents, Buchbinder is a poet, precise in every arpeggio touching in every keystroke” (Kurier). “Brilliant in his virtuosity” (Die Presse). “A real natural” (Der Standart).

Evening lSonata No. 1 in F minor, Op. 2/1Sonata No. 10 in G major, Op. 14/2Sonata No. 13 in E flat major, Op. 27/1, “Sonata quasi una fantasia”Sonata No. 17 in D minor, Op. 31/2, “Der Sturm”Sonata No. 18 in E flat major, Op. 31/3, “Die Jagd”Evening llSonata No. 5 in C minor, Op. 10/1Sonata No. 12 in A flat major, Op. 26Sonata No. 22 in F major, Op. 54Sonata No. 4 E flat major, Op. 7, “Grande Sonate”Sonata No. 14 in sharp minor, Op. 27/2, “Mondschein-Sonate”Evening lllSonata No. 3 in C major, Op. 2/3 Sonata No. 19 in G minor, Op. 49/1Sonata No. 26 in E flat major, Op. 81a, “Les Adieux”Sonata No. 7 in D major, Op. 10/3Sonata No. 28 in A major, Op. 101Evening lVSonata No. 6 in F major, Op. 10/2Sonata No. 24 in F sharp major, Op. 78Sonata No. 16 in G major, Op. 31/1Sonata No. 29 in B flat major, Op. 106, “Hammerklavier-Sonate”Evening VSonata No. 2 in A major, Op. 2/2Sonata No. 9 in E major, Op. 14/1Sonata No. 15 in D major, Op. 28, “Sonate pastorale”Sonata No. 27 in E minor, Op. 90Sonata No. 23 in F minor, Op. 57, “Sonata appassionata”Evening VlSonata No. 11 in B flat major, Op. 22Sonata No. 20 in G major, Op. 49/2Sonata No. 8 in C minor, Op. 13, “Grande Sonate pathétique”Sonata No. 25 in G major, Op. 79Sonata No. 21 in C major, Op. 53, “Waldstein-Sonate”Evening VllSonata No. 30 in E major, Op. 109Sonata No. 31 in A flat major, Op. 110Sonata No. 32 in C minor, Op. 111

Recorded at the Großer Saal, Mozarteum Salzburg

Next to the cycle there will be extensive bonus materials available, which are still in production. The sonatas will be available one by one and as performed on the evenings.

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Cat. no. A 045 50038 0000

A co-production of ORF, Heliox Film and UNITEL



World Sales:


ENRICO PACELEONIDAS KAVAKOS

World Sales:

Produced by Bernhard Fleischer Moving Images Video Director Christian Kurt Weisz

Shot in HDTV 1080/50i Cat. no. A 045 50002 0000

Violin Leonidas Kavakos Piano Enrico Pace

A production of BR in co-production with UNITEL

Ludwig van Beethoven’s “Sonatas for Piano and Violin” were almost all composed in a relatively quick succession between 1797 and 1803, in Beethoven’s early days, and are now part of the classic repertoire of the violin literature. Leonidas Kavakos’s and Enrico Pace’s interpretation of the complete Sonata Cycle set new standards, was nominated for the Grammy Award and was celebrated by the press: “Together these two make magic” (Buffalo News), “an ideally attuned, technically perfect duo” (Die Presse).

Leonidas Kavakos has established himself as a violinist and artist of rare quality, known at the highest level for his virtuosity, superb musicianship and the integrity of his playing. With his probing and analytical approach, Kavakos brings authority and depth of expression to the great concerti of the 19th and 20th centuries that are the mainstay of his repertoire. Just like Leonidas Kavakos, the acclaimed Italian pianist Enrico Pace is a devoted chamber musician.

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No. 1: Violin Sonata in D major, Op. 12/1 Length: 21'No. 2: Violin Sonata in A major, Op. 12/2 Length: 18'No. 3: Violin Sonata in E flat major, Op. 12/3 Length: 21'No. 4: Violin Sonata in A minor, Op. 23 Length: 23'No. 5: Violin Sonata in F major, Op. 24 “Spring” Length: 26'

VIOLINSONATAS

THE COMPLETE

LUDWIG VAN BEETHOVEN

No. 6: Violin Sonata in A major, Op. 30/1 Length: 25'No. 7: Violin Sonata in C minor, Op. 30/2 Length: 26'No. 8: Violin Sonata in G major, Op. 30/3 Length: 20'No. 9: Violin Sonata in A major, Op. 47 “Kreutzer” Length: 40'No. 10: Violin Sonata in G Major, Op. 96 Length: 30'

World Sales:


with works byLeoncavallo, Tosti, Rossini,

Donizetti, Duparc and Gounod

SCALERAVINCENZOFLÓREZ

JUAN DIEGO

T H E S A L Z B U R G R E C I TA L

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The Salzburg Festival, where the world’s most famous artists come together, is always good for great concert experiences – and yet this unique concert is sure to go down in the annals of the festival. With a varied programme of popular Italian airs by Tosti and Leoncavallo, tender French songs by Henri Duparc and old favourites from Italian bel canto like Edgardo’s aria from Lucia di Lammermoor, the “Peruvian vocal miracle” (Die Presse) was an utter delight at his sold-out lieder recital in the Grosses Festspielhaus. With incomparable lightness, his own inimitable timbre and perfect technique, Floréz excelled in his ambitious programme and won over his listeners “with his soft, warm, luscious voice – and gave the audience in the Grosses Festspielhaus the impression

that he was singing for a small company of intimate friends” (Die Presse). His 2200 listeners held

their breath as Floréz – accompanied by his regular pianist, the congenial musician

Vincenzo Scalera – breathed Duparc’s songs and just a little later effortlessly scaled the heights with Gounod’s “Salut, demeure chaste et pure” from Faust. Scalera coaxed “tenderly modelled, sensitive postludes from the keys” (Die Presse), while the tenor

established his credentials in every mood and in every register.

The first of the three encores at the end of the official programme brought the surprise and for

many the covert climax of the evening: Floréz plucked a guitar and accompanied himself in Consuelo Velázquez’ “Bésame mucho”. With infinite tenderness, gentle heights, heartfelt devotion and seemingly never-ending top notes, Floréz conquered every heart in the house, prompting storms of enthusiastic applause. Boundless acclaim, then, from an audience who let the man hailed as the best tenor of his generation finally leave the stage after his last, long awaited encore – his hit parade of top Cs – “Ah! mes amis” from Donizetti’s La Fille du régiment.


Cat. no. A 045 50051 0000

A production of UNITEL CLASSICAin cooperation with Salzburg Festival

Tenor Juan Diego FlórezPiano Vincenzo Scalera


RUGGERO LEONCAVALLO Aprile/Vieni, amor mio!/Mattinata

FRANCESCO PAOLO TOSTI Malìa/L’alba separa dalla luce l’ombra/Marechiare

GIOACHINO ROSSINI "Intesi: ah! tutto intesi" … "Tu seconda" from Il turco in Italia

GAETANO DONIZETTI "Partir degg’io"… "T’amo qual s’ama un angelo" from Lucrezia Borgia

HENRI DUPARC Chanson triste/Phidylé/L’Invitation au voyage/

La Manoir de Rosemonde

CHARLES GOUNOD "Salut, demeure chaste et pure" from Faust

GAETANO DONIZETTI"Tombe degli avi miei" … "Fra poco a me ricovero"

from Lucia di Lammermoor

– Encores –

CONSUELO VELÁZQUEZBésame mucho

AUGUSTÍN LARAGranada

GAETANO DONIZETTI"Ah! Mes amis!" from La Fille du régiment

VINCENZO SCALERAJUAN DIEGO FLORÉZ T H E S A L Z B U R G R E C I TA L

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Alfred Brendel on Music Three lectures




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Does Classical Music Have To Be Entirely Serious?

length 74’

Musical Character(s) As Exemplified In Beethoven’s Piano Sonatas

length 72’

Light And Shade Of Interpretation

length 79’

Piano Alfred Brendel

Video Director Mark Kidel


A production of UNITEL and CLASSICA in cooperation with Salzburg Festival

Also available in German (Cat. no. A045006300000):

Das umgekehrt erhabene. Über die Möglichkeiten komischer Musik ( 75’)

Musikalische Charaktere am Beispiel Beethovens (78’)

licht- und schattenseiten der interpretation (82’)

When legendary pianist alfred Brendel took the widely regretted decision to no longer perform in public, he did not abandon the concert stage. in fact, he continues

to celebrate triumphs on stages around the world. instead of performing, he now devotes himself entirely to holding master classes and passing his knowledge and experience on to others. this time with three lectures on music, which he illustrates with music examples and which he has given throughout the world, from Berkeley to Berlin, Paris, london and the salzburg Festival.

in his lectures, which were recorded in salzburg, Brendel, the “most profound pianist of our day” (Joachim Kaiser), takes his listeners on a journey of discovery behind the notes and into the mysteries of the musical world. immediately putting his public at ease, he captures its attention with a wealth of musical examples which he performs at the piano to illustrate his talks. thanks to their mixture of theory and practical examples, his lectures – in spite of their very high level of sophistication – are entertaining not only for the expert, but also for everyone interested in music.

Brendel fascinates each and every listener with his crystal-clear mind, vast musical knowledge, dry wit, and verbal elegance, both in the english as well as the German versions of the lectures.

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Does Classical Music Have To Be Entirely Serious?

length 74’

Musical Character(s) As Exemplified In Beethoven’s Piano Sonatas

length 72’

Light And Shade Of Interpretation

length 79’

Piano Alfred Brendel

Video Director Mark Kidel


A production of UNITEL and CLASSICA in cooperation with Salzburg Festival

Also available in German (Cat. no. A045006300000):

Das umgekehrt erhabene. Über die Möglichkeiten komischer Musik ( 75’)

Musikalische Charaktere am Beispiel Beethovens (78’)

licht- und schattenseiten der interpretation (82’)

When legendary pianist alfred Brendel took the widely regretted decision to no longer perform in public, he did not abandon the concert stage. in fact, he continues

to celebrate triumphs on stages around the world. instead of performing, he now devotes himself entirely to holding master classes and passing his knowledge and experience on to others. this time with three lectures on music, which he illustrates with music examples and which he has given throughout the world, from Berkeley to Berlin, Paris, london and the salzburg Festival.

in his lectures, which were recorded in salzburg, Brendel, the “most profound pianist of our day” (Joachim Kaiser), takes his listeners on a journey of discovery behind the notes and into the mysteries of the musical world. immediately putting his public at ease, he captures its attention with a wealth of musical examples which he performs at the piano to illustrate his talks. thanks to their mixture of theory and practical examples, his lectures – in spite of their very high level of sophistication – are entertaining not only for the expert, but also for everyone interested in music.

Brendel fascinates each and every listener with his crystal-clear mind, vast musical knowledge, dry wit, and verbal elegance, both in the english as well as the German versions of the lectures.

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203

Documentaries

DIE SCHULDIGKEIT DES ERSTEN GE-BOTES APOLLO ET HYACINTHUS BASTIEN ET BASTIENNE LA FINTA SEMPLICE MITRIDATE RE DI PONTO ASCANIO IN ALBA BETULIA LIBE-RATA IL SOGNO DI SCIPIONE LUCIO SILLA LA FINTA GIARDINIERA IL RE PASTORE ZAIDE ADAMA IDOMENEO DIE ENTFÜHRUNG AUS DEM SERAIL L‘OCA DEL CAIRO LO SPOSO DE-LUSO DER SCHAUSPIELDIREKTOR LE NOZZE DI FIGARO DON GIOVANNI COSÌ FAN TUT-TE DIE ZAUBERFLÖTE LA CLEMENZA DI TITO


Documentaries

DIE SCHULDIGKEIT DES ERSTEN GE-BOTES APOLLO ET HYACINTHUS BASTIEN ET BASTIENNE LA FINTA SEMPLICE MITRIDATE RE DI PONTO ASCANIO IN ALBA BETULIA LIBE-RATA IL SOGNO DI SCIPIONE LUCIO SILLA LA FINTA GIARDINIERA IL RE PASTORE ZAIDE ADAMA IDOMENEO DIE ENTFÜHRUNG AUS DEM SERAIL L‘OCA DEL CAIRO LO SPOSO DE-LUSO DER SCHAUSPIELDIREKTOR LE NOZZE DI FIGARO DON GIOVANNI COSÌ FAN TUT-TE DIE ZAUBERFLÖTE LA CLEMENZA DI TITO


“Mozart22” is an enterprise of utterly unique dimensions, the musical project of the century: all of Mozart’s stage works presented over the course of six weeks during the 2006 Salzburg Festival. The project brought together the greatest Mozart singers, conductors, stage directors and ensembles of the day. To make this extraordinary artistic achievement accessible to a broad public, the entire “Mozart22” cycle was recorded with the highest-quality HD technology and 5.1 Dolby Digital sound.

The cycle also includes 20 one-hour documentaries containing excerpts from rehearsals, interviews with artists, and background reports that shed light on the meticulously elaborated, multi-layered concepts of the musical interpretations and stage productions. The programs introduce the work in question and situate it in Mozart’s œuvre. Each documentary is devoted to one opera, whereby the shorter works and fragments are bundled. All the operas, of course, are available from UNITEL CLASSICA.

In addition to providing valuable insights from the artists, the documentaries also bear witness to the incredible logistic achievement of the Mozart22 project. At the peak of the project, about 160 people were working on it nearly around the clock. Fifty thousand meters of cable were laid out in seven venues in Salzburg. Parallel to the recording crew of the opera cycle, who required up to twelve cameras for each recording, the documentary filmmakers scurried from rehearsal stage to hotel lounge, from artists’ canteen to make-up studios in their mission to capture the unique dynamics and electrifying atmosphere of this undertaking – a project of superlatives and a landmark in media and music history.

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Length 52' each

Video Director Carl Plötzeneder

A production of UNITEL CLASSICA in cooperation with Salzburg Festival


Documentar ies

Die Schuldigkeit des ersten GebotesApollo et Hyacinthus

Bastien et BastienneLa finta semplice

Mitridate, re di PontoAscanio in AlbaBetulia LiberataIl sogno di ScipioneLucio SillaLa finta giardiniera

Il re pastoreZaide AdamaIdomeneoDie Entführung aus dem SerailL‘oca del Cairo Lo sposo delusoDer SchauspieldirektorLe nozze di FigaroDon Giovanni

Così fan tutteDie Zauberflöte

La Clemenza di Tito


“Mozart22” is an enterprise of utterly unique dimensions, the musical project of the century: all of Mozart’s stage works presented over the course of six weeks during the 2006 Salzburg Festival. The project brought together the greatest Mozart singers, conductors, stage directors and ensembles of the day. To make this extraordinary artistic achievement accessible to a broad public, the entire “Mozart22” cycle was recorded with the highest-quality HD technology and 5.1 Dolby Digital sound.

The cycle also includes 20 one-hour documentaries containing excerpts from rehearsals, interviews with artists, and background reports that shed light on the meticulously elaborated, multi-layered concepts of the musical interpretations and stage productions. The programs introduce the work in question and situate it in Mozart’s œuvre. Each documentary is devoted to one opera, whereby the shorter works and fragments are bundled. All the operas, of course, are available from UNITEL CLASSICA.

In addition to providing valuable insights from the artists, the documentaries also bear witness to the incredible logistic achievement of the Mozart22 project. At the peak of the project, about 160 people were working on it nearly around the clock. Fifty thousand meters of cable were laid out in seven venues in Salzburg. Parallel to the recording crew of the opera cycle, who required up to twelve cameras for each recording, the documentary filmmakers scurried from rehearsal stage to hotel lounge, from artists’ canteen to make-up studios in their mission to capture the unique dynamics and electrifying atmosphere of this undertaking – a project of superlatives and a landmark in media and music history.

Phot

os: ©

Mon

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Ritte

rsha

us, ©

Kar

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ster

, © H

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Mich

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Seb

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© K

laus

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& M

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© A

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Length 52' each

Video Director Carl Plötzeneder

A production of UNITEL CLASSICA in cooperation with Salzburg Festival


Documentar ies

Die Schuldigkeit des ersten GebotesApollo et Hyacinthus

Bastien et BastienneLa finta semplice

Mitridate, re di PontoAscanio in AlbaBetulia LiberataIl sogno di ScipioneLucio SillaLa finta giardiniera

Il re pastoreZaide AdamaIdomeneoDie Entführung aus dem SerailL‘oca del Cairo Lo sposo delusoDer SchauspieldirektorLe nozze di FigaroDon Giovanni

Così fan tutteDie Zauberflöte

La Clemenza di Tito


205

White hands Choir Venezuelanaybeth GarCíaluis ChinChilla

el sistema residenCy salzburG FestiVal

White hands Choir Venezuelanaybeth GarCíaluis ChinChilla



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Singing with the HandsA choir for hard-of-hearing and deaf youths? Sounds like a contradiction in terms. The one-of-a-kind White Hands Choir of Venezuela proves the opposite: It is the poster child of El Sistema, the Special Education Program initiated by José Antonio Abreu. This concert documents the choir’s first tour abroad following the invitation of the Salzburg Festival. The program features Latin-America folk songs and Piazzolla arrangements as well as choral works by Mozart and Hassler.

The choir was founded in 1995 in order to integrate people with handicaps into society more fully through music. Here, children with and without handicaps meet and enjoy playing together. Children with physical and mental handicaps, children with hearing difficulties and even deaf-mute children are united in one chorus. Their singing is transformed into an expressive choreography of flowing hand movements, their hands clad in white gloves.

“This White Hands Choir caused a real delight” (APA)



Cat. no. A045500200000

Chorus White Hands Choir Venezuela Chorus Masters Naybeth García Luis Chinchilla




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Singing with the HandsA choir for hard-of-hearing and deaf youths? Sounds like a contradiction in terms. The one-of-a-kind White Hands Choir of Venezuela proves the opposite: It is the poster child of El Sistema, the Special Education Program initiated by José Antonio Abreu. This concert documents the choir’s first tour abroad following the invitation of the Salzburg Festival. The program features Latin-America folk songs and Piazzolla arrangements as well as choral works by Mozart and Hassler.

The choir was founded in 1995 in order to integrate people with handicaps into society more fully through music. Here, children with and without handicaps meet and enjoy playing together. Children with physical and mental handicaps, children with hearing difficulties and even deaf-mute children are united in one chorus. Their singing is transformed into an expressive choreography of flowing hand movements, their hands clad in white gloves.

“This White Hands Choir caused a real delight” (APA)



Cat. no. A045500200000

Chorus White Hands Choir Venezuela Chorus Masters Naybeth García Luis Chinchilla



207

Cornelius ObonyaBrigitte HobmeierPeter Lohmeyer

Jedermann Hugo von Hofmannsthal

Staged byJulian Crouch & Brian Mertes

Cornelius ObonyaBrigitte HobmeierPeter Lohmeyer


Staged byJulian Crouch & Brian Mertes

Unitel GmbH & Ko. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitelclassica.com


World Sales:

Length: approx. 125 Shot in HDTV 1080/50i

Cat. no. A04050016

A production of ORF and UNITEL in cooperation with Salzburg Festival and CLASSICA

“Baroque vanity fun” (Die Welt) Stage Directors Julian Crouch Brian Mertes

Jedermann Cornelius Obonya Buhlschaft Brigitte Hobmeier Tod Peter Lohmeyer Teufel Simon Schwarz Werke Sarah Viktoria Frick Glaube Hans Peter Hallwachs Mammon Jürgen Tarrach Produced by ORF Video Director André Turnheim


Since its Salzburg premier in 1920 Hugo von Hofmannthal’s Jedermann (Everyman), is one of the highlights of the Salzburg Festival, sold out for months every year. The Salzburg Cathedral serves as the backdrop of the play about the rich Jedermann who is faced by unexpected Death, calling him to his judgment. Allowed company on his final journey, he is deserted by his loyal servant, his friends and his money; the figures of Good Works and Faith help him repent repent and save his soul before he is lowered into his grave.

“A Triumph” (Die Presse)

“A fantastic fairy tale trip, charming, harmless und a touch of kitsch - A joyous theatre feast” (Die Furche)

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World Sales:

Length: approx. 125 Shot in HDTV 1080/50i

Cat. no. A04050016

A production of ORF and UNITEL in cooperation with Salzburg Festival and CLASSICA

“Baroque vanity fun” (Die Welt) Stage Directors Julian Crouch Brian Mertes

Jedermann Cornelius Obonya Buhlschaft Brigitte Hobmeier Tod Peter Lohmeyer Teufel Simon Schwarz Werke Sarah Viktoria Frick Glaube Hans Peter Hallwachs Mammon Jürgen Tarrach Produced by ORF Video Director André Turnheim


Since its Salzburg premier in 1920 Hugo von Hofmannthal’s Jedermann (Everyman), is one of the highlights of the Salzburg Festival, sold out for months every year. The Salzburg Cathedral serves as the backdrop of the play about the rich Jedermann who is faced by unexpected Death, calling him to his judgment. Allowed company on his final journey, he is deserted by his loyal servant, his friends and his money; the figures of Good Works and Faith help him repent repent and save his soul before he is lowered into his grave.

“A Triumph” (Die Presse)

“A fantastic fairy tale trip, charming, harmless und a touch of kitsch - A joyous theatre feast” (Die Furche)

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ghts

reser

ved ·

cred

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Karoline EichhornMichael RotschopfMarkus Meyer

A Midsummer night’s Dream

William Shakespeare

Staged byHenry Mason

with Music byFelix Mendelssohn Bartholdy

Conducted byIvor Bolton

Mozarteumorchester Salzburg

Karoline EichhornMichael RotschopfMarkus Meyer


William Shakespeare

Staged byHenry Mason

with Music byFelix Mendelssohn Bartholdy

Conducted byIvor Bolton

Mozarteumorchester Salzburg

weew



World Sales:

Length: approx. 170’ Shot in HDTV 1080/50i

Cat. no. A04050017

A production of ZDF/3sat and UNITEL in cooperation with Salzburg Festival and CLASSICA

Stage Director Henry Mason Conductor Ivor Bolton Orchestra Mozarteumorchester Salzburg

Hippolyta / Titania Karoline Eichhorn Theseus / Oberon Michael Rotschopf Puck Markus Meyer Egeus / Alte Elfe Christian Higer Hermia Tanja Raunig Lysander Daniel Jeroma Demetrius Claudius von Stolzmann Helena Eva Maria Sommersberg

Produced by BFMI Video Director Peter Schönhofer

William Shakespeare

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h Walz

“Classic summer theatre of the highest niveau” (Kurier)

In his Midsummer Night’s Dream, William Shakespeare masterfully ties together complex layers of action: three lovers who try to find their true love, escapes, mix-ups and love potions, complexity and ambiguity as inherent only in dreams. Felix Mendelssohn Bartholdy’s light and enchanting music - which he wrote for a production of the play - is the perfect completion. It includes the world-famous Wedding March.

“What a feast of fantasy! What a feast for the senses!” (Stuttgarter Zeitung)

“As well-rounded and entertaining as a summer open-air theatre can be.” (APA)


weew



World Sales:

Length: approx. 170’ Shot in HDTV 1080/50i

Cat. no. A04050017

A production of ZDF/3sat and UNITEL in cooperation with Salzburg Festival and CLASSICA

Stage Director Henry Mason Conductor Ivor Bolton Orchestra Mozarteumorchester Salzburg

Hippolyta / Titania Karoline Eichhorn Theseus / Oberon Michael Rotschopf Puck Markus Meyer Egeus / Alte Elfe Christian Higer Hermia Tanja Raunig Lysander Daniel Jeroma Demetrius Claudius von Stolzmann Helena Eva Maria Sommersberg

Produced by BFMI Video Director Peter Schönhofer

William Shakespeare

All ri

ghts

reser

ved ·

cred

its no

t con

tractu

al · D

iffere

nt ter

ritor

ies ·

Phot

os: ©

Rut

h Walz

“Classic summer theatre of the highest niveau” (Kurier)

In his Midsummer Night’s Dream, William Shakespeare masterfully ties together complex layers of action: three lovers who try to find their true love, escapes, mix-ups and love potions, complexity and ambiguity as inherent only in dreams. Felix Mendelssohn Bartholdy’s light and enchanting music - which he wrote for a production of the play - is the perfect completion. It includes the world-famous Wedding March.

“What a feast of fantasy! What a feast for the senses!” (Stuttgarter Zeitung)

“As well-rounded and entertaining as a summer open-air theatre can be.” (APA)


211

T he Salzburg Festival, founded in 1920 by Hugo von Hofmanns-thal, Max Reinhardt and Richard Strauss, is regarded the greatest

and most important festival in the world. It is held each summer in the Austrian town of Salzburg, the birthplace of Wolfgang Amadeus Mozart, and off ers a broader artistic programme than any other festival, featuring opera, drama and concerts. Committed to the highest artistic quality, only today’s best and most famous interna-tional artists are invited to Salzburg. The selection of works ranges from baroque to contemporary works, from classical interpretation to avant-garde experimentation. The Hofstallgasse and the beautiful baroque city centre of world heritage-listed Salzburg add to the festival’s very special flair: “The atmosphere of Salzburg is perme-ated by beauty, play and art,” enthused Max Reinhardt about the city on the Salzach river in 1935.Unitel is proud partner of the Salzburg Festival since 2005 and features in its catalogue more than 130 productions, opera and concert performances as well as documentaries.

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