This “Traviata” became one of the most succesful of all opera films, especially in France, where 800,000 Parisian cinemagoers flocked to it in the first six week. It was nominated for two Oscars (for production and costume design) and won BAFTAs in those two categories, as well as receiving BAFTA and Golden Globe nominations as 1983’s Best Foreign-Language Film.
DG presents John Williams in Vienna, the live recordings of the Hollywood legend's Vienna Philharmonic 2020 debut. Saying it's "one of the greatest honors of my life," he received a standing ovation before a single note was played. Sharing the stage with the famous orchestra and violinist Anne-Sophie Mutter, he performs iconic themes from Star Wars, Harry Potter, Indiana Jones, Jurassic Park and other cinematic landmarks that have earned countless awards: 5 Oscars, 5 Emmys, 25 Grammys & more.
Daniel Barenboim conducts the Staatskapelle Berlin in this production of Verdi's opera starring Anna Netrebko and Plácido Domingo. The Count Di Luna believes that his younger brother was murdered years before by a vengeful gypsy but still hopes that he may be alive. When he attempts to court the beautiful Leonora, he is enraged to discover that she has a lover – the troubadour, Manrico. Manrico and the Count duel, and afterwards Manrico reveals to Azucena, the woman he believes to be his mother, that when he had the opportunity to kill the Count he felt something holding him back.
Opera is an inherently theatrical medium that does not lend itself readily to the realism of film treatment. The shining exception is Puccini's Tosca, an action-packed melodrama that unfolds in three taut and gripping acts like the meatiest of Hollywood films noir. And unlike most operas, these three acts are set in three very specific Roman locales. Thus this 1976 film takes place in the church of Sant'Andrea della Valle (Act 1), the Palazzo Farnese (Act 2), and the Castel Sant'Angelo (Act 3).
Mythological hero Scipio must choose between Fortune and Constancy in this superb 2006 Salzburg Festival production of Mozart's "Il Songo di Scipione," directed by Michael Sturminger and starring Blagoj Nacoski, Louise Fribo, Bernarda Bobro, Iain Paton, Robert Sellier and Anna Kovalko. The Chor des Stadttheaters Klagenfurt and the Kärntner Symphonieorchester, conducted by Robin Ticciati, provide accompaniment.
James Morris leads an all-star cast including Karita Mattila, Ben Heppner, Thomas Allen and René Pape, in this production of Wagner's comic opera, recorded live at New York's Metropolitan Opera in 2001. James Levine conducts.
This vivid film of Wagner's romatic opera succeeds in conveying what has famously been called "the wind that blows out at you whenever you open the score", including Daland's boat anchoring against the Sandwike cliffs, the red-sailed phantom ship, and the ghost crew rising from the dead. "Scenes that recall classic horror films... Brilliantly successful" (Nürnberger Nachrichten), "Captures the works' essence" (Süddeutsche Zeitung). With a superb cast; conducted by Wagner authority Wolfgang Sawallisch.
This release contains the celebrated 2006 production of Mozart's Nozze di Figaro that was directed for the stage by Claus Guth at that year's Salzburg Festival. Ildebrando D'Arcangelo takes the title role, and gets support from Anna Netrebko as Sussanna, Bo Skovhus as Il Conte Di Almaviva, and Dorothea Roschmann as La Contessa. Nikolaus Harnoncourt conducts the orchestra.
Ghiaurov, Freni, and Bumbry were great voices in their time, and they are still effective here -- good enough musicians to put over the quite heavy vocal and expressive demands of their roles. Louis Quilico was never quite in that league, and he sounds a bit spread and woofy in places here, but he works hard and effectively to bring Rodrigo to life. Placido Domingo recorded his first Don Carlo, for EMI with Giulini, about 15 years before this production, but he looks and sounds fine here -- in the early 1980's he was doing very good Otellos and Lohengrins too, and Furlanetto, still in his 30's, brings a rich, young voice to an old part and succeeds in making the Grand Inquisitor vocally as well as expressively formidable. Levine brings both weight and energy to the score, and that reading fits well with the overall "traditional" design and production -- the Met's wardrobe budget must have been severely taxed, but everybody looks splendid.
Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.
All the throbbing eroticism—and ultimate heartbreak—of Puccini’s youthful score is unleashed by James Levine and his top-flight cast. Plácido Domingo is Des Grieux, the handsome, headstrong young aristocrat who falls head over heels for the enticing, impetuous Manon Lescaut (Renata Scotto). Manon returns his love, but her obsession with luxury ruins them both. Gian Carlo Menotti’s opulent production, with sets and costumes by Desmond Heeley, superbly captures the colorful world of 18th century France.
John Williams has made cinematic history with his film scores and transported entire generations into his musical worlds. He has composed the soundtracks for cinema blockbusters such as "Star Wars", "Jurassic Park", "E.T." and "Harry Potter". In this concert, he conducts some of his most famous film classics. At the same time, this is his debut on the podium of the Berliner Philharmoniker. May the Force be with him ...
Johann Sebastian Bach composed his Six Suites for Solo Cello in the early 1720's. Unlike the Six Sonatas and Partitas for Solo Violin, composed around the same time, there is no extant autograph manuscript. Only four copies exist, of which one made by Anna Magdelena Bach is the standard performing edition Maisky has acknowledged the period instruments style of Bach in these performances. His playing is slightly more reserved, somewhat analytical, very broad and powerful with a rich and deeply resonant string sound
This evocative production by Giancarlo Del Monaco sumptuously captures the look and feel of 14th century Genoa and is a perfect compliment to Verdi’s setting of this story of searing conflict between public duty and private grief. Plácido Domingo is Gabriele Adorno, sworn enemy of the doge of Genoa, Simon Boccanegra (Vladimir Chernov). Gabriele is in love with the beautiful Amelia (Kiri Te Kanawa at her most affecting) who turns out to be none other than the long-lost daughter the doge. James Levine’s authoritative conducting of the Met orchestra and chorus reveals the dark power of Verdi’s score. Performed January 26th, 1995.
A world-class pairing, the Los Angeles Philharmonic and their charismatic new Music Director Gustavo Dudamel, mark the start of their partnership with this concert, filmed live at the Walt Disney Concert Hall. The program defines everything that is fresh and exciting about their collaboration: a John Adams world premiere, City Noir, music that steps back into the dark past of Los Angeles, and the allembracing First Symphony by Mahler, the composer who launched Dudamel's dazzling international career. "This was an exceptional and exciting concert by any standard." - The New York Times
Giancarlo Del Monaco’s atmospheric production brings to colorful life a 19th-century mining camp during the California Gold Rush. At the center of the action is the good-hearted bar owner Minnie, sung by Barbara Daniels, who takes a motherly interest in the miners. Plácido Domingo is Dick Johnson, also known as the bandit Ramerrez, who falls in love with Minnie. Sherrill Milnes sings Jack Rance, the sheriff who is not only determined to capture Ramerrez but also wants Minnie for himself. Bloodshed, a crooked poker game, a snowstorm, and a near lynching ensue before Minnie and her bandit-turned-lover can ride off to start a new life. Leonard Slatkin conducts one of Puccini’s most colorful scores.
Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.
TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG is a grand opera by Richard Wagner in three acts. After experiencing boundless sensuality and freedom with the fun-loving Venus (soprano), the singer Tannhäuser (Tenor) finds it impossible to conform to the cultured setting of his betrothed Elizabeth (soprano), who loves him. During a singing contest, Tannhäuser describes the affair with Venus as the ultimate love experience and because of that, he is cast out from the established society. Thanks to Elizabeth's intervention, he is allowed to undertake a pilgrimage to the Pope to ask for the Holy Father's pardon. If the Pope accepts to forgive him, he would be allowed to take back his place in society. Tannhäuser accepts. But fate will not allow him to meet with his beloved Elizabeth again in this life. This is a recording of the legendary staging by Götz Friedrich for the 1978 Bayreuth Festival conducted by Sir Colin Davis.
This tribute to James Levine, first shown on PBS, was only part of that glorious evening. Here we have the whole performance, up to three hours. I could not stop watching these discs. Let me say this much; Levine has done for the Met, making it the premier opera house in the world, what Karajan did with the Berlin, making it one of the finest orchestras ever. So sit back and enjoy.
Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.[10] Place: Naples Time: the 18th century
