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Mozart, Dvorak - Karajan - Clouzot

Mozart: Violin Concerto No. 5

Dvorak: Symphony No. 9

Performer: Yehudi Menuhin

Conductor: Herbert von Karajan

Directed by: Henry-Georges Clouzot

“an electrifying performance by a rejuvenated Berlin Philharmonic at the peak of its powers; it is also a visually stunning record of a masterclass in virtuoso conducting...[The bonus-feature] is a high-speed, high-octane conversation...with a fascinating array of musical, historical and wider cultural references thrown in by both parties.” Gramophone

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Stockhausen: Mantra

Karlheinz Stockhausen (Composer)

 Andreas Grau, Gotz Schumacher (Performer)

Audio CD (1995)

Number of Discs: 1

Label: Wergo

SPARS Code: DDD

Mantra", composed in 1970 and premiered in Donaueschingen, was Karlheinz Stockhausen's first composition following the orchestral work "Carré" to return to a largely traditional style of notation and to a relatively closed form. "Mantra" is at the same time, the first of Stockhausen's works in a style of composition that he has been pursuing exclusively since the mid-1970s: The entire structure is derived from a single melodic-rhythmic-tonal complex, i. e., the "mantra". Stockhausen described this method as "composition by formula". The unified construction of "Mantra" is a musical miniature of the unified macro-structure of the cosmos, just it is a magnification into the acoustic time-field of the unified micro-structure of the harmonic vibrations in notes themselves.

This CD was awarded the „Choc Musique“-Award.

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Shostakovich: Symphony No. 10

Dimitri Shostakovich (Composer)

Vasily Petrenko (Conductor)

Royal Liverpool Philarmonic Orchestra (Orchestra)

Audio CD (2010)

Number of Discs: 1

Label: Naxos

SPARS Code: DDD

This performance goes right to the top. Not since the amazing mono Ancerl recording has there been a version of this work of such intensity, such expressive urgency, and (yes, believe it or not) such incredible orchestral playing. It's impossible to praise the Royal Liverpool Philharmonic enough: they put their London colleagues to shame. The cellos and basses have a dark, tactile presence in pianissimo not heard since the old Kondrashin Melodiya recording. The horns play the daylights out of their solos in the first and third movements, while Petrenko has the violins sustaining, articulating, and phrasing the climax of the first movement with a passion and grit that's beyond praise.

Indeed, as an essay in Shostakovich conducting alone this performance deserves an honored place in every collection. Petrenko has the players digging into the second movement with unbridled ferocity at an ideally swift tempo. He ferrets out every subtle detail of scoring in the crepuscular Allegretto while never permitting the music to drag. His finale has just the right manic high spirits, and he clarifies the DSCH motive in the timpani at the end better than anyone else ever has. It's all captured in gloriously vivid, present sonics by the Naxos engineers. Thrilling, perfect, essential--a magnificent achievement and hands down the modern reference recording.

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Arnold Schoenberg: String Quartet No.3

Arnold Schoenberg (Composer)

Jaromir Klepac (Piano)

Prazak Quartet

Audio CD (2010)

Number of Discs: 1

Label: PragaDigitals

SPARS Code: DDD

The fifth volume devoted to Schönberg’s chamber music. On display here is writing that, after being based on traditional models (youthful Scherzo and Presto), evolves towards a melodic density and clarity of counterpoint making the Chamber Symphony, Op.9 (1906) accomplished and radiant as much in its chamber transcriptions as in the versions for full orchestra. The Quartet No.3 (1926) achieves a masterful balance between rhythm and harmony, melody and counterpoint, horizontality and verticality. All these processes blend in an original art of the continuous variation. By blurring the formal aspect, the PRAŽÁKs make him the heir of other Viennese: Haydn, Mozart, Schubert, Brahms… and Beethoven.

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Rachmaninov: Piano Concertos 3-4

Sergey Rachmaninov (Composer)

Antonio Pappano (Conductor)

Leif Ove Andsnes (Performer)

London Symphony Orchestra (Orchestra)

Audio CD

Release Date: (2010)

Number of Discs: 1

Label: EMI

SPARS Code: DDD

The passion burns from within in this incendiary account of Rachmaninov's third and fourth piano concertos. The amplitude of his melodies, the rich scoring and the insistent Russian melancholy are most potent when kept under control. The poetic, muscular Andsnes, sensitively and glitteringly accompanied by Pappano and the LSO, does just that. The third, written for a money-spinning tour of America, was an instant hit. The fourth, more problematic and bluesy, still has power to stir. Even not being Russian or in exile or tormented by mental conflict, you succumb to the mood of nostalgia and homesickness. And I was at home at the time.

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Ludwig Van Beethoven: Fidelio

Actors:
Florestan... René Kollo
Leonore... Gundula Janowitz
Don Fernando... Hans Helm
Don Pizarro... Hans Sotin
Rocco... Manfred Jungwirth

Conductor: Leonard Bernstein

Stage Director: Otto Schenk

Bernstein conducts with all his heart -- and with the occasional eccentricities as regards tempo that went with the package. By '78 Bernstein was God in Vienna and receives here an . . . effusive welcome at start and finish . . . The Vienna Philharmonic play superbly for a conductor they had come to love. Otto Schenk's staging remains a marvel of sensible action, pertinent handling of the singers and clarity of action -- no updating, no silly ideas, just straightforward, unobtrusive direction . . . René Kollo sings with strength and conviction as Florestan, and acts effectively . . . Manfred Jungwirth's stalwart Rocco is involved and involving . . . Sound and video direction (by Schenk himself) are both excellent.

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Jacques Offenbach: La vie parisienne

1 Full DVD9 | NTSC | All Regions | 16:9 | DTS 5.0, LPCM Stereo | VO: français | 6,85 GB

Subtitles: English, French, Spanish, German, Italian | Timing: 120 min

Dvd Release Date 2008 | + Full Booklet

Actors:

Raoul de Gardefeu... Jean Sébastien Bou

Bobinet... Marc Callahan

Métella... Maria Riccarda Wesseling

Le Baron de Gondremark... Laurent Naouri

La Baronne... Michelle Canniccioni

Conductor: Sébastien Rouland

Stage Director: Laurent Pelly

Jacques Offenbach’s La vie parisienne, is one of his most enjoyable works, especially in this Lyon Opera production. A satirical romp poking barbs into the thick skin of Second Empire Paris, it’s updated to a farcical sendup of a contemporary Paris populated by thrill-hungry tourists and euro-seeking natives, both groups with sex on their minds. Producer Laurent Pelly’s imaginative production makes the tangled plot, with its characters assuming false identities and roles to bilk a not-so-innocent pair of Swedish tourists, perfectly clear. And he fills the stage with endless comic bits and clever routines that keep you laughing throughout. So to depict the Swedish baron’s drunken state in Act Three, the banquet table itself rocks like a see-saw and spins like a top. Chantal Thomas’ sets make it clear that Paris itself is the subject of this madcap Opera-bouffe, with semi-abstract views of the city and a map as backdrops to the action. And further delights are provided by Laura Scozzi’s choreography, turning orchestral introductions like that for Act Four, with its dawn street-sweepers and tipsy part-goers, into a laugh-out-loud ballet.

The production also features a well-matched cast of singing actors who throw themselves into the spirit of the work with gusto. As the two young lovers of the flighty Métella, Jean-Sebastien Bou and Marc Callahan look, act and sing their roles with just the right serio-comic flair, while veteran baritone Laurent Naouri as the Swede displays a gift for farce unsuspected in his Baroque opera successes. Tenor Jean-Paul Fouchécourt stands out with his hilarious turn as the horny boot maker and faux admiral, and his Act One duet with Marie Devellereau as the pretty glove-maker Gabrielle is a highlight. Devellereau’s character also masquerades as other characters too, and she’s faultless in those as well, while singing with panache and bright-voiced flair. The same can be said of Michelle Canniccioni as the Swedish baroness and Maria Riccarda Wesseling as the elusive Métella. Offenbach’s bouncy music is nothing without bubbles galore and conductor Sébastien Rouland keeps the score moving with the appropriate champagne fizz. Video director Francois Roussillon keeps us riveted on exactly the singers and parts of the stage action where we need to be, helping to make this as intoxicating a video experience as, judging by the audience laughter, it was in the theatre.

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Giuseppe Verdi: Otello

1 Full DVD9 | NTSC | All Regions | 4:3 | DTS 5.1, PCM Stereo | VO: italian | 6,25 GB

Subtitles: English, French, Spanish, German, Italian, Chinese  | Timing: 140 min

Dvd Release Date 2005 | + Full Booklet

Actors:

Otello... Jon Vickers

Desdemona... Mirella Freni

Jago... Peter Glossop

Emilia... Stefania Malagù

Cassio... Aldo Bottion

Conductor: Herbert Von Karajan

Artistic Supervisor: Herbert Von Karajan

This film by Hebert von Karajan is the best rendition of Verdi's "Otello" available in any video format. The conducting and singing are superb and the drama is expressed with the utmost intensity. Jon Vickers is the best Otello in recent memory, superior even to Placido Domingo in vocal and dramatic power. Mirella Freni is a bit light-voiced for Desdemona, but she sings beautifully and looks like an angel. Peter Glossop sings the role of Iago with beauty and power, and sets just the right tone of evil playfulness. Picture and sound quality are both just fine. The supporting cast is wonderful, too, and includes Jose van Dam (Lodovico) and Michel Senechal (Roderigo).

Karajan's cinematography is not as polished as Zeffirelli's, but it does present the essentials of the drama honestly and straightforwardly. The Zeffirelli film, although it has an excellent cast and looks beautiful, is an abomination. Starting with a perfectly good soundtrack, Zeffirelli proceeded to destroy Verdi's dramatic and musical conception by cutting out little snippets of the score (seemingly almost at random) to bring his movie to a length of less than two hours. As far as I know, his film has never been issued on DVD. I hope nobody bothers with it. Karajan's film is more stagebound and the lip synch isn't perfect, but his version is complete and dramatically compelling.

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