Sound
Live from Glyndebourne 1987.
Documents the interpretations of Gustav Mahler's compositions by conductors Bernard Haitink, Riccardo Chailly, Riccardo Muti, Claudio Abbado, and Simon Rattle, who detail the special relationship they have with Mahler's work.
The Marriage of Figaro is a continuation of the plot of The Barber of Seville several years later, and recounts a single "day of madness" in the palace of the Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. This follows the Count trying to obtain favours from Susanna, Figaro's bride to be, under the nose of the Countess.
Live from Glyndebourne 1994. The first production to be filmed Live in Glyndebourne´s new opera house May 1994. The Marriage of Figaro is a continuation of the plot of The Barber of Seville several years later, and recounts a single “day of madness” in the palace of the Count Almaviva near Seville, Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro for thwarting his plans to marry Rosina himself; and Count Almaviva has degenerated from the romantic youth of Barber into a scheming, bullying, skirt-chasing baritone. This follows the Count trying to obtain favours from Susanna, Figaro’s bride to be, under the nose of the Countess.
Sir Peter Hall's remarkably faithful interpretation of Beethoven's opera at Glyndebourne. Elizabeth Söderström plays Leonore, with Elizabeth Gale as Marzelline and Curt Appelgren as Rocco.
Since its debut in 1934 the Glyndebourne Festival has put a focus on Mozart operas and developed a great competence in staging them. Mozart s operas seem to be made for the small but fine opera house in Glyndebourne and it's not surprising that the 1977 Don Giovanni, one of Mozart's great masterpieces, was a huge success. This production is conducted by Bernard Haitink, who holds the opinion, that no other composer had more opera in his blood than Mozart. It has been proven, for example, that Mozart had no overture for Don Giovanni until the evening before the premiere in Prague and wrote it down in just one night. Like the premiere's success of the opera in Prague in 1787 the Glyndebourne's version staged by Peter Hall was praised by audience and critics alike: We witness a lively and wide-awake ensemble piece that has easily survived all these decades, and still manages to teach many directors the art of playing theatre.
Translucence, transparency – warmth’ are the qualities identified by Bernard Haitink as necessary for an ideal sound performance of Beethoven's only opera, and all are present in this fantastic recording of Katharina Thalbach's 2008 production for Opernhaus Zurich. Haitink conducts the Zurich Opera Orchestra in a magnificent performance in which Leonore Overture No. 3 provides an interlude between the two scenes of the second act, following a tradition started by Gustav Mahler. German soprano Melanie Diener, in the role of Leonore, leads a brilliant cast including Alfred Muff as Rocco, Roberto Saccà as Florestan, Sandra Trattnigg as Marzelline and Christoph Strehl as Jaquino. This High Definition recording with true surround sound marks the start of the exciting collaboration between Opus Arte and Opernhaus Zurich.
Recorded live at The Glyndebourne Festival Opera. Idomeneo, King of Crete, has been away from home during the long years of the Trojan War. Idamante, his son and now regent of the island, waits for his return, heralded by the arrival in Crete of Trojan prisoners. One of these prisoners is Ilia, daugher of the murdered King Priam of Troy. Idamante has fallen in love with Ilia, but is loved by Electra, daughter of the Greek King Agamemmnon, who has taken refuge in Crete. This production marked the operatic debut of Trevor Nunn. It has been much-acclaimed for its dramatic effect, blending Minoan Crete with the ritualistic delicacy of Japanese theatre. This dynamic stylisation is appropriately reclected in John Napier's considered and elegant designs. Bernhard Haitink conducts the London Philharmonic in a forceful account of the music.
The Graham Vicks production of FALSTAFF opened the new Covent Garden Royal Opera House, and was not to everybody's taste; the garish primary colours of the costumes. The staging is effective--the complicated counterpoint of the ensembles is reflected in unobtrusive blocking that keeps the vocal lines clear and separate, especially in the final fugue. Bryn Terfel's Falstaff is a memorable creation, self-mocking and self-aggrandising at the same time--so much so, in fact, that he almost does not need the vast prosthetic body he has to wear for the part. Desiree Rancatore is an admirably sweet-toned Nanetta; Bernadette Manca di Nissa an appropriately sardonic Mistress Quickly; Roberto Frontali as Ford, in his Act 2 scena, perfectly distils and parodies every jealousy aria ever written, including Verdi's own. Haitink's conducting is exemplary in the lyrical passages, gets almost everything out of the fast and furious comic sections.
Don José is a guard who begins an affair with the tempestuous Carmen. He is imprisoned and loses his job, then flees with her to the mountains. When the relationship starts to break down José refuses to acknowledge it and will not leave, even when he gets news that his mother is dying. Carmen, meanwhile, has taken up with the bullfighter Escamillo. Bizet's most famous opera is brought to the Glyndebourne Festival Opera by Sir Peter Hall, with Maria Ewing and Barry McCauley heading an international cast.
Live from Glyndebourne 1983
Sir Peter Hall's remarkably faithful interpretation of Beethoven's opera at Glyndebourne
Following the success of the Art of Conducting-Great Conductors of the Past, this second edition focuses on a further six of the twentieth century's greatest conductors, complemented by commentary from music personalities who knew the artists firsthand. Rare film clips are also included of Herbert von Karajan, Hermann Scherchen, Andre Cluytens and Vaclav Talich.
Dutch conductor Bernard Haitink and the Berliner Philharmoniker meet at this year’s Easter Festival in Baden-Baden. Haitink is regarded as an authority, especially on the music of Beethoven. In this production he conducts Beethoven’s Symphony No. 6, the “Pastoral”. For the Violin Concerto multi-awarded Isabelle Faust is taken to the stage with him. Since her recordings with Claudio Abbado, she is the first choice when it comes to this masterpiece. This release has been chosen for the longlist of the renowned German award 'Preis der deutschen Schallplattenkritik'.
Peter Tchaikovsky: Fantasy Overture from "Roméo et Juliette" Wolfgang Amadeus: Mozart Violin Concerto No. 3 in G major K. 216 Igor Stravinsky: The Rite of Spring Documentary on the musical scene in London and the Royal Albert Hall.
Opera in Three Acts. Libretto adapted from William Shakespeare by Benjamin Britten and Peter Pears. Filmed at Glyndebourne in 1981. Bernard Haitink conducts The London Philharmonic
No more Bruckner under Haitink, thats a cut in the history of interpretation Wiener Zeitung To end his active conducting career after 65 years, maestro Bernard Haitink together with the Vienna Philharmonic gives a farewell concert at the GroĂźes Festspielhaus at Salzburg Festival, leaving no doubt of being one of the best Bruckner interpreters ever. The Dutch conductor, who was appointed honorary member of the Vienna Philharmonic 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.
After 65 years at the rostrum, Bernard Haitink is making his departure from the concert stage at the age of 90. In his farewell concert at the Salzburg Festival, featuring the Vienna Philharmonic and pianist Emanuel Ax, the maestro conducts two tragical-lyrical works that mark the zenith of the respective composers’ creative powers - Beethoven’s Piano Concerto No. 4 and Anton Bruckner’s Symphony No. 7. The Dutch conductor was to enchant his audience, orchestra and apparently also himself in his final performance of the work.
Wolfgang Amadeus Mozart: Exsultate, Jubilate, KV 165 Et incarnatus est Credo from Mass in C minor, KV 427 Frédéric Chopin: Concerto for Piano and Orchestra No. 2, op. 21 Robert Schumann: Symphony No. 1, op. 38, B-flat minor
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