CARLOS KLEIBER LUDWIG VAN BEETHOVEN Symphonies 4 & 7

Jean-Marie Villegier's modern interpretation of Handel's "Rodelinda" -- filmed live at the world-renowned Glyndebourne Opera House in the United Kingdom -- sets the timeless tale of jealousy and treachery in the black-and-white world of the silent-movie era. Soprano Anna Caterina Antonacci sings the title role of Rodelinda, with tenor Kurt Streit and bass Umberto Chiummo performing the parts of Grimoaldo and Garibaldo, respectively.

To play Beethoven's music is to give oneself over completely to the child-spirit which lived in that grim, awkward, violent man. Without that utter submission it is impossible to play the Adagio of the Ninth. Or, Heaven knows, the first movement. And the Finale? Most of all! It is simply unplayable unless we go all the way with him, as he cries out "Brüder!" - Leonard Bernstein

Beginning with the First Symphony, Bernstein reveals Mahler's position at the hinge of modernism, while emphasizing his emotional extremism. The uplifting Second "Resurrection" Symphony, with which Bernstein had an especially long and close association, is recorded here in a historic performance from 1973, set in the Romanesque splendor of Ely Cathedral. In the Third, Bernstein encompasses the symphony's spiritual panorama like no other conductor, with the Vienna Philharmonic players alive to every nuance.

Filmed on tour at Berlin's Philharmonie, this account of the valedictory Ninth Symphony is an intense interpretation, expressing Bernstein's conviction that modern man had at last caught up with the message encoded in Mahler's last completed work. Having made his famous 1966 studio recording of "Das Lied von der Erde" in Vienna, Bernstein re-recorded this in Israel with the same searing subjectivity. René Kollo draws on the voice of a great Wagner tenor, while Christa Ludwig, the greatest exponent of the contralto songs at the time, is unbearably poignant in the final movement's fusion of elation and sadness.

Live from ROH 1985. Giordano's Andrea Chenier is one of the greatest of verismo operas, full of heart-stopping big tunes and powerful emotional situations. If it is not as well-known as it should be, it is because in summary it sounds a little too like Puccini's Tosca: there is a tussle between political opponents over a woman, an attempt to save a condemned man, a tenor aria about writing poetry on the eve of execution. The difference is that Gerard (Giorgio Zancanaro) is not a villain like Scarpia, he is an idealist whom the French Revolution has betrayed as much as it has his rival the poet Chenier (Placido Domingo). His temptation to abuse his power to seduce the virtuous Maddalena (Anna Tomowa-Sintow) is a momentary one, though its consequences are terrible. There is a streak of post-Wagnerian decadence in much of this--Maddalena is at least as much in love with death as she is with Chenier, and the final love duet has a deeply sinister aspect. -- From Amazon.co.uk

Bernstein's comic opera, based on Voltaire's classic satire, directed by Jonathan Miller and John Wells, is performed in a new production by Scottish Opera.

TV movie version of the famous Prince Igor opera

Johannes-Passion St. John Passion Equiluz · Moser · Holl · Scharinger Soloists of the Tölzer Knabenchor Tölzer Knabenchor Concentus Musicus, Wien Nikolaus Harnoncourt Directed by Humphrey Burton

Live from Glyndebourne 1997