Don Carlo

A production of Strauss' opera 'Der Rosenkavalier' performed at the Saltzburg Festival in 1984. Includes the Vienna State Opera Choir, the Philharmonic Orchestra with singers Wilma Lipp, Anna Tomowa-Sintow and Agnes Baltsa. Conducted by Herbert Von Karaja

Opera's most popular double bill, fondly known as Cav and Pag, can be a tawdry mess or, as in this performance of Pagliacci, a searing experience. Its power derives from an all-star cast headed by tenor Jon Vickers in the double role of betrayed husband, Canio, and tragic clown, Pagliacci. He’s a singer who blurred the division between reality and stage illusion in every role he assumed, thus taking an opera about that thin line between real life and stage artifice to heightened levels of intensity. Vickers is a force of nature, his big, brawny voice suffused with emotion. Here, his phrasing, textual precision, and timbral colorations expand the scope of the opera, making a moving tragedy out of Leoncavallo’s verismo melodrama.

Karajan conducts these symphonies with eyes closed, often intently enraptured by the music, smiling occasionally when a passage or solo sounds just right to his ear. He conducts Brahms with a greater sense of urgency than does Bernstein: the First symphony is 11 minutes shorter as conducted by Karajan! Nothing is rushed but there is what can only be described as emotional compression, an intensity of expression that sounds quicker than Bernstein's performances.

This spectacular opera film was taped in 1967 and is based on the 1966 Salzburg Festival production directed by Herbert von Karajan himself, who also conducts the fabulous Vienna Philharmonic Orchestra. The production features the three greatest exponents of their respective roles at the time: Grace Bumbry’s magnificently seductive-toned Carmen, Mirella Freni’s ineffably lovely, touching Micaëla and Jon Vickers’s thrillingly manic-depressive Don José. On its release the film was hailed by Die Presse, (Vienna) as a “unique artistic event”, while Le Monde felt that Karajan’s production brought “a whole new dimension” to the opera, “combined with a magisterial interpretation”. A classical and utterly dramatic approach to probably the world's most beloved opera – Karajan’s Carmen is as much a delicacy for opera fans as it is a perfect starter for newcomers.

The Symphonies were recorded live with a special recording concept by Herbert von Karajan, and he did not only direct the filming, but also closely followed the editing and mastering of the symphonies. Karajans mid-1970s Tchaikovsky interpret

This 1978 studio production of the prologue to Wagner's masterpiece is the only segment of the famous Salzburg Festival/Metropolitan Opera productions, first seen in the 1960s, that made it to film. Based on one of those original productions, Georges Wakhevitch produced stage settings and transformations that supported Karajan's concept with every possible means. Herbert Von Karajan's staging is in the epic style of another age, emphasizing the dignity of the gods rather than their all too human failings. With the singers - foremost among them Peter Schreier - Karajan had an ensemble that fully conformed to his intentions.