Filmed live in Baden-Baden by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne. Fleming's voice might have been made for Ariadne and she achieved a great personal triumph in this production: “The chief glory of the evening was hearing Renée Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strauss’s enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess…” Frankfurter Allgemeine Zeitung
“This is straight and unfussy in its staging, and the video production by Brian Large could not be more expert and unobtrusive (save for one or two close-ups of Jessye Norman's larynx). Tatiana Troyanos's Composer is quite superb, and neither Battle nor Norman can be faulted vocally” (Penguin Guide)
English-speaking audiences have always found Die Meistersinger to be a life-enhancing celebration of wisdom, art and song. So it proves in David McVicar's production – the first at Glyndebourne – which is updated to the early-19th century of Wagner's childhood. At the centre of a true ensemble cast is Gerald Finley, a 'gleamingly sung', 'eminently believable' Sachs (The Independent on Sunday), supported by the dynamic conducting of Vladimir Jurowski which, like McVicar's production, uses Glyndebourne's special intimacy to bring sharp focus to bear on the subtlety of Wagner's musical and dramatic counterpoint.
Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid.
Goisern sagte einmal, er wolle ursprüngliche Volksmusik machen - und er versteht darunter nicht, daß wird man schnell beim lauschen dieser CD begreifen, Volksmusik ala Musikantenstadel oder irgendwelcher ähnlichen Sendungen, in denen Menschen auftreten, die so wahrscheinlich nie in ihrer Heimat gesungen hätten. Jedenfalls ist dies - vielleicht entfernt mit BAP zu vergleichen - Musik die wirklich in den Körper geht, bei der man nicht einfach ruhig sitzen kann und nur lauscht sondern sich bewegen muß.