With tangos and Ellingtonia under his belt, this ever-curious occasional crossover classicist takes another break from the Berlin Staatsoper, the Chicago Symphony, and Bayreuth to dabble in an unfamiliar (to him) idiom. Though the results are about as spontaneous as a sunrise, this collection does cover a wide range of brief bits of Braziliana from inevitable tunes by Ary Barroso, Luiz Bonfá, and Antonio Carlos Jobim to songs by Milton Nascimento and Caetano Veloso and classical selections by Heitor Villa-Lobos and Darius Milhaud.
The production of a new Ring at the Bayreuth Festival is an event that takes place every six years. Bayreuth recordings of the complete cycle are rare; this is only the third official audio recording and the second filmed version. The Kupfer/Barenboim Ring was performed over a five-year period and recorded at the conclusion when the "Bayreuth Workshop" had raised "the quality of the performance to an almost unsurpassable level".
Götterdämmerung, the final instalment of Wagner’s Ring of the Nibelung, is a story of human passions. Two essentially benevolent creatures, involved with and possibly doomed by their traffic with the gods, find treachery and evil in the world of the humans, and are ruined by the dark side of humanity.
Iréne Theorin, acclaimed worldwide for her portrayal of Wagner’s heroines, stars as Brünnhilde opposite Lance Ryan, who continues his radiant portrayal of the tragic hero Siegfried. The strong cast also includes Mikhail Petrenko as the dark antagonist Hagen and Johannes Martin Kränzle, who once again shines as his father Alberich. Waltraud Meier has a memorable appearance as Brünnhilde’s sister Waltraute.
In Siegfried, the “Second Day” or third evening of the Ring Cycle, we meet the pivotal hero of the epic tale. The energetic drive from Die Walküre is pursued here while Siegfried finally recaptures the mighty ring from Fafner the Dragon and awakens Brünnhilde from her penal sleep on the great rock.
Lance Ryan, having interpreted this role on the greatest stages of the world including the Bayreuth Festival, portrays the naïve hero. His antagonists are Peter Bronder, great and agile as Mime, Terje Stensvold, an experienced Wanderer and Johannes Martin Kränzle, who continues his mean and deceitful depiction of Alberich. The leading ladies are Nina Stemme, once again unrivalled as Brünnhilde and Anna Larsson, moving as the God-mother Erda.
Richard Wagner called Die Walküre the “first evening” of the Ring of the Nibelung; he called Das Rheingold the prologue or Vorabend. Musically and dramatically, we are introduced to a radically new and different world when the opening bars of Die Walküre resound. A fully developed orchestral palette of Leitmotivs paints a wild storm scene, and the curtain rises on a modest dwelling: a fully human scene that has nothing to do with the gods, dwarves and nymphs of Das Rheingold. At the same time, however, the way Die Walküre portrays radical beginnings reveals some telling reminiscences of the unfolding of Das Rheingold. Die Walküre is exciting and deeply feeling drama.
The La Scala Rheingold in May 2010 inaugurated Guy Cassiers Ring-Cycle and introduces a completely new paradigm to this work. While before him Patrice Chéreau had laid his focus on a historical analysis from 1870 to 1930 Germany, Guy Cassiers’ Ring unfolds “from our own present-day moment; it [takes] place in ‘the now’, the Jetztzeit (Walter Benjamin), placing our present and our future into the context of the promises and curses that we have inherited from history … The Cassiers Ring shows how the globalized moment of 2010 continues to build on the Wagnerian vocabularies of 1870.” (Michael Steinberg)
Outstanding collection of Bach violin concertos performed by beloved violinist Itzhak Perlman. Born in Israel in 1945, Perlman completed his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on the Ed Sullivan Show in 1958.