Movie Music
This performance of the Richard Wagner opera Logengrin was filmed in high definition for the Bayreuth Festival in 2011, and features vocalists like Georg Zeppenfeld, Klaus Florian Vogt, and Anette Dasch in the leading roles.
Germany Germany
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This film was prepared as a introduction to a series of opera broadcasts on German television. It depicts the behind-the-scenes manoeuvrings in preparation for the annual opera festival in Bayreuth.
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Giselle is the quintessential Romantic ballet. Its title role, one of the most technically demanding and emotionally challenging in the classical repertory, is here danced by Alina Cojocaru, partnered by Johan Kobborg as Count Albrecht. This tale of the transcendental power of love over death is evocatively portrayed through Peter Wrights sensitive staging and John Macfarlanes designs, which beautifully contrast the human and supernatural worlds mastered from a High Definition recording and true surround sound. Conductor : Boris Gruzin Orchestra : The Orchestra of the Royal Opera House
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THIRD DAY OF THE RING CYCLE. Günter, the lord of the Rhine people, gives Siegfried a love potion that causes Siegfried to forget Brünnhilde and fall in love with Günter's sister Gutrane. Siegfried has given Brünnhilde the Ring as a token of their love, but her Valkyrie sister urges her to destroy it, because their father Wotan has lost his spear and power and is hiding out in Valhalla. Instead, Brünnhilde keeps it, and under the influence of the potion, Siegfried steals it from her. Enraged, Brünnhilde helps Alberich's son murder Siegfried, but Siegfried's memory returns, and he dies thinking of Brünnhilde. Brünnhilde repents and orders a funeral pyre to be built. She rides into the fire herself, and the Rhinemaidens get the ring back. The story closes with flames flickering about Valhalla in the background. Filmed at the Bayreuth Festspielhaus in June & July 1991.
Tristan und Isolde
The Bayreuth Festival Opera House mounted this production of Richard Wagner's 1865 opera Tristan und Isolde as part of the Bayreuther Festspiele. Staged by Heiner Müller, it stars Siegfried Jerusalem, Waltraud Meier, Poul Elming and Uta Priew, and features musical accompaniment by The Orchestra and Chorus of the Bayreuther Festspiele.
The Ring Cycle: Siegfried
SECOND DAY OF THE RING CYCLE. Alberich's brother Mime raises the orphan Siegfried, hoping that Siegfried will kill Fafner and enable Mime to gain the ring. Mime attempts unsuccessfully to reforge the Nothung. Fulfilling prophecy, Siegfried reforges the sword himself and kills Fafner, who has the form of a dragon. When he accidentally tastes the dragon's blood spilt on his hands, Siegfried understands the song of a woodbird, who instructs him to take the Ring from Fafner. Reading Mime's thoughts of betrayal, Siegfried kills the dwarf as well. The woodbird also informs Siegfried of a mysterious woman asleep in the midst of fire, and Siegfried sets off to find her. After defeating a disguised Wotan and breaking his spear, Siegfried successfully awakes Brünnhilde, and the two fall in love. Filmed at the Bayreuth Festspielhaus in June & July 1992.
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The Peter Sellars production of Handel's "Theodora", recorded live at the Glyndebourne Festival in May 1996. Dawn Upshaw stars as Theodora, with David Daniels as Didymus, Lorraine Hunt Lieberson as Irene, Richard Croft as Septimius, and Frode Olsen as Valens. William Christie conducts the Orchestra of the Age of Enlightenment.
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This program captures a live performance of the Richard Wagner opera Die Meistersinger von Nurnberg, recorded at the Bayreuth Festival in Germany, under the direction of Katharina Wagner. Some of the vocalists featured in the performance include Franz Hawlata, Artur Korn, Michael Volle, and others.
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Both Florez and Diana Damrau brought their bel canto expertise and superb vocalism to the service of Verdi's music. The Rigoletto, Zeljko Lucic, ran the gamut from tenderness with his Gilda to thundering fury with everyone else. I also liked the production. At first, when Rigoletto was putting on his grease paint during the overture, I was afraid that it might be a typical "Euro-trash" production, with a bit of warmed over I Pagliacci. But the sets and dramatic action really served the music and libretto. I would have to say that I came to a deeper understanding and appreciation of the story and characters as a result of seeing this performance.
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