Monteverdi - L'Orfeo
Musical director Emiliano Gonzalez Toro leads Ensemble I Gemelli in this 2021 performance of Claudio Monteverdi's late-Renaissance opera L'Orfeo at the Théâtre Graslin in Nantes, France. Among the soloists are Toro himself (Orfeo), Emőke Baráth (Euridice), Natalie Perez, Douglas Williams, Fulvio Bettini, Alix Le Saux, Jérôme Varnier, and Mathilde Etienne. The opera retells the Greek legend of Orpheus and his descent to the underworld to return his bride Eurydice to the world of the living. Monteverdi composed L'Orfeo in 1607 for the annual Carnival at Mantua. One of the first operas ever written, it is still performed regularly.
Waldbühne 2004 - Tchaikovsky night
The Berliner Philharmoniker and Lang Lang under the baton of Sir Simon Rattle
Teatro Regio behind the scenes
Few Italian theatres can boast of being an absolute point of reference for national and world culture. The Teatro Regio in Turin is both a symbol of excellence in the national operatic tradition and a prestigious stage hosting operas, ballets, concerts, and musicals of great substance. This short documentary offers a behind-the-scenes tour of the Teatro Regio Torino and bears witness to the enviable reputation that has prevailed since its opening in 1740.
Dvořák - Cello Concerto in B minor, Op. 104
Emmanuel Krivine leads the Luxembourg Philharmonic Orchestra in a performance of Antonín Dvořák’s Cello Concerto in B minor, Op. 104, featuring Aleksandr Khramouchin as the soloist. The Cello Concerto is one of the most-performed works in its genre. Dvořák composed the work during his three-year term as Director of the National Conservatory of Music in New York. The composer dedicated the concerto, which he completed in 1895, to the renowned Czech cellist Hanuš Wihan, his friend and colleague. Wihan suggested several improvements, including the addition of two cadenzas, but Dvořák only accepted a few minor changes. Of interest in the middle section of the second movement is the quotation of Dvořák's song “Leave Me Alone”, a favorite of his sister-in-law Josefina Čermáková, who was ill at that time, and would soon pass away. This performance was recorded in May 2011.
Mahler - Lieder eines fahrenden Gesellen
Soprano Jacquelyn Wagner and pianist Zlata Chochieva performed live at Schinkel Pavillon in Berlin on May 8, 2020. On the program are Richard Wagner's Wesendonck Lieder, WWV 91 and Elegy for piano, followed by a solo piano performance of Gustav Mahler's Menuetto from his Symphony No. 3, arranged by Ignaz Friedman. The recital concludes with a performance of Mahler's Lieder eines fahrenden Gesellen.
Prokofiev - Piano Sonata No. 8, Op. 84
Between March and May 2020, Schinkel Pavillon Berlin opened its unexpectedly vacated exhibition space for a concert series in isolation titled Concerts in Quarantine. As part of the series, pianist Severin von Eckardstein performs Claude Debussy's Prélude à l'après-midi d'un faune (arr. Gryaznov), Frédéric Chopin's Nocturne Op. 27, No. 1, Nikolai Medtner's Elegy Op. 59, No. 2, Sergei Prokofiev's Piano Sonata No. 8, Op. 84, and Medtner's Fairy Tale, Op. 26, No. 3.
Sounds like Christmas
Set in the magnificent Cistercian Monastery Schulpforte near Naumburg, Germany, Sounds like Christmas combines festive music with the spontaneity and freshness of jazz. This Christmas program is the musical encounter between soprano Angelika Kirchschlager and jazz trumpeter Tomasz Stańko. Interpreting popular and lesser-known Christmas songs, the soloists are accompanied by the outstanding Freiburg Baroque Orchestra and the Leipzig a cappella ensemble Amarcord, consisting of former members of St. Thomas Boys Choir. The artists' different backgrounds and stylistic preferences create a suspenseful, varied musical experience. The origins of the monastery date back to the Benedictine convent founded in Schmölln in 1127. Concert footage is juxtaposed with snowy mountain landscapes and cities decorated for Christmas.
In 2018, conductor Emiliano Gonzalez Toro and Mathilde Etienne created Ensemble I Gemelli, specializing in seventeenth-century Italian vocal music. From Claudio Monterverdi to Francesco Cavalli, via Giovanni Felice Sances, Barbara Strozzi and Giacomo Carissimi, Ensemble I Gemelli embraces a myriad of Italian works. In this program, recorded at the Théâtre Graslin in Nantes, the ensemble performs rarely-heard arias and cantatas from seventeenth-century Italy. Soloists are soprano Emöke Baráth, contralto Anthea Pichanick, and renowned countertenor Philippe Jaroussky.
CMIM Piano 2021 - Semi-final: Kevin Ahfat
Kevin Ahfat (Canada, 1994) performs Wolfgang Amadeus Mozart’s Nine Variations on a Minuet by Duport, K. 573, Alban Berg's Piano Sonata, Op. 1, Robert Schumann’s Kinderszenen, Op. 15, and Alberto Ginastera’s Danzas Argentinas, Op. 2, during the semi-finals of the 2021 Piano Edition of the Concours musical international de Montréal (CMIM). This performance was recorded at Maison symphonique, Place des arts, in Montréal, QC, Canada.
Napoli - Music's forgotten capital -I
In the summer of 2019, the Utrecht Early Music Festival explored the musical legacy of Naples: a cultural metropolis of contradiction and solidarity. In the documentary 'Napoli – Music’s Forgotten Capital', festival co-curator Thomas Höft unearths riveting tales from this multi-faceted city.
Beethoven - Piano Sonata No. 21 - III
Julijana Sarac performs the first/third movement of Ludwig van Beethoven’s Piano Sonata No. 21 (“Waldstein”). The work was completed in 1804 and is considered one of Beethoven's greatest and most technically challenging piano sonatas.
Rachmaninoff: Piano Concerto No. 3,Op 30
The legendary pianist Vladimir Horowitz (1903-1989) won his first praise on his interpretation of Rachmaninoff's Third Piano Concerto from the composer himself. When Rachmaninoff heard the young Kiev-born pianist play his work shortly after Horowitz's arrival in New York in 1928, he exclaimed: "He swallowed it whole." Fifty years later, on September 24, 1978, Horowitz electrified his audience once again with this monumental work. Accompanied by the New York Philharmonic under Zubin Mehta, he gave a special performance of this work as part of the celebrations honoring his U.S. debut 50 years earlier. His unforgettable account was recorded live on video and broadcast simultaneously throughout the United States. It was the last time Horowitz played the Third in his lifetime. The work itself, reverently called "Rach 3" by pianists brave enough to tackle its monstrous technical challenges, achieved international celebrity of a different kind in recent years.