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Pelléas et Mélisande (Pelléas and Mélisande) is an opera in five acts with music by Claude Debussy. The French libretto was adapted from Maurice Maeterlinck's Symbolist play Pelléas et Mélisande. It premiered at the Opéra-Comique in Paris on 30 April 1902 with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André Messager, who was instrumental in getting the Opéra-Comique to stage the work. The only opera Debussy ever completed, it is considered a landmark in 20th-century music.
Accompanied by a luxurious team of professionals, consisting of the renowned stage director Peter Stein, his stage designer Ferdinand Wöger and conductor Ádám Fischer, Teatro alla Scala presents with Mozarts Zauberflöte a production where orchestra, chorus, soloists as well as outfitters all consisted of students of the Academia Teatro alla Scala, the educational institution aimed to train the young talents, founded by the Teatro alla Scala in 2001. The result was more than stunning and an instant success with the audience of the ten sold out performances at La Scala, which is famous for its more than critical loggionisti. According to Die Presse, Fischer gets the best out of the Academy Orchestra with delicate execution and humane phrasing while the Frankfurter Allgemeine Zeitung praises Fatma Said as "Pamina" and Yasmin Özkan as "Queen of the Night".
Unabridged production of Goethe's Faust Ⅰ by Peter Stein's Faust Project.
One of the lesser known works by Giuseppe Verdi, Simon Boccanegra is regarded by most opera lovers as one of his finest. The action takes place in the 14th century and deals with the political and personal rivalry between the corsair Simon Boccanegra, who has been elected Doge of Genoa with the help of the plebeian vote, and the local nobleman, Jacopo Fiesco. Arthaus presents a visually alert, musically sensitive and disturbingly coherent (Der Standard) production of the piece on DVD. The staging was directed by one of the giants of the European theatre, Peter Stein. His fondness for atmospherically dense spaces in which the characters can fully develop is particularly well brought out in his Vienna production, not least because he had at his disposal two remarkable singing actors for the principal male roles, Thomas Hampson and Ferruccio Furlanetto.
Verdi wrote this five act opera with a French Libretto for the Paris opera. Premiere 1867. Then there are three versions of this opera, the French 1867 version, the revised Italian four Act Don Carlo 1884, plus the Modena version 1886. This version is the 1884 version with Act One reinstated, as well as the original beginning of Act 2. To complicate matters the French opera was simply translated into Italian, and then the changes were made. There is an even newer edition completed in 1980 by Ricordi, and others floating around as well.
Giuseppe Verdi's one prologue, three act opera featuring libretto by Francesco Maria Piave and Arrigo Boito is performed before a live audience at Florence's Teatro Comunale in this release featuring the music of the Orchestra and Chorus of the Maggio Musicale Fiorentino under conductor Claudio Abbado, and starring Carlo Guelfi, Julian Konstantinov, and Karita Mattila.
Any performance of Giuseppe Verdi’s Aida at La Scala, Milan, is guaranteed to be an experience – but, when it’s a new production, it becomes a major event, especially given the theatre’s notoriously critical audience. Legendary stage director Peter Stein succeeds in delivering a lucid production acclaimed in equal measure by the press and public: “a perfect coup de théâtre” (Giornale della musica). A “stellar cast” (La Stampa) contributes to the production’s success under the musical direction of Verdi specialist Zubin Mehta, who leads the orchestra in a “gorgeously colourful performance”, while “the entire ensemble is brilliant in its portrayal of the characters” (Die Presse).
Jeanine, an earnest theatre director, has been given the task of remounting her former mentor’s most famous work, the opera Salome. Haunted by dark and disturbing memories from her past, she allows her repressed trauma to color the present as she re-enters the opera world after so many years away.
Described by librettist Charles Jennens with typical English understatement as “a fine entertainment”, Handelʼs Messiah was initially controversial as a biblical oratorio written for secular theatres. Within years it was however being “received with universal applause” and its composerʼs purpose in delighting and charming his listeners has made this masterpiece an international favourite ever since. This eye-catching, audiovisual recording of Handelʼs masterpiece with its cast of renowned soloists captures the 2016 Easter concert in the impressive baroque Basilica of Klosterneuburg, Austria.