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Cecilia And Bryn At Glyndebourne
Features arias and duets from Mozart - Le nozze di Figaro, La Clemenza di Tito, Don Giocanni, Die Zauberflote, Rossini - Il Barbiere di Siviglia, Semiramide, Haydn - L'anima del filosofo, Donizetti - L'elisir d'Amore, Handel - Judas Maccabeus.
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Glyndebourne Festival Opera - A Gala Evening
PLACE: The Final Performance in the Old Opera House COMPANY: Glyndebourne Chorus LANGUAGE: English ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Andrew Davis and Bernard Haitink In the presence of HRH The Prince of Wales
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Handel - Theodora - Upshaw/ Daniels
PLACE: Glyndebourne, June 1996 COMPANY: Glyndebourne Festival Opera Chorus LANGUAGE: Sung in English with English subtitles ORCHESTRA: Orchestra Of The Age Of Enlightenment CONDUCTOR: William Christie
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Janacek - The Makropulos Case - Silja/ Roden
PLACE: Glyndebourne's New Opera House, August 1995 COMPANY: Glyndebourne Festival Opera LANGUAGE: Russian with English subtitles ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Andrew Davis
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Mozart - The Mozart Glyndebourne Collection - Kanawa/ Lott
This release provides a unique opportunity to experience the magic of the Opera in this special box set edition of The Mozart Glyndebourne Collection. Previously only available as individual releases, these Operas are for the first time grouped together. Filmed at Glyndebourne it also features the Glyndebourne Chorus, the London Philharmonic Orchestra, with the conductors: John Pritchard, Bernard Haitink and Gustav Kuhn. Includes: Cosi Fan Tutte (1975), Don Giovanni (1977), Die Entfuhrung Aus Dem Serail (1980), Idomeneo (1974), Le Nozze Di Figaro (1973) and Die Zauberflote (1978).
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Warner Music Vision Ermione - Glyndebourne Festival Opera
Release Date: 2006-01-30, Rating Exempt,
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Warner Music Vision Le Comte Ory - Glyndebourne Festival Opera
Release Date: 2005-06-27, Rating Exempt,
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GLYNDEBOURNE
author: ; publisher: QUAN
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Mozart - Don Giovanni - Pieczonka/ Cachemaille
PLACE: Glyndebourne's New Opera House August 1995 COMPANY: Glyndebourne Festival Opera LANGUAGE: German with English subtitles ORCHESTRA: Orchestra of the Age of Enlightenment CONDUCTOR: Yakov Kreizberg
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Verdi - Traviata - Mclaughlin/ Macneil
PLACE: Glyndebourne 1988 COMPANY: Glyndebourne Festival Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Bernard Haitink
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Mozart - La Clemenza Di Tito
PLACE: Glyndebourne COMPANY: Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Nicholas Hytner
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Verdi - Aida/ La Traviata - Chiara/ Pavarotti/ McLaughlin -
Aida - Performed at La Scala and featuring Maria Chiara and Luciano Pavarotti. Loren Maazel conducts. La Traviata - Performed r the 1988 Glyndebourne Festival and produced by Peter Hall. Bernard Haitink observes the composers markings and Marie McLaughlin has the title role.
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Strauss, Richard - Arabella - Putnam/ Brocheler
PLACE: Glyndebourne Festival Opera 1984 COMPANY: Glyndebourne Chorus LANGUAGE: German with English subtitles ORCHESTRA: London Philharmonic CONDUCTOR: Bernard Haitink
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Bizet - Carmen - Otter/ Haddock
Carmen is restored to the original Opera Comique as Bizet wrote it, stripping away subsequent re-workings, which turned it into grand opera.
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Rossini - La Cenerentola - Kuhlmann/ Dale
Conducter Donato Renzetti, singers Kathleen Kuhlmann, Marta Taddei, Laura Zannini and Laurence Dale and the Glyndebourne Chorus and London Philharmonic Orchestra, all bring the fairytale of Cinderella to life in this sparkling production of the ever-popular Rossini opera.
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Warner Music Vision Mozart: Le Nozze di Figaro (The Marriage of Figaro) -- Glyndebourne [1994]
Mozart's immortal adaptation of Beaumarchais' satirical tale has always been a Glyndebourne staple, so it was appropriate that this delightfully traditional production of <I>Le Nozze di Figaro</I> was chosen to reopen a refurbished Gyndebourne in May, 1994. Here, John Gunter's set design is airy and uncluttered, leaving the actors plenty of breathing space, while director Stephen Medcalf likewise allows the characters to speak (and sing) for themselves. Gerald Finley's Figaro and Alison Hagley's Susanna make a charming central pairing; Renee Fleming and Andreas Schmidt are a formidable aristocratic duo, while Marie-Ange Todorovitch fills Cherubino's trousers with pleasing playfulness. Haitink and the London Philharmonic sparkle, as of course they should. Unfussily filmed, this is as close to the real thing as you are likely to get without a Glyndebourne season ticket.<p><B>On the DVD</B>: This is a double-sided disc requiring a changeover between Acts 2 and 3. With a running-time of 189 minutes, the disc is no longer than some epic Hollywood movies, so such flipping is hard to justify. But at least opera lends itself to natural breaks like this. The sound options are Dolby stereo or 5.1 and the picture is in 4:3 ratio. Subtitles are provided in English, French or German and the booklet contains a plot synopsis. --<I>Mark Walker</I>
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Warner Music Vision Carmen - Glyndebourne Festival Opera [1985]
Release Date: 2005-10-24, Rating Exempt,
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Warner Music Vision A Midsummer Night's Dream - Glyndebourne Festival Opera [1981]
Release Date: 2004-08-02, Rating Exempt,
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Warner Music Vision Berg: Lulu - Glyndebourne Festival Opera [1996]
Alban Berg's second and last opera <I>Lulu</I> is one of the monuments of modernism, constructed around serial technique and containing scenes conceived of as Sonata-form, Suite and so on. The bliss of Andrew Davis's conducting in this classic Glyndebourne production is that we forget all of this--Davis doesn't gloss over the music's intellectual content, but that's not what we think about as we watch and listen. Part of the production's strength is the prodigious performance by Christine Schafer as Lulu--for once we believe in the character's sexual energy and power; and Schafer makes her real enough as a person that we largely forget the work's intrinsic misogyny. The rest of the cast are admirable too: Norman Bailey brings something perversely sweet to the disreputable painter Schigolch; Kathryn Harries makes the dying words of Lulu's lesbian lover Geschwitz one of the work's lyric high points; David Kuebler is equally powerful as Alwa. The final duet between Lulu and her destroyer Jack the Ripper is one of Wolfgang Schone's great moments, but he is equally good as Dr Schon, the man Lulu marries and kills. This is a performance of energy and beauty, matched by a simple but effective production. <p> <B>On the DVD</B> <I>Lulu</I> on disc is presented in disappointingly in NTSC format with a 4:3 picture ratio. Fortunately, the Dolby 2.0 digital sound is ideal for the fine detail of this complex score and these nuanced performances. There are subtitles in English, French, German, Spanish and Japanese. --<I>Roz Kaveney</I>
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Warner Music Vision Rossini: Il Barbiere di Siviglia (The Barber of Seville) -- Glyndebourne [1982]
Release Date: 2004-04-26, Rating Exempt,
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Warner Music Vision The Makropulos Case - Glyndebourne Festival Opera [1995]
Release Date: 2003-09-22, Rating Exempt,
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Cecilia And Bryn At Glyndebourne - Arias And Duets (Wide Screen)
Cecilia And Bryn At Glyndebourne - Arias And Duets (Wide Screen) DVD Region 2 Cecilia And Bryn At Glyndebourne - Arias And Duets (Wide Screen), Catalogue Number: OA0840D, Release Date: 01/07/2002
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Warner Music Vision Theodora - Glyndebourne Festival Opera [1996]
Release Date: 2004-07-05, Rating Exempt,
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Warner Music Vision Albert Herring - Glyndebourne Festival Opera
Release Date: 2005-09-05, Rating Exempt,
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Berg - Lulu - Schafer/ Veira
PLACE: Glyndebourne July 1996 COMPANY: Glyndebourne Festival Opera LANGUAGE: German with English subtitles ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Andrew Davis
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Rossini - Barber Of Seville - Ewing/ Rawnsley
PLACE: Glyndebourne, June 1981 COMPANY: Glyndebourne Festival Chorus LANGUAGE: Italian with subtitles ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Sylvain Cambreling This performance of Rossini's classic opera was produced by John Cox for the Glyndebourne Festival Opera. Filmed in 1982, it features Maria Ewing as Rosina and John Rawnsley as Figaro, the barber. The story follows the course of Rosina and the Count's relationship, under the jealous eye of Doctor Bartolo.
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Monteverdi - L'incoronazione Di Poppea - Ewing/ Bailey
PLACE: Glyndebourne 1984 COMPANY: Glyndebourne Opera Chorus LANGUAGE: Italian with English subtitles ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Raymond Leppard
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Mozart - Die Zauberflote -
PLACE: Glyndebourne Festival Opera, 1978 COMPANY: Glyndebourne Chorus LANGUAGE: German ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Bernard Haitink
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Mozart - Cosi Fan Tutte -
PLACE: Glyndebourne Festival Opera 1975 COMPANY: Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: John Pritchard
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Verdi - Simon Boccanegra - Prokina/ Pasquetto
PLACE: Glyndebourne COMPANY: Glyndebourne Opera LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Mark Elder
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Gluck - Orfeo Ed Euridice - Baker
PLACE: Glyndebourne Festival Opera COMPANY: Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Raymond Leppard
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Mozart - Nozze Di Figaro - Te Kanawa/ Von Stade
PLACE: Glyndebourne Festival COMPANY: Glyndebourne Festival Opera Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: John Pritchard
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Britten - A Midsummer Night's Dream - Cotrubas/ Bowman
PLACE: Glyndebourne COMPANY: Glyndebourne Festival Opera Chorus LANGUAGE: English ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Bernard Haitink
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Verdi - Falstaff
PLACE: Glyndebourne Festival Opera, 1976 COMPANY: Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: John Pritchard
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Verdi - Macbeth
PLACE: Glyndebourne Festival Opera COMPANY: The Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: John Pritchard
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Mozart - Nozze Di Figaro - Hagley/ Finley
PLACE: Theatre Du Chatelet Paris COMPANY: Monteverdi Choir LANGUAGE: German ORCHESTRA: English Baroque Soloists CONDUCTOR: John Eliot Gardiner
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Puccini - Gianni Schicchi
PLACE: Glyndebourne Opera House, 2004 LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Vladimir Jurowski
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Rachmaninov - The Miserly Knight
PLACE: Glyndebourne Opera House LANGUAGE: Russian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Vladimir Jurowski
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Mozart - Don Giovanni - Luxon/ Dean
PLACE: Glyndebourne Festival Opera, 1977 COMPANY: Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Bernard Haitink
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Bizet - Carmen - Ewing/ McCauley
Maria Ewing's electric portrayal of the gypsy Carmen is one of the finest in recent memory. Her dark alluring looks and fekine grace are exactly suited to playing the hot-blooded Spanish temptress who charms men with her sensuous wild spirit. Peter Hall's production, filmed in 1985, reveals Bizet's opera as a torrid drama of passion, blood and squalor, with sets by John Bury that capture the earthy warmth of Spain in an unglamourised view of the factory girls of Seville. Barry McCauley is "a thrilling Don Jos?" (Observer), Mica?la is sung by Marie McLaughlin, with Bernard Haitink conducting The London Philharmonic.
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Tchaikovsky - Eugene Onegin - Prokina/ Drabowicz
Graham Vick's acclaimed production of Eugene Onegin sets Pushkin's tale of doomed love, tragedy and rejection against an acutely observed backdrop of Russian society, with spectacular choruses and dances. Tchaikovsky's powerful music vividly conveys the passion and despair of the young Tatyana as she declares her love for Onegin. With Elena Prokina as Tatyana, Wojciech Drabowicz as Eugene Onegin, Martin Thompson as Lensky. With the London Philharmonic at Glyndebourne Festival Opera conducted by Andrew Davis.
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Debussy - Pelleas Et Melisande - Oelze/ Croft
Debussy's haunting opera Pelleas et Melisande, based on a tragic fairy tale, recounts the ill fated love of half brothers Golaud and Pelleas for the same woman, the enigmatic Melisande. Graham Vick's beautiful fin-de-siecle production for Glyndebourne Festival Opera, filmed in 1999, stars Christiane Oelze as Melisande, Richard Croft as Pelleas and John Tomlinson as Golaud.
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Rossini - Comte Ory - Massis/ Laho
Set in rural France at the time of the crusades, Rossini's last comic opera is the saucy tale of Le Comte Ory and his pursuit of the crusaders' wives, who chastely await the return of their menfolk. This acclaimed production was recorded at Glyndebourne during the 1997 season, with the delectable French soprano Annick Masis as Adele, the Belgian tenor Marc Laho as the lecherous Comte Ory and Diana Montague as the amorous page Isolier. Jerome Savary's sparkling production includes a sensuous bathing scene and a riotous banquet with the male singers disguised as nuns. Andrew Davis conducts the London Philharmonic.
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Mozart - Die Entfuhrung Aus Dem Serail
PLACE: Glyndebourne Festival Opera 1980 COMPANY: Glyndebourne Chorus LANGUAGE: German ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Gustav Kuhn
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Mozart - Die Entfuhrung Aus Dem Serail
Mozart's comic masterpiece is set in a Turkish palace, and tells the exciting and amusing story of the 'escape from the harem'. In this acclaimed production from The Royal Opera by Elijah Moshinsky, filmed in 1988, the Turkish atmosphere is created by Timothy O?Brien's imaginative set of garden and crumbling palace, strikingly complemented by Sir Sidney Nolan's colourful front and backcloths. The Spanish nobleman Belmonte is ably sung by Deon van der Walt, and his beloved Konstanze is sung by Inga Nielsen with both dramatic conviction and brilliant, secure coloratura. The actor Oliver Tobias gives a sensuous and powerful performance in the speaking role of Pasha Selim, and Lillian Watson is a charming Blonde.
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Stravinsky - Rake's Progress
PLACE: Glyndebourne Festival Opera, 1975 COMPANY: The Glyndebourne Chorus LANGUAGE: English ORCHESTRA: The London Philharmonic Orchestra CONDUCTOR: Bernard Haitink
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Monteverdi - Ritorno D'Ulisse In Patria - Luxon/ Baker
PLACE: Glyndebourne Festival Opera COMPANY: Glyndebourne Chorus LANGUAGE: Italian ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Bernard Haitink The legend of Ulysses is told in gripping musical style by this Monteverdi opera from the Glyndebourne Festival Chorus and the London Philharmonic Orchestra. Raymond Leppard conducts, and Janet Baker supports Benjamin Luxon's title role admirably.
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Beethoven - Fidelio - Soderstrom/ Gale
PLACE: Glyndebourne Festival COMPANY: Glyndebourne Festival Opera LANGUAGE: German ORCHESTRA: London Philharmonic Orchestra CONDUCTOR: Bernard Haitink
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Britten - Death In Venice - Tear/ Opie
Perhaps it was Luchino Visconti's inspired cinematic version of Thomas Mann's stories which finally prompted the most distinguished English composer of the 20th century to adapt Death In Venice for the musical stage too. Indeed, it appears to be something which he had been considering for several years. Three years after the premiere of the film - and equally three years prior to his death - Britten succeeded with his last music drama in making a connection between opera and dance which was as innovative as it was unconventional, but which was also an outstanding success in every way. The accompanying production by the Glyndebourne Touring Opera, here for the first time on DVD, dates back to October 1989. The world's press praised the quality of the production (Stephen Lawless) and its choreography (Martha Clarke) as it did the exceptional performances by the musicians and vocalists, in particular Robert Tear as Gustav von Aschenbach.
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Rossini - Ermione - Antonacci/ Ford
Rossini's rarely performed 'opera seria' Ermione was a surprise hit when it was first performed at Glyndebourne in 1995. Set in Troy after the fall of the city to the Greeks, this tragedy of great histrionic force concentrates on the bitter struggle for the love of Pyrrhus between Hector's widow, Andromache, and the jealous Ermione, sister of Helen of Troy. Graham Vick sets his highly-effective production in the classically-inspired auditorium of an Italian opera house, whose lop-sidedness gives an impression of the crazed emotions being played out on stage. He draws full-blooded performances from his cast, which includes Anna Caterina Antonacci as Ermione, Diana Montague as Andromache, Bruce Ford as Orestes, Jorge Lopez-Yanez as Pyrrhus, Paul Austin Kelly as Pylades and Gwynne Howell as Phoenix.
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Britten - Albert Herring -
Benjamin Britten's comic opera, based on a story by Guy de Maupassant, is a light-hearted parody on life in an English market town at the turn of the 20th Century. The green-grocer's lad Albert Herring is crowned May King because the local village committee can find no girl virtuous enough to be the May Queen. The ensuing antics are brilliantly characterised by a strong British cast in this 1985 production by Peter Hall.
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Handel - Rodelinda - Antonacci/ Scholl
PLACE: Glyndebourne Festival Opera COMPANY: LANGUAGE: Italian ORCHESTRA: Orchestra of the Age Of Enlightenment CONDUCTOR: William Christie Handel wrote his Italian opera, Rodelinda, at the height of his musical powers, and it is considered to be one of his greatest, with music of astonishing power and beauty. This highly-praised production of Rodelinda, filmed in 1998, was the first ever staging of a Handel opera by Glyndebourne Festival Opera. Jean-Marie Villegier's stylish production sets Handel's tale of royal exile and fidelity in the silent movie era. The production stars Anna Caterina Antonacci in a glamorous and dramatic portrayal of Rodelinda and the sensational counter tenor Andreas Scholl is Bertarido (this was his first ever performance on the operatic stage). The cast also includes Louise Winter as Eduige and Kurt Streit as Grimoaldo.
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Warner Music Vision Eugene Onegin - Glyndebourne Festival Opera [1994]
Release Date: 2005-11-21, Rating Exempt,
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Arthaus Musik Verdi: La Traviata -- Glyndebourne [1988]
Performances of <I>La Traviata</I> stand or fall to an unusual extent on their principal soprano; the first thing that needs saying about this Glyndebourne performance is that Marie McLaughlin has all of the attributes needed for a role that is fundamentally a virtuoso one, no matter how emotionally involving it is as well. The point about Violetta is that she is, with absolute authenticity, all of the things she becomes in the course of the opera--the febrile socialite and yearning love of Act One, the quiet domesticated woman of Act Two who sacrifices her love for Alfredo to precisely the family values he has talked her into espousing, the dying penitent of Act Three. Walter McNeil is an impressive poetic Alfredo in whose successful courtship we can believe. He is also unusually good in Act Two, Scene Two where for once his public humiliation of Violetta is actually painful, which makes his repentance at her deathbed far more moving. Brent Ellis is solidly powerful as his father Germont--the duet in which he talks Violetta into renouncing his son and comes to value what he is destroying is one of the high points here, as it should be. Bernard Haitink conducts impressively.<p> <B>On the DVD</B>: As (unfortunately) usual with Arthaus Musik, the DVD contains no extra features worth mentioning past the usual subtitles in German, English and French, relegating discussion of the opera's stormy history to the booklet. --<I>Roz Kaveney</I>
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Arthaus Musik Mozart: La Clemenza di Tito -- Glyndebourne
Mozart's <I>Clemenza di Tito</I> (The Clemency of Titus) makes for riveting viewing in this Glyndebourne performance directed by Nicholas Hytner and conducted by Andrew Davis staged in the composer's bicentenary in 1991. Mozart's last opera, <I>Clemenza</I> was for some time considered below par by his own exalted standards. He composed it in a rush, the recitatives are by a pupil and it had to be on an appropriate theme to please the new Hapsburg monarch, for whose enthronement it was designed. There's little character development and the musical style harks back to operatic conventions Mozart had done so much to overthrow. <p> Watching this production one would scarcely credit that such reservations once held sway. Hytner and his team have put a contemporary angle on a story set in Rome AD 78 in which sets, props and the stage itself are constructed to different dimensions offering alternate perspectives on a static tale. A slanting pillar and a sloping corridor allude to the unhinged mind of the scheming Vitellia, the central character, who puts her confidant Sesto on an emotional roller coaster ride as she ensnares him to plot the downfall of Titus. The principals use their eyes to communicate to one another as well as the audience and in the imaginatively staged entrances and exits of the ensembles one senses Hytner's choreographic instincts coming to the fore. <p> The superb cast sing magnificently and look stunning. Philip Langridge is an eloquent Titus, Diana Monatgue a sincere Sesto and Ashley Putnam brings a touch of Alexis Colby to her portrayal of Vitellia. The London Philharmonic are all fired up under conductor Andrew Davis' fervent direction. The performance (the Overture accompanied by a visual montage of artefacts of Ancient Rome) is played on modern instruments yet articulated and reproduced with the clarity and definition associated with period ones. <p> <B>On the DVD:</B> <I>La Clemenza di Tito</I> has no special features save for the obligatory subtitles. The picture quality is outstanding with the imaginative and colourful production design caught, like the music, with exceptional fidelity. The high drama at the conclusion of Act 1 justifies running on without a break into Act 2. This is a must for all lovers of opera. --<I>Adrian Edwards</I>
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Warner Music Vision Monteverdi: L'Incoronazione di Poppea -- Glyndebourne [1984]
Peter Hall's lavishly staged <I>L'Incoronazione di Poppea</I> celebrated the 50th Anniversary of Glyndebourne in 1984 with a performance of Monteverdi's most celebrated and also most controversial opera. The score is conductor Raymond Leppard's enhanced edition, which he had premiered at Glyndebourne back in 1962, fully scored for a large orchestra. Much debate circles around the forces appropriate for performing Monteverdi's decidedly minimalist work, but one thing at least is certain: it didn't sound anything like this in the 17th century! Never mind, however inauthentic it may be, Leppard's big and beefy orchestral updating--including a fulsome continuo group with pairs of harpsichords, organs and cellos, as well as lute, guitar and harp--supports the weighty melodrama nicely. <p> The singers, too, are full-bodied, led by a fruity Maria Ewing as Poppea (in various revealing outfits) sounding suitably seductive, and Dennis Bailey, oddly lovely of voice as Nero (one of the opera's controversial aspects is the heroic central role accorded to these two thoroughly wicked characters). Perhaps best of all is Robert Lloyd as Seneca, who not only boasts a profound, reverberant bass, but also looks the part under beard and toga. With an onstage chorus to lament him, Seneca's death scene is the most moving in the opera. Peter Hall's clever staging keeps the Olympians--Love, Fortune and Virtue--permanently watching from above as the venal humans below act out this tragedy of poisoned love. The no-frills DVD has subtitles in English, French, German and Spanish. --<I>Mark Walker</I>
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Warner Music Vision Rodelinda - Glyndebourne Festival Opera
Release Date: 2005-09-05, Rating Exempt,
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Warner Music Vision Rossini - La Cenerentola Glyndebourne Festival [1983] (NTSC)
Release Date: 2004-05-24, Rating Exempt,
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CECILIA & BRYN AT GLYNDEBOURNE(DVD)
E author: ; publisher: GOLDS
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£19.99
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Warner Music Vision Mozart: Don Giovanni -- Glyndebourne [1995]
Deborah Warner's 1995 production of <I>Don Giovanni</I> for Glyndebourne is characterised by a central portrayal of the Don as at once evil and sexually magnetic. Gilles Cachemille has at one at the same time a raffish charm and a deep mean-spiritedness--many Don Giovannis don't bully his servant nearly as much as this one, and Warner pushes his sinfulness all the way into sacrilege--apart from mocking the Commendatore's grave effigy, this Giovanni also has his way with a statue of the Madonna. Pieczonka's Elvira is at once stately and sensual--there is no sense of hysteria here, rather more of a deep sadness and sense of a ruined life. Page's Leporello is a wonderful long-faced clown; his catalogue aria is at once genuinely funny and a rather sadistic tease of Elvira. Though Kreizberg is working with authentic forces, the feel of his performance has a passionate gloominess that teeters on the brink of Romanticism without ever exceeding the work's adventurousness. The DVD comes with subtitles in English, French, German, Italian and Spanish, as well as a full printable text of the libretto. --<I>Roz Kaveney</I>
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Opus Arte Media Productions Cecilia And Bryn At Glyndebourne - Arias And Duets [1999]
Release Date: 2002-07-01, Rating Exempt,
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Arthaus Musik Mozart: The Mozart Glyndebourne Collection [1973]
Release Date: 2005-11-28, Rating Exempt,
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£41.99
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Carmen - Glyndebourne Festival Opera
A tale of a naive army corporal who forsakes everything for the love of a sultry gypsy who spurns him for another man. Bernard Haitink conducts the London Philharmonic Orchestra.
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Urania Mozart Idomeneo - complete Glyndebourne Chorus Richard Lewis
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£18.99
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EMI Classics for Pleasure Sullivan Gilbert & Sullivan Glyndebourne Festival Chorus
The Pirates of Penzance : Oh better far to live and die / Oh sisters deaf to pity's name … Poor wandering one! / I am the very model of a modern Major-General / When a felon's not engaged in his employment / With cat-like tread. HMS Pinafore : I am the monarch of the sea / When I was a lad I served a term / Never mind the why and wherefore / Oh joy oh rapture unforeseen. The Mikado : A wand'ring minstrel I / Behold the Lord High Executioner / Three little maids from school / A more humane Mikado. Iolanthe : When Britain really ruled the waves / If you go in / If we're weak enough to tarry. The Gondoliers : In enterprise of martial kind / When a merry maiden marries / Then one of us will be a queen / Take a pair of sparkling eyes / Dance a cachuca fandango bolero. Patience : When I first put this uniform on / A magnet hung in a hardware shop / So go to him and say to him. The Yeomen of the Guard : When maiden loves she sits and sighs / I have a song to sing O!
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