Uploaded June 2026 | Updated September 2026, 3 weeks ago
Georg Zeppenfeld, Michael Nagy, Michael Spyres, Christina Nilsson, Matthias Stier, Jongmin Park, Christa Mayer, Bayreuth Festival Chorus
Orchester der Bayreuther Festspiele, conducted by Daniele Gatti
staged by Matthias Davids
Wagner defined Die Meistersinger von Nürnberg as the most complete work that he had ever created. The Bayreuth Festival 2025 presents the comedy in a new production staged by Matthias Davids, whose playful irreverence stands between tradition and renewal. Under the exceptional baton of Daniele Gatti, who debuted in Bayreuth in 2008 with Parsifal, the cast showcases its brilliancy and finesse. Georg Zeppenfeld, at the core of the performance, interprets Hans Sachs with excellent vocal skills and particular sensibility. Equally remarkable performances are given by Michael Spyres and Christina Nilsson, respectively Walther and Eva, and Michael Nagy as a finely drawn Beckmesser. The result is a compelling piece of music theatre: “A comedy of manners where themes of art, tradition and human love arise
naturally” (Seen and Heard International).
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Georg Zeppenfeld, Michael Nagy, Michael Spyres, Christina Nilsson, Matthias Stier, Jongmin Park, Christa Mayer, Bayreuth Festival Chorus
Orchester der Bayreuther Festspiele, conducted by Daniele Gatti
staged by Matthias Davids
Wagner defined Die Meistersinger von Nürnberg as the most complete work that he had ever created. The Bayreuth Festival 2025 presents the comedy in a new production staged by Matthias Davids, whose playful irreverence stands between tradition and renewal. Under the exceptional baton of Daniele Gatti, who debuted in Bayreuth in 2008 with Parsifal, the cast showcases its brilliancy and finesse. Georg Zeppenfeld, at the core of the performance, interprets Hans Sachs with excellent vocal skills and particular sensibility. Equally remarkable performances are given by Michael Spyres and Christina Nilsson, respectively Walther and Eva, and Michael Nagy as a finely drawn Beckmesser. The result is a compelling piece of music theatre: “A comedy of manners where themes of art, tradition and human love arise
naturally” (Seen and Heard International).
Facebook: facebook.com/CmajorEntertainment
Instagram: instagram.com/cmajor_entertainment

![Janácek: Jenufa from Staatsoper Unter den Linden
Camilla Nylund, Evelyn Herlitzius, Stuart Skelton, Ladislav Elgr, Hanna Schwarz, Staatsopernchor
Staatskapelle Berlin, conducted by Simon Rattle
staged by Damiano Michieletto
Jenufa is still Janácek’s most successful and most often performed opera, and the Berlin premiere at the Staatsoper in 1924 brought the work its final breakthrough on German stages. This performance from Berlin’s Staatsoper Unter den Linden is “artistically unsurpassable. There are three reasons for this. Firstly, the cast [...], secondly: the direction [...], thirdly: Simon Rattle, the Staatskapelle and the chorus of the Staatsoper” (BR Klassik). “Simon Rattle revs up the Staatskapelle Berlin with a passion as if he had to fill a melodrama by Giacomo Puccini with bursting sound life” (Süddeutsche Zeitung). “A beguiling mixture of speaking articulation and tonal roundness.” (Frankfurter Allgemeine Zeitung)
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![Bruckner 11 – Christian Thielemann & Wiener Philharmoniker
PROGRAM Bruckner: Symphony in F minor, WAB 99 (Study Symphony), Symphony in D minor, WAB 100 (Nullte), Symphony No. 5 in B flat major, WAB 105
On the occasion of the Bruckner bicentenary, the Wiener Philharmoniker recorded its first ever complete Bruckner cycle under the baton of Christian Thielemann. In addition to the well-known canon of nine symphonies, the two earliest Bruckner symphonies in F minor and D minor, which are a world premiere on DVD and Blu-ray, were also recorded for the first time in the orchestras history. This uniquely complete edition from the Musikverein and Salzburg Festival, featuring 11 symphonies, also includes extensive conversations with Christian Thielemann about each symphony and insights into his rehearsal work. “Two symphonies that document Bruckners path to mastery quite excellently. (…) Conclusion: The next interesting Bruckner milestone in the cycle.” (Kurier) / “Masterly, kapellmeisterlike, dreamlike.” (Der Standard) / Beautiful to weep for and artistically accomplished. [...] The interpretation of the Fifth may be considered a milestone. The way the musicians realised this work was simply grandiose. (Kurier)
BONUS: Discovering Bruckner with Christian Thielemann
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