Uploaded July 2024 | Updated September 2026, 3 weeks ago
Anja Kampe, Andreas Schager, Mika Kares, Lauri Vasar, Mandy Fredrich, Violeta Urmana
Staatskapelle Berlin, conducted by Christian Thielemann, staged by Dmitri Tcherniakov
Wagner's immense imagination reveals itself in the composer’s 16-hour Ring cycle, being able to fully captivate worldwide audiences since its complete performance in 1876 in Bayreuth. Christian Thielemann’s conducting of “Velvety sound of unmatched beauty” (The Guardian) leads an extremely sophisticated production, with Tcherniakov’s stage that meets the highest technical standards, evolved in ever new, impressive spaces. Götterdämmerung is the concluding chapter of Wagner’s monumental four-part opus, which he conceived in the light of the revolution of 1848/49 and completed in 1874 after numerous attempts and a long interruption. In many ways, the thematic and musical threads are intertwined in a highly artistic and complex manner. “Tcherniakov, as usual, manages details on a level rarely seen in opera.” (The New York Times)
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Anja Kampe, Andreas Schager, Mika Kares, Lauri Vasar, Mandy Fredrich, Violeta Urmana
Staatskapelle Berlin, conducted by Christian Thielemann, staged by Dmitri Tcherniakov
Wagner's immense imagination reveals itself in the composer’s 16-hour Ring cycle, being able to fully captivate worldwide audiences since its complete performance in 1876 in Bayreuth. Christian Thielemann’s conducting of “Velvety sound of unmatched beauty” (The Guardian) leads an extremely sophisticated production, with Tcherniakov’s stage that meets the highest technical standards, evolved in ever new, impressive spaces. Götterdämmerung is the concluding chapter of Wagner’s monumental four-part opus, which he conceived in the light of the revolution of 1848/49 and completed in 1874 after numerous attempts and a long interruption. In many ways, the thematic and musical threads are intertwined in a highly artistic and complex manner. “Tcherniakov, as usual, manages details on a level rarely seen in opera.” (The New York Times)
#wagner #wagneropera #thielemann #opera
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![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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