Peter Schreier is unquestionably one of the greatest tenors of the twentieth century. For over 40 years he was known above all for his embodiment of Mozart tenor roles, and dazzled as a lieder singer in songs by Schubert, Schumann and Hugo Wolf. The sacred works of Johann Sebastian Bach, his oratorios and passions, formed another key element in the repertory of this native Saxon. He sang at all the world’s major opera houses – at the New York Met, at La Scala in Milan, in Buenos Aires, Vienna and Paris – and needless to say on his “home turf” of Dresden and Berlin. Not forgetting his many years of guest appearances at the Bayreuth and Salzburg Festivals. It was in Salzburg, in 1967, that he sprang into the breach as Tamino in place of Fritz Wunderlich, who died so tragically young. The successes that followed thick and fast upon that were to make Peter Schreier into the opera world’s Mozart tenor of choice in the course of the following decades.
As comparably short operas Cavalleria rusticana and Pagliacci are often billed together, but seldom is the lead tenor making his double role debut as Turiddu and Canio on the same evening. At the 2015 Salzburg Easter Festival Jonas Kaufmann did just that – to rapturous praise. Universally hailed as a coup for Kaufmann, plaudits were also showered on Philipp Stölzl for his innovative compartmentalized staging which included live video projections while referencing the era of black-and-white movies.
Filmed live in Baden-Baden by the veteran director Brian Large, Renée Fleming makes her debut in the role of Ariadne together with fellow key Strauss interpreters Sophie Koch and Christian Thielemann, following on from their Rosenkavalier triumph. Thielemann conducts the Staatskapelle Dresden, the orchestra to whom Strauss dedicated his Alpine Symphony and which premiered Feuersnot, Salome, Elektra, Der Rosenkavalier and Daphne. Fleming's voice might have been made for Ariadne and she achieved a great personal triumph in this production: “The chief glory of the evening was hearing Renée Fleming, the Straussian soprano par excellence, making her role debut as Ariadne… As the possessor of what is, possibly, the most beautiful soprano voice in the world, she put her vocal treasures in the service of an empathic, nuanced interpretation of the role. From the creamy top, through a rich, warm middle, to the bewitching, darker colours of her lower register, Fleming poured her magnificent sound into Strauss’s enchanting melodic arcs, animating the sadness, vulnerability, and desire of the bereft princess…” Frankfurter Allgemeine Zeitung
Reissue of this near legendary recording of Beethoven’s Leonore (the first version of what later became Fidelio). This recording from 1977 was the first recording of this opera, and since then remains a benchmark. Featuring the best singers of the time: Eberhard Büchner, Edda Moser, Edith Mathis, Theo Adam, Karl Ridderbusch, and the Staatskapelle Dresden conducted by Herbert Blomstedt.
"…some of the most important Baroque rediscoveries of recent years … [an] essential recording…" ~BBC MusicMag