“One of Böhm's last operatic assignments, he accompanies his fine cast with huge wisdom. Gruberova and Talvela are outstanding. August Everding's production, adventurous for 1980, is now a delight to look at” (BBC Music Magazine). “the performance has a winning glow, with an excellent cast of soloists. Edita Gruberova as Konstanze is at her freshest…[Grist's Blonde] is a charming and characterful assumption, most of all when confronting the powerful Osmin of Martii Tavela” (Penguin Guide).
The rhythmic, textural and structural clarity of Karl Böhm’s recordings are much admired across the world. This new release includes Böhm’s celebrated recordings of Mozart Serenades and the great orchestral works of Richard Strauss, as well as equally notable performances of Beethoven and Brahms symphonies. This 17 CD box with booklet includes including new liner notes by Berliner Philharmoniker intimus Helge Grünewald and rare Böhm photographs.
This is the most beautiful of Mozart playing, his last piano concerto given here by Emil Gilels with total clarity. This is a classic performance, memorably accompanied by the VPO and Böhm. Suffice it to say that Gilels sees everything and exaggerates nothing, that the performance has an Olympian authority and serenity, and that the Larghetto is one of the glories of the gramophone. He's joined by his daughter Elena in the Double Piano Concerto in E flat, and their physical relationship is mirrored in the quality, and the mutual understanding of the playing: both works receive marvellous interpretations. We think Emil plays first, Elena second, but could be quite wrong. The VPO under Karl Böhm is at its best; and so is the quality of recording, with a good stereo separation of the two solo parts, highly desirable in this work.
To celebrate the 200th anniversary of Beethoven's birth in 1970, German television took Fidelio into the studio and filmed the Deutsche Oper Berlin's production of the composer's only opera. Karl Böhm, well-known as a master conductor of this opera, leads an astonishing performance which emphasizes orchestral clarity and emotional depth. The conductor leads a strong cast headed by the glorious Gwyneth Jones and powerful James King in the starring roles. First time on DVD! "Gwyneth Jones sang a passionate Leonore…James King was a Florestan on the summit of his vocal expression." (Berliner Morgenpost)
This DVD of Ariadne is a 1978 film based on Filippo Sanjust’s Vienna State Opera production. The bustling Prologue is set in the backstage area of the mogul’s palace and the 18th century costumes fit neatly. In the opera proper, the stage is transformed into a very stagey desert island with an improbable set of stairs leading to the heroine’s cave, the action spilling over into the theatre’s side boxes at times. While there’s nothing particularly imaginative about the production, it never distracts from the main event–the music. Strauss was profligate in his melodic gifts, his ability to make a reduced orchestra sound big, and his wonderful obsession with the female voice, which yields many glorious moments in the opera. Lavish casting helps.
“A glittering account of the most perfect of all operettas, with an incredibly starry cast, all in peak condition. Karl Böhm's conducting is relaxed but sparkling.” (BBC Music Magazine)
Maurizio Pollini's late 1970s film recordings of Beethoven Piano Concertos 3 and 5; Mozart Piano Concertos 19 and 23; and Brahms Piano Concerto 2 have it all: great pianism, beautiful playing by the Vienna Philharmonic, magnificent conducting by Karl Bohm (Beethoven, Mozart) and Claudio Abbado (Brahms), all adding up to one thing: a beautiful experience. These DVDs are a feast for the ears: great audio, and the eyes: great video. The 1970s Unitel films used in this DG release have held up very well in the vaults: there are no glitches or imperfections in the picture. The camera work is also excellent, and serves the music being performed.
There is no audience, and the recording venue: Vienna's Musikvereien, has wonderful acoustics - one of the best concert halls in the civilized world. It was worth alot to me to see Karl Bohm smile at Maurizio Pollini at the beginning of I, of Mozart's Piano Concerto 19 with it's humorous, scherzo like theme which begins the concerto. Highly recommended!
This luxuriously cast film of Mozart's beloved opera buffa features a host of legendary interpretations, including Kiri Te Kanawa's exquisite Countess Almaviva, Dietrich Fischer-Dieskau as her philandering husband, Hermann Prey as the wily title character, Mirella Freni, a delight as his no less savvy bride Susanna, and Maria Ewing, hilarious as the lovesick page Cherubino. Director Jean-Pierre Ponnelle's imaginative camera-work tellingly emphasizes character and mood in this immortal story of love, intrigue and class struggle, set against the historical background of ancien regime Europe sliding inexorably towards revolution.