Recorded live at a concert in the large hall of the Musikverein in Vienna in November 1991, this performance of Verdi’s dramatic Requiem is really commanding. The Vienna Philharmonic Orchestra and the chorus of the Vienna State Opera respond appropriately to Abbado’s exciting but not over-operatic handling of the work, and the recording is admirably clear. The soloists are a fine and well-matched quartet.
..only a select few get through to the subtext. Abbado is one.
Claudio Abbado (1933-2014) was one of the outstanding personalities in the history of the Berliner Philharmoniker. He made his debut with the orchestra in 1966 and was their chief conductor from 1990 to 2002. In May 2013, their unique partnership ended with Claudio Abbado's last concert with the orchestra – a “triumph”, in the words of the Frankfurter Allgemeine Zeitung. The programme included two of the most important works of musical Romanticism: Hector Berlioz's visionary Symphonie fantastique and Felix Mendelssohn's magical, shimmering music for A Midsummer Night's Dream. Audio and video recordings of this memorable evening are now being released in a hardcover luxury edition. The bonus material includes a historical documentary about Abbado's first year as chief conductor of the Berliner Philharmoniker. In addition to extensive texts, the booklet contains numerous photos, some of which have never been published before.
There is tough competition for the best recording of 'Macbeth', but for me the combination of Abbado's explosive and rhythmically taut way with the score and Shirley Verrett's tour de force as Lady Macbeth give this one the edge.
- Amazon By Julian Grant -
The knock-out concert event of 2006! Anna Netrebko, Plácido Domingo and Rolando Villazón came together for one unforgettable evening of opera arias and ensembles. This is not a cross-over concert, but a genuine collection of operatic gems, performed by three thrilling performers in front of an audience of 20,000 roaring fans. The excitement in the audience brings out the best in each performer. With selections from L'Arlesiana, Gianni Schicchi, Otello, Les Pêcheurs de Perles, Giuditta, La Bohème, West Side Story and much more! Marco Armiliato leads the Deutschen Oper Berlin Orchestra.
Sony Classical releases a comprehensive homage to Abbado, acknowledged as one of the greatest of all conductors, by releasing a 39 CD boxset comprising his complete recordings for both RCA and CBS/Sony with the Berlin Philharmonic, the Chicago Symphony Orchestra as well as with the London Symphony Orchestra and featuring such stellar soloists as Murray Perahia, Martha Argerich, Midori, Cecile Licad and Lazar Berman.
New Year’s Eve Concert 1996 – Dances and Gypsy Tunes The fascinating Russian virtuoso violinist, Maxim Vengerov (winner of the Echo Klassik) lends radiance to the gala performance under the baton of Claudio Abbado. Johannes Brahms’Hungarian Dances and Gipsy Songs; Maurice Ravel’s Tzigane and La Valse and Hector Berlioz’s Hungarian March make this New Year’s Eve with the Berliner Philharmoniker unforgettable. New Year’s Eve Concert 1997 – A Tribute to Carmen The program of the Berlin Philharmonic bore the title «Dances of Life, Love, and Death», and it was hardly coincidental that it was meant as an homage to Carmen. The recording of the Berlin Philharmonic Orchestra’s traditional New Year’s Eve Concert, conducted by Claudio Abbado, offers not only a cross section of worldfamous melodies from George Bizet’s opera, but also famous dance music that was intensely or subtly influenced by it.
Lovers of Il trovatore a work famous for its perennially popular cavatinas and cabalettas rightly expect the singers to be at the very top of their vocal game and particularly look forward to the top C at the end of Manrico s stretta, a true do di petto produced not from the head but from the chest. Yet the production of the work that was staged at the end of 2013 by the Staatsoper Unter den Linden in Berlin jointly run by Daniel Barenboim and Jürgen Flimm deliberately flouted these expectations and traded familiarity for astonishment. Such a reaction was due not only to the two most famous singers of our age, both of whom were appearing onstage for the first time in their respective roles, but also to the company s music director, who made it abundantly clear that he was concerned with more than just a feast for the ears and rousing rum-ti-tum rhythms.