Deutsche Grammophon

Karajan had been appointed music director for life of the Berlin Philharmonic in 1955, and soon the orchestra mastered the entire palette of Karajan's subtly defined phrasings, moods and orchestral colors. At home in the majesty of Bruckner or the raw power of Beethoven, the orchestra was also able to "let go" with Suppé or a Lisztian Hungarian Rhapsody, as the recording illustrates. For the 1978 New Year's Eve concert with the Berlin Philharmonic, Karajan put together a program of exclusively popular classical works, pieces that would guarantee a bubbly good time. Following Verdi's Overture to "La forza del destino" are the two major works of the program, Bizet's Arlésienne Suite No. 2 and Liszt's Hungarian Rhapsody No. 2. The Hungarian March, or "Rákóczy March," from Berlioz's "La damnation de Faust" never fails to rouse listeners with its instrumentation. The program closes with the Intermezzo from Mascagni's "L'amico Fritz" and the popular Overture to "Leichte Kavallerie" by Suppé.

This “Traviata” became one of the most succesful of all opera films, especially in France, where 800,000 Parisian cinemagoers flocked to it in the first six week. It was nominated for two Oscars (for production and costume design) and won BAFTAs in those two categories, as well as receiving BAFTA and Golden Globe nominations as 1983’s Best Foreign-Language Film.

DG presents John Williams in Vienna, the live recordings of the Hollywood legend's Vienna Philharmonic 2020 debut. Saying it's "one of the greatest honors of my life," he received a standing ovation before a single note was played. Sharing the stage with the famous orchestra and violinist Anne-Sophie Mutter, he performs iconic themes from Star Wars, Harry Potter, Indiana Jones, Jurassic Park and other cinematic landmarks that have earned countless awards: 5 Oscars, 5 Emmys, 25 Grammys & more.

The Franco Zeffirelli production of Puccini's "Turandot", recorded live at the Metropolitan Opera in April, 1987. Éva Marton stars as Turandot, with Plácido Domingo as Calaf, Leona Mitchell as Liù, Paul Plishka as Timur, and Hugues Cuenod as L'Imperatore Altoum. James Levine conducts.

Rigoletto is a jester in the court of the Duke of Mantua. He has a hunch-back and he's rather unattractive, but he's good at his job of humiliating the courtiers for the amusement of the Duke. The courtiers, of course, are not amused. The Duke is a ladies man who feels his life would be meaningless if he couldn't chase every skirt he sees. In fact, we learn as the opera begins that he's recently been noticing a young lady every Sunday on her way to church, and he's vowed to have his way with her. What nobody realizes is that the girl is the jester's beloved daughter, Gilda, and that Gilda has seen the Duke every Sunday and is smitten with him. Suddenly Count Monterone appears at court, furious that the Duke has seduced his daughter. Rigoletto ridicules Monterone, the Duke laughs, and Monterone casts an awful curse on both of them. Later, the courtiers discover that Rigoletto is secretly living with Gilda...

TANNHÄUSER UND DER SÄNGERKRIEG AUF WARTBURG is a grand opera by Richard Wagner in three acts. After experiencing boundless sensuality and freedom with the fun-loving Venus (soprano), the singer Tannhäuser (Tenor) finds it impossible to conform to the cultured setting of his betrothed Elizabeth (soprano), who loves him. During a singing contest, Tannhäuser describes the affair with Venus as the ultimate love experience and because of that, he is cast out from the established society. Thanks to Elizabeth's intervention, he is allowed to undertake a pilgrimage to the Pope to ask for the Holy Father's pardon. If the Pope accepts to forgive him, he would be allowed to take back his place in society. Tannhäuser accepts. But fate will not allow him to meet with his beloved Elizabeth again in this life. This is a recording of the legendary staging by Götz Friedrich for the 1978 Bayreuth Festival conducted by Sir Colin Davis.

This release contains the celebrated 2006 production of Mozart's Nozze di Figaro that was directed for the stage by Claus Guth at that year's Salzburg Festival. Ildebrando D'Arcangelo takes the title role, and gets support from Anna Netrebko as Sussanna, Bo Skovhus as Il Conte Di Almaviva, and Dorothea Roschmann as La Contessa. Nikolaus Harnoncourt conducts the orchestra.

In the early 1960s two artistic giants, conductor Herbert von Karajan and director Franco Zeffirelli, joined forces to create this milestone production of Puccini’s masterpiece at Milan’s Teatro alla Scala. Filmed in that legendary opera house in 1965, with Zeffireli himself directing for the cameras, this “Bohème” has been acclaimed universally for its unique theatrical impact and visual splendour. Starring the young Mirella Freni in her carreer-making performance. – For the first time the full dimension of opera on film.

Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.

Witty, fun, intoxicating film of Johann Strauss II's popular operetta, based on a stage production from Vienna State Opera; this is a showcase for the entire cast, but most especially Eberhard Wächter as the insufferably boorish Gabriel Eisenstein, and Gundula Janowitz as his long-suffering wife. Open the champagne, have yourself some torte, and enjoy this delectable comedy from Vienna.

Deutsche Grammophon celebrates Nikolaus Harnoncourt's 80th birthday with this 2-DVD release of rare, vintage, period Bach performances for the first time. Never released on DVD and, to the dismay of fans, long unavailable--these glorious Bach pieces are conducted by period instrument pioneer, Nikolaus Harnoncourt, as only he can. Harnoncourt, a notable cellist, performs in two concertos and on gamba in one. Harnoncourt warns, "If we lose contact with the great works of Bach, we lose our contact with humanity." Vocalists Janet Perry, Robert Holl, and Peter Schreier sing with distinction in the Coffee Cantata. The Surround Sound makes clear that they revel in the acoustics of the visually magnificent Baroque library of Wiblingen Monastery.

Performances from Pamela Coburn, Brigitte Fassbaender, Janet Perry, Eberhard Wachter, the Choir und Ballet der Bayerischen Staatsoper, and the Bayerisches Staatsorchester. Rosalinde, wife of Eisenstein, is having an affair with Alfred. Eisenstein is due to begin a prison sentence the next morning, and the prison governor, Frank, is expected to collect him at any moment. However, Eisenstein allows himself to be talked into attending a fancy dress ball by Dr Falke, and when Frank arrives to find Alfred with Rosalinde, he assumes him to be Eisenstein and carts him off to prison.

John Williams has made cinematic history with his film scores and transported entire generations into his musical worlds. He has composed the soundtracks for cinema blockbusters such as "Star Wars", "Jurassic Park", "E.T." and "Harry Potter". In this concert, he conducts some of his most famous film classics. At the same time, this is his debut on the podium of the Berliner Philharmoniker. May the Force be with him ...

James Morris leads an all-star cast including Karita Mattila, Ben Heppner, Thomas Allen and René Pape, in this production of Wagner's comic opera, recorded live at New York's Metropolitan Opera in 2001. James Levine conducts.

Herbert von Karajan conducts La Scala Orchestra and Chorus with soloists Leontyne Price, Fiorenza Cossotto, Luciano Pavarotti, and Nicolai Ghiaurov.

Requiem in D minor, K 626 by Mozart, Wolfgang Amadeus Performer: Walter Berry Gundula Janowitz Christa Ludwig Peter Schreier Orchestra/Ensemble: Wienere Symphoniker Orchestra Conductor: Bohm Karl Chor der Wiener Staatsoper Period: Classical Written: 1971 ; UNITEL

Krystian Zimerman joined forces with Sir Simon Rattle and the London Symphony Orchestra last December in Beethoven’s five piano concertos. Their spellbinding performances, streamed on DG Stage from LSO St Luke’s and recorded live by Deutsche Grammophon, harvested a bumper crop of critical superlatives.

Johann Sebastian Bach composed his Six Suites for Solo Cello in the early 1720's. Unlike the Six Sonatas and Partitas for Solo Violin, composed around the same time, there is no extant autograph manuscript. Only four copies exist, of which one made by Anna Magdelena Bach is the standard performing edition Maisky has acknowledged the period instruments style of Bach in these performances. His playing is slightly more reserved, somewhat analytical, very broad and powerful with a rich and deeply resonant string sound

Giuseppe Verdi's masterpiece calls for 4 great singers: one weak link and the whole may collapse. The Metropolitan Opera assembled a quartet of stars for this new production by David McVickar: Sondra Radvanovsky, Marcelo Álvarez, Dolora Zajick, and Dmitri Hvorostovsky. The opera - about mistaken identities and hair-raising bloody revenge - could hardly receive a better performance.