{"title":"Great European Orchestra Sale","description":"\u003cp style=\"text-align: left;\"\u003eOver\u003cspan\u003e \u003cb\u003e150 \u003c\/b\u003e\u003c\/span\u003etitles featuring Great European Orchestras are on sale now at\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eHBDirect!\u003c\/em\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDiscover performances by\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eVienna Philharmonic\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBerlin Philharmonic\u003c\/strong\u003e,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBavarian Radio Symphony\u003c\/strong\u003e, and more!\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eShop the sale now before it ends at\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003e9:00am ET, Tuesday, March 10, 2026\u003c\/strong\u003e. \u003c\/p\u003e","products":[{"product_id":"manu-martin-lim-fantasy-of-companionship-for-piano-and-orch","title":"Manu Martin: Lim Fantasy Of Companionship For Piano And Orch","description":"\u003cp\u003eExploratory and revelatory release from Tedd Joselson and the London Symphony Orchestra, conducted by Arthur Fagen, together with solo voices and choral ensemble, London Voices.\u003c\/p\u003e","brand":"Signum Classics","offers":[{"title":"CD","offer_id":46907778105624,"sku":"635212067024","price":6.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3953820-2691101.jpg?v=1777659891"},{"product_id":"beethoven-symphony-no-4-in-b-flat-major-op-60","title":"Beethoven: Symphony No. 4 In B Flat Major, Op. 60","description":"\u003cp\u003eComing between the Eroica and the C minor, Beethoven's Fourth Symphony has often been regarded as a less ‘important’ work than either of those two giants; and it inspired Schumann’s oft-quoted phrase of ‘a slender Grecian maiden between two Norse giants.’ It is a simpler, more, delicate and contrasting work, more graceful in contour but not a shade less inventive melodically. 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With echoes seemingly coming from Alban Berg’s violin concerto, Palumbo’s own Concerto for Violin and Orchestra (2015) displays bittersweet lyricism. Characterized by a dramatic language and driven by a strong and varied rhythmic impulse, the single-movement work also offers transitional moments of static beauty typical of the composer’s usual finesse in the scoring. With its title echoing the past, Chaconne for 5-string electric violin and electronics (2019-20) highlights the different ways in which the electronics intertwine with the live electric violin, within a conception animated by a strong theatrical sense, like a script for a play that does not reject emotional gestures. About this work, the composer has remarked ‘I want the meaning of my music to be apparent from listening, without the need for verbal justification.’ Both works are championed by the violinist Francesco D’Orazio, a close collaborator of the composer and the dedicatee of the Chaconne.\u003c\/p\u003e","brand":"BIS","offers":[{"title":"CD","offer_id":46908447031576,"sku":"7318590026250","price":10.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4160704-2923202.jpg?v=1777724876"},{"product_id":"beethoven-brahms-wilhelm-backhaus-edition-early-recordings-1927-1939-881488230017","title":"Beethoven \u0026 Brahms: Wilhelm Backhaus Edition - Early Recordi","description":"\u003cp\u003e\"There was never a time when Backhaus could not toss off any or all of the Chopin études or the Brahms-Paganini variations with an imperturbable calm, an implacable security that left one open-mouthed. Not everyone, for only the pianists really knew what was happening before their eyes and ears, knew how to measure such achievement. There they all sat, in breathless astonishment and envy and despair.\" - Gerhard Melchert (Profile)\u003c\/p\u003e","brand":"Profil","offers":[{"title":"CD","offer_id":46908492939544,"sku":"881488230017","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4169807-2941238.jpg?v=1777709857"},{"product_id":"donizetti-lucia-di-lammermoor","title":"Donizetti: Lucia Di Lammermoor","description":"\u003cp\u003eAmong the countless studio recordings of Lucia di Lammermoor, this Westminster recording from the early seventies is particularly noteworthy. First of all for the conductor, Thomas Schippers, one of the most sensitive interpreters of Italian opera, especially in Verdi. The role of the protagonist is played by the American soprano Beverly Sills. An edition of constant reference. 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His recent performance of “Siegfried” – with the Bavarian Radio Symphony Orchestra and a first-class lineup of Wagner singers – proves yet again how well the conductor understands and is able to interpret Wagner's music. Now, just a few months after the live event, this powerful and immensely popular music drama has been released on three outstanding CDs. Wagner's \"Siegfried\" tells the story of how the hero forges his own sword, gains invulnerability by slaying the dragon and bathing in its blood, and finally conquers Brünnhilde. The outstanding soloists include Simon O'Neill (Siegfried), Peter Hoare (Mime), Michael Volle (The Wanderer\/Wotan), and Anja Kampe (Brünnhilde). Moreover, orchestral highlights of \"Siegfried\" such as the lyrical \"Forest Murmurs\" or the prelude to Act Three are brilliantly performed by the Bavarian Radio Symphony Orchestra. As Simon Rattle says: “'Siegfried' contains some of the most dramatic, richly-coloured and enchanting music Wagner ever wrote. 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It highlights a 200+ discography that explores an astonishingly wide repertoire, from the legendary complete series of Prokofiev’s symphonies and Tchaikovsky’s ballets to the groundbreaking discoveries of composers such as Atterberg or Suchon. It features nearly a dozen of the numerous orchestras with which he has collaborated, including the RSNO, Chicago Symphony, Orchestre de la Suisse Romande, and Royal Concertgebouw Orchestra, all here celebrated at their best. 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He was a pupil of Michalowski, Stojowski, and Dohnányi and quickly established himself as a major rising star in the 1920s. Indeed, had it not been for his early death, he would surely have been seen as one of the major pianists of the century. He specialized in the virtuoso romantic repertoire, and his recordings include several of the warhorses of the period such as Rubinstein's 'Staccato' Etude and Moszkowski's 'La Jongleuse'. However, at the same time, there is a refinement to his playing which is heard to good effect in his Chopin and Schumann, making his Liszt noble rather than bombastic. The HMV recordings presented here form the most important part of his meager recorded legacy.\u003c\/p\u003e","brand":"APR","offers":[{"title":"CD","offer_id":48335342240024,"sku":"5024709160433","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4313739-3133291.jpg?v=1777527782"},{"product_id":"bruckner-from-the-archives-vol-2","title":"Bruckner from the Archives, Vol. 2","description":"\u003cp\u003eSOMM Recordings announces the second instalment in Bruckner from the Archives, “a major commemorative series” (ConcertoNet.com) in six double-CD volumes celebrating the 200th anniversary of Anton Bruckner’s birth in 1824.\n\u003cbr\u003eConceived and designed by SOMM Executive Producer and acclaimed Audio Restoration Engineer Lani Spahr with support from the Bruckner Society of America, the series features rare archival recordings of Bruckner’s 11 symphonies and selected other important works, many appearing for the first time in any form. Recordings have been sourced from the more than 11,000 Bruckner performances in the Archive of John F. Berky, Executive Secretary of the Bruckner Society of America, who also acts as Consultant for this important series.\n\u003cbr\u003eVolume 2 offers live radio broadcasts of Bruckner’s Symphony No.2 by the Cologne Radio Symphony Orchestra (today’s WDR S.O. Cologne) under Georg Ludwig Jochum (1955) and his unnumbered Symphony in D minor “Die Nullte” by the Concertgebouw Orchestra of Amsterdam under Eduard van Beinum (1962). Joining these is the first recording in the long-play era of the Mass No.2 in E minor, made by the Berlin Philharmonic under Karl Forster with the Choir of St Hedwig’s Cathedral (1956).\u003c\/p\u003e\n\n\u003cp\u003eThis is the first commercial release of the compelling performance of the Second Symphony, but all three of these works are presented here for the very first time in Lani Spahr’s expert new restoration and remastering.\u003c\/p\u003e\n\n\u003cp\u003eThe recordings are accompanied, as ever, by authoritative notes on the works’ genesis in the context of Bruckner’s life and compositional development, written by Professor Benjamin Korstvedt, President of the Bruckner Society of America and member of the Editorial Board of the New Anton Bruckner Complete Edition.\u003c\/p\u003e\n\n\u003cp\u003eIn his notes, Prof. Korstvedt enthusiastically assesses the live broadcasts, noting the first release from Cologne is “undoubtedly a very good performance … which responds vividly to the contrasting moods of the music and presents the Second as a symphony of emotional depth, brilliant imagination, and sonic grandeur.” The “Nullte” from Amsterdam “conveys Van Beinum’s typical style. The tempos are generally brisk and his approach refreshingly direct, at times unabashed in its ardour, keenly alive to the vigour of the music.” The late Bruckner discographer Dr Hans Roelofs said of the Forster Mass: “The interpretation exudes power and solidity … a radiant choir, good balance with the orchestra and rather brisk tempos make the recording a real experience.”\n\u003cbr\u003eLani Spahr’s previous SOMM releases include the lauded four-volume sets Vaughan Williams Live (ARIADNE 5016, 5018-20) and Elgar Remastered (SOMMCD 261-4), as well as Elgar from America, Volume 3 (Ariadne 5015-2), which garnered a Gramophone Editor’s Choice for “superb audio restorations [bringing] performances fully to life”\u003c\/p\u003e","brand":"SOMM Recordings","offers":[{"title":"CD","offer_id":48464559407384,"sku":"758871502726","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4327450-3148498_d17b579a-1e72-443a-b45b-ece8675262e9.jpg?v=1777527588"},{"product_id":"carollo-symphony-no-3","title":"Carollo: Symphony No. 3","description":"Quite surprisingly, Symphony No. 3 had humble beginnings. Back in the late 2000s, composer John A. Carollo connected on MySpace with English soprano Sharon Selman, who was deeply involved in the preservation of trees and forests. She suggested that Carollo use the poetry of William Blake as a starting point to create a piece about nature. Carollo didn't think twice; and a song cycle named Awake Humanity to Nature’s Beauty! was composed, then reworked, resulting in two different instrumentations. Fast forward a decade to the year 2017, and Carollo, then living on the Big Island of Hawaii, found himself transcribing the song cycle and fashioning it into a symphony, which became the telling of a love story. The composer attributes the lyrical nature of the resulting work to the beauty of the Hawaiian scenery. Perhaps the most striking feature of this symphony is found in the occasional appearance of a wordless soprano, which is used to accentuate certain key phrases. Contrary to the tradition of classical composition, Carollo chooses not to have the vocalist take center stage, and instead treats the voice as simply another instrument in the orchestra. The results are often surprising; Richard Strauss, who considered the human voice the most important instrument of all (\"...but also the most difficult to play\"), would certainly have approved, not just of the technique, but also of its execution. Symphony No. 3 is another large-scale addition to John A. Carollo's catalog, and no doubt one that will find many ardent admirers, both in his long-standing audience as well as those yet unfamiliar with his works.","brand":"Navona","offers":[{"title":"CD +  Blu-Ray","offer_id":48712255045912,"sku":"896931005500","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3718796-2509661.jpg?v=1777744162"},{"product_id":"lloyd-the-piano-concertos","title":"Lloyd: The Piano Concertos","description":"If the first three piano concertos have the heft and communicative power of Lloyd's larger middle-period symphonies, the Fourth has a close affinity to the Ninth Symphony, which was completed the previous year. Both pieces exhibit an impish sense of fun, tempered by profound feelings of yearning and regret. George Lloyd approached the piano concerto form with imagination and individuality. His idiomatic solo writing avoids shallow virtuosity and empty rhetoric and there are no mighty tussles between piano and orchestral forces encountered in archetypal large-scale concertante scores. Instead, the composer offers a series of deeply personal attempts to reconcile time-honoured elements of display with symphonic preoccupations of long-range tonality, rhythmic energy and melodic growth. In sum, Lloyd's four piano concertos constitute a compelling and distinctive branch of his creative legacy. � Paul Conway","brand":"Lyrita","offers":[{"title":"CD","offer_id":48712978301208,"sku":"5020926242129","price":15.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4335117-3177821.jpg?v=1777515939"},{"product_id":"pierre-monteux-live","title":"Pierre Monteux Live","description":"SOMM Recordings is thrilled to announce Pierre Monteux Live, a two-CD set comprised entirely of first releases including never-before-issued performances led by the renowned conductor. Among these is a legendary 50th Anniversary performance of Stravinsky's Rite of Spring with the composer in attendance, given a half-century to the day after Monteux himself conducted the storied Paris world premiere! This recording captures an extraordinary moment of historical continuity: between 1913 and 1963 five decades elapsed in the evolution of 20th-century music, in the taste and understanding of the public and in the lives of both creator and pioneering interpreter. The concert was broadcast live on the BBC from the Royal Albert Hall and performed by the London Symphony Orchestra who referred to Monteux affectionately as their \"Ma�tre\". Both the devoted playing and the emotional audience acclaim are preserved in vividly present sound. This set also commemorates the revered conductor - on the 60th anniversary of his death and ahead of the 150th anniversary of his birth - with moving testimony from LSO musicians involved in the landmark Stravinsky concert. These interviews were recorded between 1992 and 1995 by this set's producer, Jon Tolansky, co-founder of Music Preserved and the author of documentary features on�composers and performers. Monteux is also heard speaking on tape here, in a�1955 interview and a 1959 rehearsal of the LSO in Dvorak's Seventh Symphony, providing a window onto the man's intellect, work ethic and rapport with fellow musicians. Rounding out this set are still more never-before-issued recordings of Monteux conducting the BBC Northern Orchestra and Royal Philharmonic Orchestra in music by Haydn, Weber and Beethoven, as well as works by Ravel, who, like Stravinsky, was a composer Monteux knew personally. To the highly discriminating players of the RPO of 1960, Monteux was a favourite guest conductor. As�with The�Rite of Spring, he represented a direct link to the origins of Daphnis and Chloe, another Ballets Russes production that Monteux led in it's world premiere. The�RPO's Principal Clarinet, Jack Brymer, remembered \"this wonderfully energetic and meticulous little man\" who \"even in his eighties... had the touch of elegance, the humour, the exquisite good taste\" and \"could produce a sudden sforzato second to none by a tiny stab of his baton.\" The recordings of the performances in this album, all made privately off-air from various sources, have been fastidiously polished by Restoration Engineer Paul�Baily. His restoration of the recent Sir Adrian Boult Conducts (ARIADNE 5024-2) was honoured with the Preis der deutschen Schallplattenkritik (German Records Critics' Award) in the Historical Recordings�category.","brand":"SOMM Recordings","offers":[{"title":"CD","offer_id":48787064422680,"sku":"758871502825","price":22.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4339060-3184732.jpg?v=1777509477"},{"product_id":"broughton-and-on-the-sixth-day-string-theory","title":"Broughton: And on the Sixth Day \u0026 String Theory","description":"Although Bruce Boughton is best known for his many film and television scores, over the past five decades he has composed scores for a diverse array of projects from Film and TV to concert music and even theme parks. His work has been recognized with an Academy Award nomination for Best Original Score for the film Silverado (1985) and a record ten Emmy awards for his musical compositions in television. This album presents a small selection of his concert works including String Theory for string orchestra, and his oboe concerto And on the Sixth Day.","brand":"Naxos","offers":[{"title":"CD","offer_id":48811999789336,"sku":"636943995822","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4360132-3213622.jpg?v=1777499353"},{"product_id":"boulez-conducts-berlioz","title":"BOULEZ CONDUCTS BERLIOZ","description":"\u003cp\u003e\u003cstrong\u003eSome of Boulez's finest Berlioz performances are gathered together in this very welcome compendium. Symphonie fantastique is given a terrifyingly formidable performance.\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e Pierre Boulez first mounted the concert podium in the late 1950s in order to do justice do his own challenging works, but before long he had garnered the reputation of a peerless interpreter of 20th-century music tout court. Then in 1967 the modernist Boulez took the musical by surprise by turning to that arch-Romantic Hector Berlioz, conducting the London Symphony Orchestra in the Symphonie fantastique and Lélio, the little-known work he intended as its sequel. The result was every bit as stimulating as one might have expected from this great musical provocateur. “For Boulez,” opined Gramophone’s original reviewer, “the [Fantastique] is a sinister mental experience, not merely the drug-crazed torment of the program but something colder and still more frightening.” More recently, a New York Times critic wrote: “This is a performance true to the composer’s Gothic imagination in its sumptuousness and menace but also icily precise in negotiating tricky rhythmic maneuvers, and oddly modern … Besides having a ferocity all its own, [it] comes in a whole treasure box of other incisive Berlioz recordings by Mr. Boulez in his early maturity. Yvonne Minton is splendid in La Mort de Cléopâtre, flinging out regal defiance, and Jean-Louis Barrault is the perfect restless narrator for the work Berlioz wrote to continue the dream of the Fantastique, the concert autobiography Lélio.” The new 4-album reissue also includes Yvonne Minton’s “dramatically incisive … passionate response [to Les Nuits d’été] showing her at her most movingly eloquent and [Stuart] Burrows also at his finest … Strongly recommended … highly stimulating” (Penguin Guide).\u003cbr\u003e \u003cbr\u003e \u003cstrong\u003eREVIEW\u003c\/strong\u003e:\u003cbr\u003e \u003cbr\u003e Some of Boulez's finest Berlioz performances are gathered together in this very welcome compendium. Not the least of the pleasures is the association of the Symphonic Fantastique with its pendant Lelio: they are not a required coupling, of course, but there is a special pleasure in hearing the unforgettable tones of Jean-Louis Barrault (he who once memorably played Berlioz on film) as he revives after the drug-induced nightmare. Barrault speaks so beautifully that the ramshackle concoction of some very mixed inspirations becomes a rich Berliozian experience. The symphony is given a formidable performance, terrifyingly formidable in the measured tread of the \"March to the Scaffold\", somewhat too much so where the waltz should charm, even if ironically, and making a morose landscape of the \"Scene aux champs\". But it is a sustained and valid performance which does not seek to make the work into a vehicle for personal virtuosity (as in different ways so many conductors have done), and conjures up Berlioz's dark romantic vision.\u003cbr\u003e \u003cbr\u003e As can be seen, the Nuits d'ete songs are shared. Berlioz first wrote them for mezzo-soprano or tenor and piano, then rewriting them to some extent and transposing the first three for the orchestral vision, probably because he then had particular singers in mind or each song. Boulez keeps to the orchestral version of the key sequence (which not all do) and divides them equally between male and female voices. So Stuart Burrows sings a fresh. lively \"Villanelle\", and this is followed by Yvonne Minton's richly phrased \"Spectre de la rose\" and \"Sur les lagunes\" (in which she takes, successfully, the option of a low F). Burrows returns for \"Absence\", which he sings admirably, though without stifling regrets that this of all songs might have suited Minton and the mezzo-soprano timbre (many will remember Janet Baker here). He also sings \"Au cimetiere\", leaving Minton to finish the cycle off with her warm performance of \"L'ile inconnue\". There can be no question or an authentic version when Berlioz left so many options open; this is a compromise, and even if one may have other preferences, it works well. Yvonne Minton goes on to show not only a fine voice but fine musicianship as she sustains Boulez in holding La mort de Cleopatre together so well. Berliozians will recognize one or two familiar ideas in this remarkable piece. notably one that was to serve again in Benvenuto Cellini, whose overture is given a sharp, vigorous performance here.\u003cbr\u003e \u003cbr\u003e -- Gramophone [3\/1995]\u003c\/p\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":49020718907672,"sku":"190759327722","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3782452-2549798.jpg?v=1777654466"},{"product_id":"mahler-symphonies-no-6-7-m","title":"MAHLER: SYMPHONIES NO 6 \u0026 7  M","description":"MAHLER: SYMPHONIES NO 6 \u0026amp; 7  M","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":49020723134744,"sku":"5099704249520","price":25.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3816357.jpg?v=1778091010"},{"product_id":"herbert-von-karajan-maestro-for-the-screen","title":"Herbert von Karajan - Maestro for the Screen","description":"Herbert von Karajan broke boundaries in many aspects of conducting, among those being that he was the first conductor to become interested in filming his performances to preserve his cultural heritage. This exceptional documentary begins with his first concert productions, taken in Japan in 1957. Following those first recordings is his cooperation with director Henri-Georges Clouzot, then Karajan’s own film company Telemondial. Karajan’s language for orchestral film productions is seen here through all of its stages. This documentary also includes interviews with Karajan and his collaborators.","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":49181949362456,"sku":"814337013769","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3387102.jpg?v=1777545909"},{"product_id":"tchaikovsky-pique-dame-1","title":"Tchaikovsky: Pique Dame","description":"Former Music Director Mariss Jansons returns to Amsterdam to conduct Pique Dame at the Dutch National Opera with “his” Royal Concertgebouw Orchestra. He encounters a noteworthy cast and under his baton the orchestra sounds “brilliant and splendid“ (Der Tagesspiegel). Renowned director Stefan Herheim staged Tchaikovsky’s much-loved opera about a young man who, for the prospect of earthly wealth, gambles away his chance for love and happiness. Herheim, whose stagings are famous for their multi layered levels of interpretation, attempts to reflect on the composer’s hidden love for men. “The Latvian maestro, the intriguingly performing orchestra, the smartly-chosen soloists, and director Stefan Herheim have succeeded in staging an extraordinary production” (Die Presse). “Stefan Herheim makes a great picture show out of Tchaikovsky’s ‘Pique Dame’” (NMZ). “A masterpiece” (Der Standard).","brand":"C Major Entertainment","offers":[{"title":"CD","offer_id":49181951197464,"sku":"814337014391","price":38.99,"currency_code":"USD","in_stock":true},{"title":"Blu-Ray","offer_id":49181951230232,"sku":"814337014407","price":34.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3763202.jpg?v=1778118984"},{"product_id":"salzburg-festival-opening-concert-2010","title":"Salzburg Festival Opening Concert 2010","description":"Classical Music","brand":"C Major Entertainment","offers":[{"title":"Blu-Ray","offer_id":49181952409880,"sku":"814337010690","price":34.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1877723.jpg?v=1777921797"},{"product_id":"salzburg-festival-opening-concert-2009","title":"Salzburg Festival Opening Concert 2009","description":"In one of the most unusual opening concerts of recent decades, Nikolaus Harnoncourt launched the 2009 Salzburg Festival with an exploration of the dance element in Austrian music. Dances by Schubert and Josef Strauss provided an introduction to the magnificent \"Dance of Death\" that emerged from the octogenarian maestro´s hands in Schubert´s C major Symphony (\"Great\"). The perfect orchestra for these authentically Viennese and yet universally valid works was, of course, the Vienna Philharmonic. \"An interpretation of incomparable richness\" (Münchner Merkusr). \u003cbr\u003e  \u003cbr\u003e Recorded live at the Salzburg Festival, 2009.\u003cbr\u003e  \u003cbr\u003e Picture format: NTSC 16:9\u003cbr\u003e  Sound format: PCM Stereo 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Booklet notes: English, German, French\u003cbr\u003e  Running time: 95 mins\u003cbr\u003e  No. of DVDs: 1 (DVD 9)\u003cbr\u003e  \u003cbr\u003e ----------------------------------------------------------------\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3433990.zz6_SALZBURG_FESTIVAL_2009_OPENING.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"ARIAL12bi\"\u003eSALZBURG FESTIVAL 2009 OPENING CONCERT \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e Nikolaus Harnoncourt, cond; Vienna PO \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e MAJOR 702708 (DVD: 95:00) Live: Salzburg 7\/26\/2009 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eSCHUBERT\/WEBERN \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e6 German Dances. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eJOS. STRAUSS \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eFrauenherz \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePolka\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e. Delirien \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003eWaltz\u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003e. Pêle Mêle \u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003ePolka. \u003c\/span\u003e \u003cspan class=\"COMPOSER12\"\u003eSCHUBERT\u003c\/span\u003e \u003cspan class=\"ARIAL12b\"\u003e Symphony No. 9 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eI need to begin with a confession. I frequently find myself out of sympathy with the music-making of Nikolaus Harnoncourt. I recognize that he is very highly regarded not only by critics and music lovers throughout the world, but by many of the great musicians of our time. It is probably fair to say that the problem is me, not Harnoncourt, and I would imagine that those who respond to his approach will find this a compelling DVD. Certainly the Vienna Philharmonic, an orchestra that can impose its will on lesser conductors, gives Harnoncourt what he wants—and the performances are, for the most part, deeply committed and well played, exciting on their own terms. It is those terms with which I have a problem. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eI would guess that even some of Harnoncourt’s admirers might have trouble with the grey, charmless reading of the Schubert \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eGerman Dances. \u003c\/span\u003e \u003cspan\u003eEven in Webern’s arrangements these works need to sing, and certainly need to dance, and they do little of that here. The string tone is hard-edged, and the lack of grace is alarming. For some reason, perhaps it was its reaction to the performance, the audience doesn’t applaud after these (whereas it does clap between the Josef Strauss pieces). \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIt is clear from Harnoncourt’s conducting, from his severe facial expression, and from Harald Reiter’s notes that accompany this DVD, that the conductor had something completely different in mind than the usual charm and smiles that we associate with the music of any of the Strauss family. “To Josef Strauss’s works Harnoncourt brought a military precision and a sobriety that at times seemed almost disturbing.” That is what the program notes tell us, and indeed that is what we hear. The notes talk about attentive playing, and for the most part that is true, though there are one or two moments of insecurity at tempo changes in the \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eDelirien \u003c\/span\u003e \u003cspan\u003eWaltz. But for the most part, the VPO is right there with Harnoncourt, digging in and giving us sober, fierce Josef Strauss. If you believe that will appeal to you, you will never hear it done better. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIt becomes clear with the detached notes of the opening horn solo that the Schubert Ninth will be in a similar vein. Once again, let me quote the accompanying notes: “It was a dance of death that Harnoncourt, using the simplest of means and on the basis of a detailed study of the score, conjured up from behind the musical glories of Schubert’s Ninth. In passages where we have been used to hearing a plaintive horn, he suggested the trumpet fanfares of war.” (By the way, I listened and reacted before I read the notes, so they did not influence, but rather they confirmed.) If you believe that you would like this kind of take on the Schubert Ninth, the chances are that you will find much to like here. The performance is dynamic, played with an edge-of-the-seat intensity that cannot be denied, and is certainly all of a piece. There are a few moments when the string tone seems a bit wiry to me, as if Harnoncourt was minimizing vibrato, but there are some other moments of uncommon grace, particularly in the second movement. Harnoncourt does take all the repeats, as one would expect from him. And I must note that the strong diminuendo he takes at the end seems starkly at odds with his view of the piece. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe direction for the cameras, by Michael Beyer, is standard orchestra concert direction—but less fussy and jerky than most. Beyer doesn’t feel the need to jump from shot to shot every two seconds, and his camerawork seems musically sensitive. The sound quality, heard in the PCM 2.0 format, is extremely clear and full, and very well balanced. The high-definition filming is crystal clear. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eIt is difficult to criticize a conductor for achieving at a high level precisely what he set out to achieve. Far better a performance with a real force of personality like this than a score-bound read-through. This is energized, spontaneous, communicative music-making. I probably will not return to it, because it is simply not the way I hear this symphony in my mind’s ear (and I enjoy a wide range of performances of it, from Furtwängler to Szell). I hear in this work a beauty and songfulness that Harnoncourt seems to deny. But there is no doubt that it left a strong impression, and I suspect it will have many admirers. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Henry Fogel \u003c\/span\u003e\u003cbr\u003e","brand":"C Major Entertainment","offers":[{"title":"Blu-Ray","offer_id":49181953523992,"sku":"814337012922","price":34.99,"currency_code":"USD","in_stock":false},{"title":"DVD","offer_id":49181953589528,"sku":"814337010270","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1698526_5fec0138-6f11-44e1-bee3-240744e60ccc.jpg?v=1777973086"},{"product_id":"sibelius-symphonies-nos-1-2-5-7","title":"Sibelius: Symphonies Nos. 1, 2, 5, 7","description":"Director: Humphrey Burton \u003cbr\u003e  \u003cbr\u003e Recorded live at the Wiener Musikvereinssaal, 1986, 1987, 1988 and 1990.\u003cbr\u003e  \u003cbr\u003e Picture format: NTSC 4:3 \u003cbr\u003e  Sound format: PCM Stereo 2.0 \/ DTS 5.1 \u003cbr\u003e  Region code: 0 (worldwide) \u003cbr\u003e  Booklet notes: English, German, French \u003cbr\u003e  Running time: 166 mins \u003cbr\u003e  No. of DVDs: 2 (DVD 9 + DVD 5)\u003cbr\u003e  \u003cbr\u003e In the mid 1980s, Unitel began recording a complete cycle of Sibelius symphonies with Leonard Bernstein and the Vienna Philharmonic. Bernstein´s death in 1990 unfortuantely cut short this project after the release of Symphonies Nos. 1, 2, 5 and 7. Recorded live at Vienna´s Musikverein, these ecstatic performances were the object of stellar reviews. On this double-disc set, Bernstein´s unique and by now legendary interpretations of Sibelius are released for the first time on DVD.\u003cbr\u003e","brand":"C Major Entertainment","offers":[{"title":"Blu-Ray","offer_id":49181953753368,"sku":"814337013240","price":34.99,"currency_code":"USD","in_stock":true},{"title":"DVD","offer_id":49181953851672,"sku":"814337010225","price":30.74,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/3038182.jpg?v=1777756387"},{"product_id":"beethoven-missa-solemnis-1","title":"Beethoven: Missa Solemnis","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=937671\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e  \u003cbr\u003e  Recorded live from the Royal Concertgebouw, April 2012 \u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 16:9\u003cbr\u003e  Sound format: PCM Stereo \/ DTS 5.0\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: Latin, German, English, French, Spanish, Chinese, Korean, Japanese\u003cbr\u003e  Running time: 99 mins\u003cbr\u003e  No. of DVDs: 1 (DVD 9)","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":49181956440344,"sku":"814337011260","price":30.99,"currency_code":"USD","in_stock":false},{"title":"Blu-Ray","offer_id":49181956473112,"sku":"814337011277","price":34.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2225663.jpg?v=1777972171"},{"product_id":"salzburg-festival-2008-opening-concert","title":"Salzburg Festival 2008 Opening Concert","description":"Classical Music","brand":"C Major Entertainment","offers":[{"title":"Blu-Ray","offer_id":49181956931864,"sku":"814337012915","price":22.98,"currency_code":"USD","in_stock":true},{"title":"DVD","offer_id":49181956964632,"sku":"814337010256","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2855327.jpg?v=1777749411"},{"product_id":"strauss-also-sprach-zarathustra-macbeth-till-eulenspieg","title":"Strauss: Also sprach Zarathustra - Macbeth - Till Eulenspieg","description":"This C Major DVD\/Blu-ray disc features rising star conductor Andris Nelsons leading the RCO in a program of popular Richard Strauss’ orchestral works. + Andris Nelsons is one of today’s most sought-after young conductors, having worked with the world’s most important orchestras including the Berlin, Vienna, New York, Royal Concertgebouw and Philharmonia Orchestras. + He is a regular guest at Covent Garden, the MET, Wiener and Deutsche Staatsoper and at Bayreuth. + Beginning with the 2014-15 concert season, Mr. Nelsons assumes the role and duties of M.D. of the Boston Symphony Orchestra.","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":49181956997400,"sku":"814337011895","price":16.49,"currency_code":"USD","in_stock":false},{"title":"Blu-Ray","offer_id":49181957030168,"sku":"814337011901","price":22.98,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2804954.jpg?v=1777761183"},{"product_id":"shostakovich-symphony-no-9","title":"Shostakovich: Symphony No. 8","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=733412\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cb\u003eA remarkable concert, splendidly captured on DVD. \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e This concert, given in the splendid modern concert hall of the Culture and Congress Center, was recorded live at the 2011 Lucerne Festival. I’ve previously seen several DVDs of Claudio Abbado and the Lucerne Festival Orchestra and I can give this present DVD no higher praise than to say that the music making preserved here is of the same exalted standard that I’ve experienced from Abbado. \u003cbr\u003e    \u003cbr\u003e  The programme is a little odd and the rather superficial note by Barbara Eckle is of little help beyond suggesting vaguely that Nelsons wished to contrast the extrovert pieces by Wagner and Strauss with the “sublimation of emotion” - whatever that may mean - in the Shostakovich. However, let’s not waste time trying to discern a shape behind the programming. The Wagner is done very well. It’s evident from his facial expressions that Nelsons delights in the Rienzi’s Prayer theme, which he takes pretty broadly - though the sumptuous, aristocratic playing of the Concertgebouw’s string choir justifies that indulgence. There’s not a lot one can do with the tub-thumping, Weber-esque  \u003ci\u003eallegro\u003c\/i\u003e music except to play it for all it’s worth and Nelsons does just that. He leads a vivid, red-blooded account of the  \u003ci\u003eDance of the Seven Veils\u003c\/i\u003e, helped by some colourful and suitably seductive paying by the orchestra: the principal flute and oboe players offer particularly delightful contributions. Again, it’s evident that the conductor is relishing the music and the response of the Concertgebouw’s players. \u003cbr\u003e    \u003cbr\u003e  Smiles are absent from Nelsons’ face at the start of the symphony, and rightly so; this is music with a very serious, indeed grim countenance. Right from the outset of the massive first movement - which plays for 25:35 in this performance - Nelsons exerts the control that is vital in this spare, intense music. The long, glacial opening paragraphs, dominated by the strings, are sustained with supreme concentration. Gradually Nelsons and his players ratchet up the tension as the music moves inexorably towards the first climax. This is a gripping account of the movement; one’s attention is held and never slips. When it arrives the towering main climax, underpinned by menacing drum rolls, is shattering, as the composer intended. The extended baleful cor anglais threnody that follows - superbly played here - maintains the tension even though the decibel count has reduced to minimal levels; that’s a remarkable achievement by Shostakovich. Eventually the movement peters out in exhaustion.  \u003cbr\u003e  \u003cbr\u003e  The motor rhythms in the second movement are splendidly executed. This is blatant, strutting music, surely depicting sardonically a war machine. The bite and vigour of the Concertgebouw’s playing under Nelsons’ committed direction realises the composer’s intentions to perfection. The brutal menace of the third movement is conveyed no less successfully and the trumpet-led  \u003ci\u003egalop\u003c\/i\u003e in the middle of the movement is expertly done. When the colossal climax arrives one has the sense that the runaway music has run at full tilt into a forbidding rock face and then the momentum drains away and we are left to contemplate the bleak, forbidding wastes of the impassive passacaglia that follows. This is a movement that requires utmost control of dynamics and total concentration on the part of the conductor and all the players. That’s exactly what happens here. The music is almost imperceptible at times, so hushed is the playing. In fact, both individually and collectively, the RCO is superb in the way the players sustain the soft dynamics. There’s some tremendously sensitive playing by the principal horn and by the clarinettists. The performance is quite breathtaking as Nelsons and his players summon up a vision of a wasteland comparable to the one that can be experienced in the last movement of Vaughan Williams’ Sixth Symphony. \u003cbr\u003e    \u003cbr\u003e  The finale finds Shostakovich in enigmatic mode. Surely, the Soviet authorities were expecting their leading symphonist to come up with a symphony whose conclusion celebrated the heroic Soviet military and their repulse of the Nazi invasion. Instead what they got was the desolate passacaglia followed by a movement which, while ostensibly lighter in tone at times is still very far from a victory celebration. The music begins in what might seem a relaxed vein after the rigours of the fourth movement but peer beneath the surface veneer and there’s little genuine optimism. To make matters worse - for those seeking optimism - eventually Shostakovich arrives at an anguished and extended reprise of the grinding climax from the first movement. What, then, is the listener to make of the sardonic passage for bass clarinet and solo violin that follows immediately afterwards? Talk about “a riddle, wrapped in a mystery, inside an enigma”. It’s interesting to see the impish look on the face of Andris Nelsons as he launches into that bass clarinet\/violin passage; I wonder what he makes of it? Whatever the meaning may or may not be, the passage is marvellously delivered by the two RCO players, which is entirely in keeping with the superb standard of solo playing on display throughout the whole performance. The symphony ends on a questioning, uncertain note and this strange, hushed music comes over most atmospherically here; thankfully the audience maintain their collective concentration and there’s a long silence after the music has died away before the well-merited ovation begins. \u003cbr\u003e    \u003cbr\u003e  This is a gripping, magnetic account of one of Shostakovich’s finest symphonic utterances. From start to finish the RCO offers peerless playing that seems completely in tune with their conductor’s vision of the piece. As for Nelsons, this is another significant achievement in his recording career. Up to now I’ve only seen him conduct when sitting in the stalls - in other words, he’s had his back to me. Seeing him now from the front it’s fascinating to watch how he communicates with the orchestra through gestures and facial expressions. This concert offers further confirmation that Andris Nelsons is a major talent. The audiences in Birmingham should make the most of him for surely it will not be too long before one of the world’s leading orchestras snaps him up. \u003cbr\u003e    \u003cbr\u003e  It only remains to say that the camera work is excellent, offering unobtrusive but very interesting and varied perspectives on the performers. The sound quality is very good and people who play DVDs through their hi-fi system will get even better results than I did, I’m sure. In short, the technical presentation is fully worthy of this remarkable concert. \u003cbr\u003e    \u003cbr\u003e  -- John Quinn, MusicWeb International\u003cbr\u003e","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":49181958832408,"sku":"814337010997","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1987365_6ec7560e-3255-449c-ab3e-1bc3cfbd3bc3.jpg?v=1777759434"},{"product_id":"verdi-otello-4","title":"Verdi: Otello","description":"\u003cb\u003e Note: This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=974934\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e  \u003cbr\u003e As part of C Major’s TUTTO VERDI project, this live-production of Otello from the 2008 Salzburg Festival features Ricardo Muti – one of the world’s best Verdi conductors – and the Vienna Philharmonic Orchestra. The cast includes young singers Marina Poplavskaya and Stephen Costello. The stage production is from Stephen Langridge, known from his work at London´s Royal Festival Hall, in Tokyo and Bregenz. \u003cbr\u003e  \u003cbr\u003eGiuseppe Verdi\u003cbr\u003e OTELLO\u003cbr\u003e (Blu-ray Disc Version) \u003cbr\u003e \u003cbr\u003e Otello – Aleksandrs Antonenko\u003cbr\u003e Desdemona – Marina Poplavskaya\u003cbr\u003e Jago – Carlos Álvarez\u003cbr\u003e Emilia – Barbara Di Castri\u003cbr\u003e Cassio – Stephen Costello\u003cbr\u003e Roderigo – Antonello Ceron\u003cbr\u003e Lodovico – Mikhail Petrenko\u003cbr\u003e Montano – Simone del Savio\u003cbr\u003e Un araldo – Andrea Porta\u003cbr\u003e \u003cbr\u003e Salzburg Festival Children’s Chorus\u003cbr\u003e Vienna State Opera Chorus\u003cbr\u003e (chorus master: Thomas Lang)\u003cbr\u003e Salzburg Mozarteum Orchestra\u003cbr\u003e Vienna Philharmonic Orchestra\u003cbr\u003e Riccardo Muti, conductor\u003cbr\u003e \u003cbr\u003e Stephen Langridge, stage director\u003cbr\u003e George Souglides, set designer\u003cbr\u003e Emma Ryott, costume designer\u003cbr\u003e Giuseppe di Iorio, lighting designer \u003cbr\u003e \u003cbr\u003e Recorded live at the Salzburg Festival, 5–10 August 2008 \u003cbr\u003e \u003cbr\u003e Bonus:\u003cbr\u003e - Introduction to Otello \u003cbr\u003e \u003cbr\u003e Picture format: 1080i High Definition\u003cbr\u003e Sound format: PCM Stereo \/ DTS-HD Master Audio 5.1\u003cbr\u003e Region code: 0 (worldwide)\u003cbr\u003e Subtitles: Italian, English, German, French, Spanish, Chinese, Korean, Japanese\u003cbr\u003e Running time: 143 mins (opera) + 10 mins (bonus)\u003cbr\u003e No. of Discs: 1 (Blu-ray)","brand":"C Major Entertainment","offers":[{"title":"Blu-Ray","offer_id":49181959356696,"sku":"814337012519","price":50.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2248480.jpg?v=1777917288"},{"product_id":"music-is-the-language-of-the-heart-and-soul-a-portrait-of","title":"Music is the Language of the Heart and Soul - A Portrait of","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=722702\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003e  \u003cbr\u003e Mariss Jansons is one of the most influential conductors of our age. In 2012 the charismatic Latvian musician conducted his second New Year Concert in Vienna, an honour that very few conductors have enjoyed. For the present documentary portrait, the film maker Robert Neumüller observed Jansons at work in Amsterdam, Riga, St Petersburg, Vienna and Salzburg. The film shows Jansons working with his various orchestras, including rehearsals for the 2012 New Year Concert, and also explores his private life, resulting in a number of fascinating insights into Jansons’ artistic development and philosophy. By way of a bonus, this release features a complete performance of Mahler’s Second Symphony with the Royal Concertgebouw Orchestra under Mariss Jansons.\u003cbr\u003e  \u003cbr\u003e Subtitles: G, E, F, Sp, Chin, Kor \u003cbr\u003e  Booklet: E, G, F\u003cbr\u003e  No. of Discs: 2\u003cbr\u003e  Run time: 145 minutes\u003cbr\u003e  Disc Format: DVD\u003cbr\u003e  Picture: NTSC, 16:9\u003cbr\u003e  Audio: PCM Stereo, PCM 5.1\u003cbr\u003e  Region Code: 0 (worldwide)\u003cbr\u003e","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":49181959487768,"sku":"814337010973","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/1973794_3ee89821-ea35-4e23-84d3-0f0d3a7186ed.jpg?v=1777759437"},{"product_id":"verdi-otello-6","title":"Verdi: Otello","description":"Oberto was Verdi’s first staged operas and was heard for the first time at La Scala, Milan in November 1839.  As a young and unknown composer, Verdi was subject to the rules governing the opera industry in Italy. Even so, there are many scenes in this early work that reveal unmistakable signs of the composer’s individual style.","brand":"C Major Entertainment","offers":[{"title":"DVD","offer_id":49181960241432,"sku":"814337012502","price":13.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/2248479.jpg?v=1777747000"},{"product_id":"resonance-1","title":"Goedicke, Rachmaninoff, Schonberger \u0026 Weinberg: Resonance","description":"Goedicke, Rachmaninoff, Schonberger \u0026amp; Weinberg: Resonance","brand":"Chandos","offers":[{"title":"SACD","offer_id":49183972426008,"sku":"095115533925","price":16.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4371525-3271938.jpg?v=1777495610"},{"product_id":"beethoven-symphony-no-5-leonore-overture-no-3","title":"Beethoven: Symphony No. 5; Leonore Overture No. 3","description":"Leonard Bernstein conducted regularly in Munich from the 1980s onwards. It was then that he learned to appreciate and love the Bavarian Radio Symphony Orchestra in particular. In October 1976, Bernstein had appeared with an all-Beethoven programme, and in 1983 he began a series of annual concerts with the orchestra. This CD from BR-KLASSIK presents the live recording of the Beethoven concert on October 17, 1976, in which Bernstein conducted Beethoven's Fifth Symphony and the Leonore Overture No. 3.    The programme of the Munich concert in October 1976 included Beethoven's Fifth Symphony, which can be seen as stroke of liberation in the sense of \"per aspera ad astra\" (\"through hardships to the stars\" or \"through darkness to light\") and also a symphonic piece that he had written for his only opera \"Fidelio\": the Third Leonore Overture, with it's lone trumpet signal announcing the arrival of the minister Don Fernando - and thus the rescue of Florestan from arbitrary violence and imprisonment. Joachim Kaiser, Munich's leading music critic at the time, said: \"Bernstein demonstrated to a spellbound Munich audience how much he is filled with Beethoven, the man is full of a freedom and fire that can be produced and reproduced. Even if Bernstein's leaps, crouches and crescendos may seem violent to anxious listeners, the inner rightness of the music - which sounds natural, powerful, wonderful and relaxed - is overwhelming.\"    The live recording was made on October 17, 1976 at the Deutsches Museum in Munich.","brand":"BR Klassik","offers":[{"title":"CD","offer_id":49309943922968,"sku":"4035719002287","price":15.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4383472-3290432.jpg?v=1777492713"},{"product_id":"debussy-rachmaninoff-tchaikovsky-prokofiev","title":"Debussy, Rachmaninoff, Tchaikovsky \u0026 Prokofiev","description":"The great Yevgeny Svetlanov frequently conducted Debussy. His interpretation of Debussy's Prelude a l'apres-midi d'un faune in the Philharmonia concert recorded here in 2001 has an almost operatically vocal style, coupled with spacious tempo. He achieves a most remarkable response from the Philharmonia both in this piece and La Mer, in which the dramatically assertive style of brass playing contributes to a particularly powerful approach to the French composer's music.  Svetlanov's conducting of Respighi's orchestration of two of Rachmaninov's Etudes-Tableaux, with the BBC Symphony Orchestra in October 1999, is typically atmospheric in the first tableaux - La Mer et les Mouettes (The Sea and the Gulls) following Debussy's La Mer, while the second, La Foire (The Fair) demonstrates the conductor's wonderful ear for colour.  Prokofiev's Overture on Hebrew Themes was composed for sextet in 1919 while in the USA, but was re-scored for orchestra in 1934. Svetlanov's concert with the LSO from October 1979 is a rarity since his only recording dates back to an early Melodiya account.","brand":"ICA Classics","offers":[{"title":"CD","offer_id":49309945856280,"sku":"5060244551817","price":12.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/4384391-3290455.jpg?v=1777494221"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/collections\/Great_European_Sale.png?v=1768839928","url":"https:\/\/hbdirect.com\/collections\/great-european-orchestra-sale.oembed?page=4","provider":"HBDirect","version":"1.0","type":"link"}