SALZBURG FESTIVAL 2021 CATALOGUE

SALZBURGERFESTSPIELE

SALZBURG FESTIVAL 2021 CATALOGUE

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For the complete catalogue featuring more than 160 titles from the Salzburg Festival please visit www.unitel.de

OPERA

Mozart: Don Giovanni (musicAeterna / Currentzis / Castellucci)Nono: Intolleranza 1960 (Wiener Philharmoniker / Metzmacher / Lauwers)

CONCERT

Wiener PhilharmonikerWagner, Bruckner (Garanča / Thielemann)

Mahler: Symphony No. 3 (Urmana / Chor des Bayerischen Rundfunks / Nelsons) Beethoven: Missa solemnis (Feola / Kolosova / Korchak / Abdrazakov / Konzertvereinigung / Muti)

Honegger, Brahms (Blomstedt)

musicAeternaMozart (Pavlova / Currentzis)

West-Eastern Divan OrchestraBeethoven, Brahms, Franck (M. Barenboim / Soltani / D. Barenboim)

Camerata SalzburgMendelssohn Bartholdy (Monteverdi Choir/ Hörbiger / Fritsch / Koch / Gardiner)

Chamber MusicThe Complete Bach Sonatas and Partitas (Zehetmair)

Bruckner: Symphony No. 7 (Chamber Version)

All productions have been shot in

SALZBURGERFESTSPIELE

“The most unusual Giovanni the world has ever seen”

Die Welt

W. A. MOZART

DON GIOVANNIDavide Luciano Don Giovanni • Mika Kares Il Commendatore • Nadezhda Pavlova Donna Anna

Michael Spyres Don Ottavio • Federica Lombardi Donna Elvira • Vito Priante Leporello David Steffens Masetto • Anna Lucia Richter Zerlina

musicAeterna Choir • Vitaly Polonsky Chorus Master

musicAeterna Orchestra • Teodor Currentzis Conductor

Romeo Castellucci Stage Director

Video Director: Henning Kasten | Length: approx. 210' | Shot in UHD HDR | Cat. no. A 040 50163

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O P E R A

Stage director Romeo Castellucci developed his symbolistic production in a process of continuous exchange with conduc-tor Teodor Currentzis. For Castellucci, approaching Don Giovanni means facing up to the ambiguity and complexity as well as the inner disequilibrium with which Mozart imbues the protagonist of his opera. Vitality and destruction: in this essential ambivalence, Castellucci sees one of the fascina-tions of this figure. Wholly bound up in the moment, Don Giovanni’s vital force is embodied with symbolic concise-ness in the almost obsessive headlong spate of the Aria

“Fin ch’han dal vino”. This forms the frenetic prelude to a party that will be open to all — and whose true purpose Don Giovanni announces quite blatantly: Leporello, his manservant and antithetical alter ego, will subsequently be able to add another ten names to the lengthy list of Giovanni’s female conquests. Dedicated to the pleasure principle, his existence, which knows neither rest nor reflection, drives Don Giovanni to ceaseless seduction — a desperate compulsion beyond pleasure, reflecting awareness of his own mortality. Of death.

“After four long hours of Mozart in Salzburg, one feels refreshed, even invigorated, floating out into the rainy night on clouds of sound and images. Rarely has a team taken Mozart’s genre designation dramma giocoso seriously in such a radically lavish, detail-obsessed and conceptually strong way.”

Die Zeit

“Stage director Romeo Castellucci brings an enigmatic, visually powerful work of art to the Großes Festspielhaus”

Kurier

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O P E R A

LUIGI NONO

INTOLLERANZA 1960Sean Panikkar Un emigrante • Sarah Maria Sun La sua compagna • Anna Maria Chiuri Una donna

Antonio Yang Un algerino • Musa Ngqungwana Un torturato et al.Konzertvereinigung Wiener Staatsopernchor • Huw Rhys James Chorus Master

Performers of Needcompany Dancers of Bodhi Project and SEAD – Salzburg Experimental Academy of Dance

Wiener Philharmoniker • Ingo Metzmacher Conductor

Jan Lauwers Stage Director

Video Director: Tiziano Mancini | Length: 85' | Shot in UHD | Cat. no. A 040 50165

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Luigi Nono caused a riot at the premiere of his “scenic action” Intolleranza in 1961. The opulent work that collages singing, orchestra, film projections, dance and light has lost none of its actuality, neither in its form nor in its content: the odyssey of a nameless emigrant who is persecuted and tortured ends fatally in the floods of the river that separates him from his homeland. Jan Lauwers, stage director and artistic leader of the Needcompany, restages the opera at the Felsenreitschule

and further develops Nono’s laterna magica inspired theatre. Next to the extremely important choir (Konzertvereinigung Wiener Staatsopernchor), the renowned Vienna Philharmonic Orchestra and Sean Panikkar, Sarah Maria Sun and Anna Maria Chiuri in the main roles, Lauwers puts 56 extras on the crowded stage. In close collaboration with Ingo Metz-macher, distinguished expert in new music, Lauwers writes a new chapter in the performance history of this political opera.

“The choir, before whose unleashed precision one has to kneel down, is heard in two short a cappella passages as a pre-recorded feed in the surround sound and in the middle, in

the high raised pit, the gifted Vienna Philharmonic plays with the highest emphasis.” Süddeutsche Zeitung

“The most spectacular music theater production of this Salzburg Festival summer: close to 200 people from the most diverse nations are on stage.”

Die Furche

“The cast is superb, from Sean Panikkar’s eloquent, impassioned immigrant to Musa Ngqungwana's harrowing torture victim.”

Financial Times

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WIENER PHILHARMONIKERCHRISTIAN THIELEMANN • ELĪNA GARANČA

FROM THE GROSSES FESTSPIELHAUS

GUSTAV MAHLER – RÜCKERT-LIEDER 1. Ich atmet’ einen linden Duft – 2. Liebst Du um Schönheit

3. Um Mitternacht – 4. Blicke mir nicht in die Lieder 5. Ich bin der Welt abhanden gekommen

ANTON BRUCKNERSymphony No. 7 in E major

To mark the bicentenary of Anton Bruckner’s birth in 2024, Christian Thielemann, the Vienna Philharmonic and Unitel record the first Bruckner cycle with a single conductor in the orchestra’s history. After a truly magnificent performance of the Fourth Symphony in 2020, the stellar conductor returns to the Salzburg Festival with the Seventh Symphony, one of Bruckner’s most popular works. In the first part of the concert,

Christian Thielemann joins forces with Latvian star soprano Elīna Garanča for Mahler’s Lieder. “Expressive but without false pathos, he shapes the Rückert Lieder – audibly inspired by the magnificent Elīna Garanča, whose perfectly focused voice sounds wonderfully sensual. A haunting evening”, hailed br-klassik.de.

Video Director: Elisabeth Malzer | Length: 95' | Shot in UHD HDR | Cat. no. A 045 50184 0000

“What we experienced here was one of those great moments that one never forgets.”

Klassik-begeistert.de

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W I E N E R P H I L H A R M O N I K E R

WIENER PHILHARMONIKERANDRIS NELSONS • VIOLETA URMANA

CHOR DES BAYERISCHEN RUNDFUNKS SALZBURGER FESTSPIELE UND THEATER KINDERCHOR


GUSTAV MAHLERSymphony No. 3 in D minor

Praised as an “exuberant, intoxicating conductor” (Boston Globe), Grammy Award-winning Andris Nelsons is one of the most renowned and innovative conductors on the interna-tional scene today and his connection with the Vienna Phil-harmonic is something special: he has developed a physical language with the players whose musical partner he has been

since 2010. At the 2021 Salzburg Festival edition, Andris Nelsons and the Vienna Philharmonic Orchestra continue their acclaimed Mahler cycle with the Third Symphony.

Already available in the Unitel catalogue: Mahler Symphonies Nos. 2 & 6

Video Director: Leopold Knötzl | Length: 111' | Shot in UHD HDR | Cat. no. A 040 50164

“His mixture of wanting and enabling, guiding and letting it happen offers the Philharmonic a wonderful space for the development of their ‘original Mahler

sound’: expressivity and beauty are combined in an almost ideal way.” Die Presse

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WIENER PHILHARMONIKERROSA FEOLA • ALISA KOLOSOVA

DMITRY KORCHAK • ILDAR ABDRAZAKOVRICCARDO MUTI

KONZERTVEREINIGUNG WIENER STAATSOPERNCHORFROM THE GROSSES FESTSPIELHAUS

LUDWIG VAN BEETHOVENMissa solemnis in D major, Op. 123

Since the death of Herbert von Karajan in 1989, the pres-tigious Vienna Philharmonic Orchestra’s concerts around Ascension Day (15 August) have firmly been in the hands of Riccardo Muti. Always sold out, they are among the highlights

of every festival summer. For this year’s concert and on occa-sion of his 80th birthday, the maestro was acclaimed for his interpretation of Beethoven’s Missa solemnis, a piece he has never conducted before.

Video Director: Michael Beyer | Length: 91' | Shot in UHD HDR | Cat. no. A 040 50166

“Muti is a master in conveying extremes: monumentality, where it is compositionally intended, and highest internalization

alternate with each other in a dense interplay.” FAZ

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WIENER PHILHARMONIKERHERBERT BLOMSTEDT


ARTHUR HONEGGERSymphony No. 3 “Liturgique”

JOHANNES BRAHMSSymphony No. 4 in E minor, Op. 98

Now in his nineties, Herbert Blomstedt, former conductor of the Leipzig Gewandhaus Orchestra and the San Fran-cisco Symphony Orchestra, is still a powerful interpreter of the symphonic repertoire. His programme with the Vienna Philharmonic is straightforward: it begins with Honegger’s

brilliant Third Symphony and ends with Brahms’ Fourth. The eminent maestro, one of the orchestra’s favourites since his debut at the 2011 Salzburg Mozart Week, continues to enchant audiences with his enormous presence, verve and artistic drive.

Video Director: Dick Kuijs | Length: 83' | Shot in UHD | Cat. no. A 045 50190 0000

“At the end, standing ovations and boundless cheers.” br-klassik.de

“Fortunately, they still exist, the magical moments when time stands still, when music reaches and touches people. But for the sparks to really fly, you also need artists like Herbert Blomstedt and the Vienna Philharmonic. In the Großes Festspielhaus,

they musically bundled faith and optimism into a heartfelt plea for peace.” br-klassik.de

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MUSICAETERNA ORCHESTRA & CHOIRTEODOR CURRENTZIS • NADEZHDA PAVLOVA


WOLFGANG AMADEUS MOZART “Alzai le flebili voci al signor” for soprano, choir and orchestra from Davide penitente – Cantata, K. 469

Symphony in G minor, K. 550 Maurerische Trauermusik in C minor, K. 477

Symphony in C major, K. 551 – “Jupiter” Aria “Non mi dir” from Don Giovanni, K. 527

The concerts of the Greek conductor with a Russian passport and the orchestra he founded himself are as well concert and sacred action as brilliant performance of a classical work and count among the highlights of classical music life. Wolfgang Amadeus Mozart composed his last two sympho-nies in the summer of 1788. While the G minor symphony was probably first performed during his lifetime, he probably did not live to see the premiere of the C major symphony. It is known today as the “Jupiter Symphony”, a designation

which, like most of these epithets, cannot be traced back to the composer, but is much easier to remember and was thus definitely conducive to the symphony’s popularity. Both symphonies became known shortly after Mozart’s death as archetypes of the classical symphony. The main theme of the G minor symphony is one of Mozart’s best-known melodic inventions, and the grandiose fourth movement of the Jupiter Symphony in the form of a fugue points far beyond the sphere of the symphony in the late 18th century.

Video Director: Michael Beyer | Length: 83' | Shot in UHD HDR | Cat. no. A 045 50185 0000

“It was just a stirring concert.” Süddeutsche Zeitung

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M U S I C A E T E R N A

WEST-EASTERN DIVAN ORCHESTRA MICHAEL BARENBOIM • KIAN SOLTANI

DANIEL BARENBOIMFROM THE GROSSES FESTSPIELHAUS

LUDWIG VAN BEETHOVENOverture to the ballet “Die Geschöpfe des Prometheus”, Op. 43

JOHANNES BRAHMSConcerto for violin, cello and orchestra in A minor, Op. 102

CÉSAR FRANCKSymphony in D minor, FWV 48

Ever since its first performances in 2007, the concerts of Daniel Barenboim’s West-Eastern Divan Orchestra have been among the first to be sold out at the Salzburg Festival. In

2021, the orchestra presents a program including works by Beethoven, Brahms and Franck with Michael Barenboim and Kian Soltani, both members of the orchestra, as soloists.

Video Director: Elisabeth Malzer | Length: 98' | Shot in UHD HDR | Cat. no. A 045 50188 0000

“So it is definitely a ‘work of reconciliation’ when the West-Eastern Divan Orchestra and Daniel Barenboim bring this grandiose D minor symphony to

glorious effect in all its romantic-dramatic and formally stringent facets.” Der Standard

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W E S T - E A S T E R N D I V A N O R C H E S T R A

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CAMERATA SALZBURG • MONTEVERDI CHOIR SIR JOHN ELIOT GARDINER

FROM THE HAUS FÜR MOZART

FELIX MENDELSSOHN BARTHOLDY“Die erste Walpurgisnacht” – Cantata after a ballad by Johann Wolfgang von Goethe for soloists,

chorus and orchestra, Op. 60 – Singers: Jessica Cale, Sam Cobb, Kate Symonds-Joy, Jonathan Hanley, Graham Neal, Alex Ashworth, Christopher Webb

“A Midsummer Night’s Dream” – Music for the play of the same name by William Shakespeare, Op. 21 / Op. 61 Narrators: Mavie Hörbiger, Regina Fritsch, Roland Koch

Sir John Eliot Gardiner and his Monteverdi Choir have a long-standing artistic partnership with the Salzburg Festi-val. With music by Felix Mendelssohn Bartholdy to Goethe’s “Walpurgis Night” and Shakespeare’s “A Midsummer Night’s Dream”, Gardiner once again turns his attention to romantic music and confronts two great literary texts: Johann Wolf-gang von Goethe’s ballad “The First Walpurgis Night” inspired

the composer’s vivid depiction of the conflict between an ancient pagan community and the new aspirations of Chris-tianisation, between faith and superstition on both sides. For Mendelssohn Bartholdy’s “A Midsummer Night’s Dream” to the play of the same name by William Shakespeare the Monteverdi Choir is joined by seven top-class singers.

Video Director: Lauran Jurrius | Length: 105' | Shot in UHD | Cat. no. A 045 50193 0000

“An unleashed Sir John Eliot Gardiner showed with his accurately playing Camerata, the ravishingly articulating, elegantly phrasing women of his Monteverdi Choir and the Burgtheater trio, how beautiful and profound this fairy magic is, if one devotes oneself to it with precision and knowing sensitivity for the different atmospheres.”

Die Presse

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C A M E R A T A S A L Z B U R G

THOMAS ZEHETMAIRFROM THE MOZARTEUM

JOHANN SEBASTIAN BACHTHE COMPLETE SONATAS AND PARTITAS

Sonata for violin solo No. 1 in G minor, BWV 1001 Partita for violin solo No. 1 in B minor, BWV 1002 Sonata for violin solo No. 2 in A minor, BWV 1003 Partita for violin solo No. 2 in D minor, BWV 1004 Sonata for violin solo No. 3 in C major, BWV 1005 Partita for violin solo No. 3 in E major, BWV 1006

In the Great Hall of the Mozarteum, the Austrian violinist creates one of the most impressive concert dates of the Salzburg Festival 2021 with his solo concert. Zehetmair performs Johann Sebastian Bach’s six-part composition in a very profound way, making the epochal work with its many levels also a very personal, artistic statement. This makes the concert an overwhelming experience of over two hours.Thomas Zehetmair enjoys worldwide recognition not only as a violinist but also as a conductor and chamber musician. He is

principal conductor of the Stuttgart Chamber Orchestra, the Musikkollegium Winterthur and, since the 2020/21 season, also of the Orchestre national d’Auvergne. As a soloist, Zehet-mair is a guest with international orchestras and performs under the direction of conductors such as Daniel Barenboim, Simon Rattle and Esa-Pekka Salonen. In 1994 he founded his own string quartet, the Zehetmair Quartet, one of the most interesting and versatile ensembles of our time.

Video Director: Benedict Mirow | Length: 141' | Shot in UHD | Cat. no. A 045 50194 0000

“A Zen master makes Bach shine. Thomas Zehetmair handles the work

for solo violin uncompromisingly well.” Salzburger Nachrichten

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R E C I T A L

ANTON BRUCKNERSYMPHONY NO. 7 IN E MAJOR (CHAMBER VERSION)

ARR. BY HANNS EISLER, ERWIN STEIN & KARL RANKLRENAUD CAPUÇON, VIOLIN • CHRISTOPH KONCZ, VIOLIN

GÉRARD CAUSSÉ, VIOLA • JULIA HAGEN, CELLO ALOIS POSCH, DOUBLE BASS • GUILLAUME BELLOM, PIANO DANIEL OTTENSAMER, CLARINET • DAVID GUERRIER, HORN

ADÉLAÏDE FERRIÈRE, HARMONIUM

Bruckner composed his Seventh Symphony between 1881 and 1883 and its first performance in Leipzig 1884 was one of the few unalloyed triumphs of Bruckner’s career. While the Viennese public also reacted enthusiastically, the Wiener Allgemeine Zeitung was exceptionally nasty, not only about the Symphony but also about Bruckner himself. So Arnold Schönberg saw a need to rehabilitate Bruckner with a perfor-

mance of the Seventh in a more informal and open-minded environment. Three musicians were involved in making the arrangement, all of them Schönberg pupils. Their chamber version allows us to hear Bruckner’s ideas with an extraordi-narily refreshing clarity – a most sympathetic and touching tribute to Bruckner by three of Vienna’s most progressive musical modernists in the 1920s.

Video Director: Benedict Mirow | Length: approx. 80' | Shot in UHD | Cat. no. A 040 50203

“A Bruckner of a different kind becomes an event in Salzburg” Kurier

“A summit victory without heavy baggage. Monumental orchestral work in fabulous chamber sound: Renaud Capuçon and friends thrilled with

Bruckner’s 7th Symphony … More intensity is hardly possible.” Salzburger Nachrichten

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C H A M B E R M U S I C

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SALZBURG FESTIVAL 2021 CATALOGUE