Two Blu-ray releases from Opus Arte: Cecilia and Bryn at Glyndebourne and Paris Opera Ballet in Tchaikovsky’s Swan Lake
- 30 July, 2008
- 1 Comment
On July 29, Opus Arte releases Cecilia and Bryn at Glyndebourne, a recital of arias and duets recorded live at Glyndebourne Opera House on April 24, 1999. Cecilia Bartoli and Bryn Terfel open the concert with the first two scenes from Le nozze di Figaro, performing the same roles they sang together to great acclaim at the Metropolitan Opera. Terfel and Bartoli join forces with Myung-Whun Chung and the London Philharmonic Orchestra to perform other opera favorites such as the “Catalog Aria” from Mozart’s Don Giovanni (“Madamina, il catalogo è questo”), “Quanto Amore!” from Donizetti’s L’elisir d’amore, and “Pa-pa-pa-pa” from Mozart’s Die Zauberflöte. Some opera rarities like the aria “Al tuo seno fortunato” from Haydn’s opera L’anima del filosofo also are included in the recital.
Also in July, Opus Arte presents Tchaikovsky’s Swan Lake performed by the Paris Opera Ballet and Orchestra in December 2005. Tchaikovsky’s first ballet, Swan Lake was composed at the request of the Bolshoi Ballet in 1875. Its premiere was a great disappointment and in 1877 it was removed from the Bolshoi repertoire. It was not until eighteen years later that Swan Lake was resurrected to great glory by French choreographer Marius Petipa, who also convinced the reluctant Tchaikovsky to compose two additional ballets before his death in 1893: Sleeping Beauty and Nutcracker. Petipa’s Swan Lake revival, which secured the ballet’s place in the standard repertoire of almost every ballet troupe in the world, finally occurred on January 27, 1895 at the Mariinsky Theatre in St. Petersburg.
This production of Swan Lake, choreographed by Rudolf Nureyev, premiered with the Paris Opera Ballet in 1984. Nureyev stayed faithful to Petipa’s production, however, he offers a much more personal and intimate vision of the ballet, with what some might say is an almost autobiographical aspect to the development of the story and its characters. Nureyev’s interpretative resolutions are well-suited to Tchaikovsky’s compositional style giving the work the power to assume its true tragic structure.