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FRANCHETTI, A.: Symphony / Nella Foresta nera / WOLF-FERRARI, E.: Sinfonia da camera (Orchestra Sinfonica di Roma, MiNensemblet, La Vecchia)
Alberto Franchetti and Ermanno Wolf-Ferrari shared a similar dual heritage. Franchetti’s father was an Italian Baron, his mother was Viennese and Alberto studied in Germany where he composed the Symphony in E minor in 1884 as part of his graduation examination from Dresden Conservatory. Late Romantic and cast in the German symphonic tradition, it is a colourful, evocative and majestic work. Inspired by the wild beauty of the forests of the Rhine valley, Nella Foresta nera is a tranquil, atmospheric ‘symphonic impression’. Venetian-born to a Bavarian father, Wolf-Ferrari spent many years in Germany where he wrote his Sinfonia da camera. The work has an expansive symphonic breadth and utilises Romanticism’s full harmonic and melodic arsenal.
Anthony Rolfe Johnson, Graciela Araya, Toby Spence,
Jaco Huijpen Christopher Gillett, Brian Asawa
De Nederlandse Opera Orchestra / Glen Wilson
Stage director Pierre Audi
Running Time: 176 mins
Region Code: All regions
Picture format: NTSC · 16:9 Anamorphic
Sound format: DTS Surround / LPCM Stereo
Menu languages: EN
Subtitles: EN/FR/DE/ES/IT/NL
Cat. No: OA0927D (NTSC)
In his penultimate opera, based on text adapted from Homer’s
Odyssey, Monteverdi ventures further than ever before into the depths of human emotion. In this ‘dramma in musica’ human frailty falls victim to time, fortune and love. Gods and humans, comic and intensely serious characters and spectacular scenic effects are brought together in a wonderfully rich and effective texture. Pierre Audi’s highly stylised and timeless production is captured here in a live recording from
Het Muziektheater Amsterdam.
‘A strikingly staged, beautifully sung production.’--New York Times
‘Pierre Audi’s daringly minimalist production bespeaks a belief in opera as theatre that one rarely encounters… This is opera as music drama, and an experience not to be missed.’--New York Post
‘That the presentness of theatre and the pastness of music can coincide is one of the miracles of opera, and is one of the miracles of Mr. Audi’s production.’--The New Yorker
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