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Berliner Philharmoniker A Fairytale Night (2019) 720p+1080p MBLURAY x264-MBLURAYFANS

Wann, wie und wo ließe es sich wohl schöner von fernen, geheimnisvollen Welten träumen, als beim traditionellen Waldbühnenkonzert der Berliner Philharmoniker?

Die Berliner Philharmoniker und Dirigent Tugan Sokhiev entführen uns in einen musikalischen Sommernachtstraum mit Werken von Prokofjew und Ravel

Wir erleben Prokofjews humorvolle Musik zur Filmsatire Leutnant Kijé, reisen in den Orient mit Maurice Ravels flirrend-sinnlichen Sheherazade-Liedern (Solistin: Marianne Crebassa) und werden mit Prokofjews Ballettmusik Romeo und Julia Zeugen der berühmtesten Liebesgeschichte aller Zeiten

Die junge Mezzosopranistin Marianne Crebassa ist bekannt für ihre einfühlsame Interpretation der Lieder französischer Komponisten

Special Feature: Dirigentenkamera

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Andrea Berg – Schwerelos Live 2010 (2011) Blu-ray 1080i AVC DTS-HD MA 5.1 + BDRip 1080p

Title: Andrea Berg – Schwerelos Live 2010
Release year: 2011
Genre: Pop

Released: Sony Music Entertainment
Duration: 02:26:57+00:07:18
Quality: Blu-ray
Container: BDMV
Video codec: MPEG-4 AVC Video
Audio Codec: LPCM, DTS-HD Master
Video: MPEG-4 AVC Video / 27995 kbps / 1080i / 25 fps / 16:9 / High Profile 4.1
Audio # 1: German / LPCM Audio / 2.0 / 48 kHz / 1536 kbps / 16-bit
Audio # 2: German / DTS-HD Master Audio / 5.1 / 48 kHz / 2886 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit)
Size: 36.45 GB

Deutschlands absolute No 1 Andrea Berg schaffte mit ihrem neuem Album “Schwerelos” (produziert von Dieter Bohlen) einen neuen persönlichen Rekord. Die CD stieg im Oktober letzten Jahres gegen schärfste internationale Konkurrenz direkt auf Platz 1 der Deutschen Charts ein, hielt sich dort sogar eine 2. Woche – um dann bis Weihnachten andauernd in den TOP 5 zu bleiben. Selbst für die erfolgsverwöhnte Andrea Berg ein neuer Superlativ wie ihn keine andere Künstlerin vorzuweisen hat. Am 14. Januar startet ihre monumentale “schwerelos”- “Die Tausend und eine Nacht ” Tournee, die die 30 größen deutschen Hallen mit weit über 250 Tausend Zuschauern erreicht.

Hier die geniale LIVE Blu Ray Edition, natürlich im Dolby 5.1 Sound – der Konzert Mitschnitt aus Leipzig vom 15. Januar 2011. Für alle Fans die sich dieses wahrhaft spektakläre LIVE Erlebnis der größten und erfolgreichsten deutschen Künstlerin auch fürs Heimkino, nach Hause holen wollen.

Bonus Material : exklusiver Backstage Bericht plus Bildergalerie und ..?! (lasst Euch überraschen)

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Berliner Philharmoniker – Simon Rattle conducts “Götterdämmerung” at the Aix-en-Provence Festival 2009 720p WEB-DL AAC2.0 H.264-CHDWEB

For the second time in their history, the Berliner Philharmoniker brought a complete cycle of Wagner’s Ring des Nibelungen to a close during summer 2009. After a first production with Herbert von Karajan in the late 1960s, the musicians tackled Wagner’s mammoth work again under Sir Simon Rattle beginning in 2006. Stéphane Braunschweig directed this collaboration between the Salzburg Easter Festival and the Aix-en-Provence Festival.

When the new Ring came to an end with Götterdämmerung in Aix-en-Provence, the international press applauded enthusiastically – particularly for the performance of the orchestra. Le Figaro wrote: “The interpretation of Simon Rattle and his musicians was little short of a miracle. One was overwhelmed by a feast of sound that saturated every pore. The orchestra remained … flexible at all times and conveyed both great tenderness and seismic eruptions. Rattle achieved a flowing interpretation of the drama that captured every nuance of the text with the transparency of chamber music.”

Along with the conductor and orchestra, the superb international ensemble of soloists also thrilled listeners. The Canadian Ben Heppner, who had already sung Tristan with the Berliner Philharmoniker under Claudio Abbado, took the role of Siegfried for the first time in this production and again impressed with his vocal beauty and intelligent interpretation. The Swedish soprano Katarina Dalayman made her Philharmoniker debut as Brünnhilde, while Anne Sofie von Otter, who gave a moving performance as Waltraute, has worked closely with the orchestra for many years. Finally, Mikhail Petrenko presented an intense portrait of the villain Hagen, underscoring his standing as one of the great Russian Wagner singers of his generation.

https://www.digitalconcerthall.com/en/concert/103

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Berliner Philharmoniker – Riccardo Chailly conducts Liszt’s “Faust Symphony” 2013 1080p WEB-DL AAC2.0 H.264-CHDWEB

Riccardo Chailly was not even 27 years old when he was invited by Herbert von Karajan to make his debut with the Berliner Philharmoniker in January 1980 – conducting Schoenberg’s First Chamber Symphony and Tchaikovsky’s Fourth. “I can still remember exactly”, says the music director of Leipzig’s Gewandhausorchester, “how I was simply bowled over then by the sound of this orchestra, this power and warmth – it was unbelievable.” Immediately afterwards, Chailly was asked to become the new principal conductor of the RSO Berlin (now the Deutsches Symphonie-Orchester). “That also offered the possibility of continuing to conduct the Philharmoniker and of developing my connection with Karajan.”

For his Berlin appearance in November 2013, Riccardo Chailly begins the programme with Richard Wagner’s seldom performed Faust Overture. The main work is Franz Liszt’s Faust Symphony, whose first movement paraphrases a motif from the Wagner overture. The emotional music of the second movement (“Gretchen”) was praised by Liszt’s biographer Richard Pohl: “Even Liszt’s adversaries could not resist the spell of this Gretchen.” The ghostly third movement (“Mephistopheles”), in which the “Faust” themes are increasingly distorted and parodied, owes a debt to the finale of Berlioz’s Symphonie fantastique (the opening bars of both finales are almost identical). At the end, the tension subsides – with a choral finale in radiant C major in which Liszt sets the last lines of Goethe’s Faust II.

https://www.digitalconcerthall.com/en/concert/16871

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Berliner Philharmoniker – Riccardo Chailly conducts Bruckner’s Sixth Symphony 2013 1080p WEB-DL AAC2.0 H.264-CHDWEB

The Guardian recently wrote about Riccardo Chailly, music director of the Leipzig Gewandhaus, that he is “one of a handful of living conductors who genuinely deserves to be called great”. On his road to “greatness”, one composer played a significant role who is also represented in the programme of this guest performance by Chailly in Berlin: Anton Bruckner, whose complete symphonies Chailly recorded from the mid-1980s onwards. Critics were effusive in their praise for these interpretations in which sinewy strength prevails rather than soft rapture – and at the same time, they were surprised that a young Italian should have so much to say about German late Romanticism. The Sixth Symphony, which is performed at this concert, is the perfect complement to Chailly’s approach: for Bruckner’s standards, a short work of compressed energy.

In addition to Bruckner, Felix Mendelssohn is also linked to Chailly’s artistic biography. After all, the composer was once head of the Gewandhaus Orchestra and thus Chailly’s predecessor in the role. This concert includes his Fourth Symphony, known as the Italian. The authors’ own assessment of their works adds a certain charm to the pairing with Bruckner’s Sixth: While Bruckner characterised his symphony as his “boldest”, Mendelssohn wrote that the Fourth was “the jolliest piece I have ever done”. Moreover, the fact that an interpretation of the Italian by a conductor with Chailly’s origins can claim a certain authenticity, is something that almost need not be mentioned.

https://www.digitalconcerthall.com/en/concert/3414

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Berliner Philharmoniker – A magical Ravel concert with Simon Rattle 2008 720p WEB-DL AAC2.0 H.264-CHDWEB

Like Ravel’s music, the texts by the writer Collette also display an unusual synthesis of cosmopolitanism and innocence. The collaboration of the two artists resulted in the one-act opera L’Enfant et les sortilèges (The Child and the Spells), which depicts the imaginative power of a child from an adult’s perspective, without trivialization, as otherwise perhaps only Schumann’s Kinderszenen (Scenes from Childhood) and Debussy’s Children’s Corner do. Although Colette completed the libretto unusually quickly, Ravel did not finish setting it until after years of painstaking work. The result moved the author of the text to tears at the premiere in 1925 and enchants audiences to this day – despite or precisely because of Ravel’s eclecticism. His adaptation of various musical styles reflects the enthusiasm of a child who uninhibitedly collects the objects that appeal to it.

Sir Simon Rattle already programmed Ravel’s children’s opera, which is not widely known in Germany, during his first season as chief conductor of the Berliner Philharmoniker; a project of the orchestra’s Education Programme was also devoted to the work. For the revival in September 2008 an ensemble of virtuosic singers and actors was again enlisted, headed by mezzo-soprano Magdalena Kožená in the role of the naughty child. The first part of the concert featured Ravel’s orchestral suite Ma Mère l’Oye (Mother Goose), which was originally composed for piano four-hands: music which, according to Ravel, was also intended to evoke “the poetry of childhood”. The work, whose title means roughly “old wives’ tale”, is drawn from various fairy tales, including Sleeping Beauty and Tom Thumb.

https://www.digitalconcerthall.com/en/concert/34

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Berliner Philharmoniker – Ravel’s Piano Concerto with Helene Grimaud and Tugan Sokhiev 2010 720p WEB-DL AAC2.0 H.264-CHDWEB

Ravel’s G major Piano Concerto is a world in itself. Here there are echoes of jazz to be found as well as Stravinsky-like asperity and tender cantilenas. And above all this floats the composer’s very own melodic voice with its fragile charm. It is the great responsibility of any soloist performing this piece to bring out all its facets without losing sight of the piece as a whole.

Hélène Grimaud is a pianist whose repertoire has for some time included Ravel’s concerto, playing it with consummate ease and sensitivity. In this performance too, she underlined her standing as an exponent of Ravel, receiving high praise, including from the critic of the Berliner Zeitung: “Hélène Grimaud brings out the countless nuances of this music with brilliant security. Black gleaming bass notes, silvery shimmering smooth passages and, in between, heartbeats with a hint of melodic indulgence glow warmly.”

Making his first appearance with the orchestra was Ossetian-born conductor, Tugan Sokhiev, at that time musical director of the Orchestre National du Capitole de Toulouse. In addition to the Ravel concerto, he also conducts two Liszt transcriptions by Heinz Holliger plus Rachmaninov’s melancholy Second Symphony.

https://www.digitalconcerthall.com/en/concert/280

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Berliner Philharmoniker – A Russian evening with Gustavo Dudamel and Viktoria Mullova 2009 720p WEB-DL AAC2.0 H.264-CHDWEB

The three composers in this concert by the Berliner Philharmoniker from March 2009 represent the stylistic diversity of Russian music during the 20th century. At the same time, their biographies show the influence of contemporary historical events. Although Sergei Rachmaninov had to leave his homeland forever in 1918, he remained true to his unmistakable late Romantic idiom, which was defined by his deep love for Russian culture and music, all his life. This style already characterized his opulent, dark tone poem The Isle of the Dead from 1909, which is in the unusual 5/8 metre and was inspired by Arnold Böcklin’s painting with the same title. Sergei Prokofiev began his career as a brilliant enfant terrible; after the October Revolution he lived for many years in America and Western Europe, then returned to the Soviet Union at the height of the worst Stalinist terror. His powerful but lyrically romantic (for example, in the slow movement) Fifth Symphony was already a great success during the Stalin era, but it easily outlasted the questionable stylistic ideal of “socialist realism” which prevailed at that time and, together with the “Classical” Symphony, it is regarded as the composer’s most successful contribution to the genre.

Like Rachmaninov, Igor Stravinsky eventually decided in favour of permanent exile; only once did he return to his Russian homeland, for a series of concert appearances in 1962. His only violin concerto, the premiere of which was conducted by the composer himself in Berlin in 1931, is generally assigned to his neoclassical creative period. Striking features of the work include his use of Baroque stylistic characteristics and a four-note chord in the solo violin, which is heard at the beginning of all four movements. “Virtuosity for its own sake has only a small role in my concerto,” Stravinsky declared. Nevertheless, there are enormous demands in the solo part, and violinist Viktoria Mullova approaches them with an impressive overall view of the work and crystal-clear articulation. After making his successful debut with the Berliner Philharmoniker at the Waldbühne Concert in 2008, Venezuelan conductor Gustavo Dudamel impressed listeners with his passion and precision during his second appearance with the orchestra.

https://www.digitalconcerthall.com/en/concert/12

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Berliner Philharmoniker – Placido Domingo conducts a Spanish Night at the Waldbühne 2001 1080p WEB-DL AAC2.0 H.264-CHDWEB

Every year more than 20,000 music lovers make their way to the Waldbühne – in the opinion of connoisseurs one of the world’s most beautiful open-air stages – for the end-of-season concert of the Berliner Philharmoniker. Their first concert was held here in 1984, and since then the orchestra has ended each season with a very special musical treat devoted to a particular theme: there has been an Italian Night under Claudio Abbado, an American Night under Sir Simon Rattle, a Russian Night under Seiji Ozawa and a French Night under Georges Prêtre. In 2001 Plácido Domingo joined this phalanx of conductors and made his debut with the orchestra, conducting the present Spanish Night.

By this date one of the world’s leading tenors had already proved that for him conducting was far more than a second job. He had in fact studied conducting in addition to singing and the piano at the Mexico City Conservatory. At the Waldbühne he impressed his audience with his musical credentials and lively temperament, while at the same time introducing his listeners to the first love of his musical life, the zarzuela, a kind of operetta rarely encountered outside the Spanish-speaking world. In excerpts from works by Pablo Luna, Amadeo Vives, Federico Moreno Torroba and José Serrano he was ably supported by the soprano Ana María Martínez, of whom the critic of the Berliner Zeitung wrote enthusiastically: “She turned couples into lovers and brought dreams of blissful happiness to the lonely. Many listeners closed their eyes and smiled beatifically.”

The violinist Sarah Chang then played Pablo de Sarasate’s Gypsy Airs and Carmen Fantasy, delighting her audience with her immaculate technique and imaginative playing. The rest of the programme was made up of works by non-Spanish composers such as Emmanuel Chabrier, Johann Strauß the Younger and Nikolai Rimsky-Korsakov, all of whom were inspired by the music and culture of the Iberian peninsula, while the music of Latin America was represented by José Pablo Moncayo. And when the audience began to call on Domingo to sing for them during the encores, he lost no time in seizing the microphone and joining in the immortal song in praise of Berlin, Paul Lincke’s Berliner Luft.

https://www.digitalconcerthall.com/en/concert/12179

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Berliner Philharmoniker – Pierre Boulez and Pierre-Laurent Aimard perform works by Ravel, Bartok and Boulez 2009 720p WEB-DL AAC2.0 H.264-CHDWEB

There are a number of 20th-century works that owe their existence to a war injury: the Austrian pianist Paul Wittgenstein, the older brother of the philosopher Ludwig, lost his right arm in World War I. With the intention of continuing his musical career he commissioned leading composers of that day to write works for the left hand. In addition to such artists as Paul Hindemith, Erich Wolfgang Korngold, Benjamin Britten and Sergei Prokofiev, Maurice Ravel also complied with the wishes of the industrialist’s son. His Piano Concerto for the Left Hand, premiered in 1929, is unquestionably the most important of the compositions written for Wittgenstein. In a concert of the Berliner Philharmoniker conducted by Pierre Boulez, soloist Pierre-Laurent Aimard, who is acclaimed not least for his interpretations of contemporary music, gave a brilliant performance.

The programme reflected a chronological and stylistic focus typical of Boulez: Béla Bartók’s Music for Strings, Percussion and Celesta, which is characterized by rhythmic elan, conceptual refinement and unusual instrumentation, was composed only six years after Ravel’s Concerto. The origins of Boulez’s own Notations also date back to the same period of music history, namely 1945, when he composed the first version for piano. Boulez was not only fascinated by developments in music history but also strived for ongoing growth in his own works. The last of the five pieces, arranged for large orchestra and substantially expanded in structure and length, did not appear until 1997, 52 years after the original version.

https://www.digitalconcerthall.com/en/concert/41

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