Michael Hampe's acclaimed production of Wagner's comic opera tells a charming, human, romantic love story and yet, at the same time, registers his protest against the narrow-minded critics and the prejudiced public who for so long refused him recognition. Set in picturesque sixteenth century Nürnberg, the plot revolves around a singing contest, organized by the guild of Mastersingers and the prize promised by the goldsmith, Veit Pogner--his daughter Eva's hand in marriage. Hans Sachs, an historical German composer, cobbler, and philosopher gradually becomes accepted as the hero of the whole drama.

James Stewart stars as Elwood P. Dowd, a wealthy alcoholic whose sunny disposition and drunken antics are tolerated by most of the citizens of his community. That is, until Elwood begins to claim that he has a friend named Harvey who is an invisisble six foot rabbit. Elwood's snooty socialite sister, Veta, determined to marry off her daughter Myrtle to a respectable man, begins to plot to keep Elwood's lunacy from interfering.

Sir Georg Solti is at the helm of the Wiener Philharmoniker with unforgettable performances by Brigitte Fassbaender as Hansel and Edita Gruberova as Gretel. The supporting cast also includes such acclaimed performers as Hermann Prey, Helga Dernesch, Sena Jurinac and Norma Burrowes.

Opera superstar Cecilia Bartoli offers her first operatic release on DVD in 12 years, and also her first opera in English. Bartoli stars as Semele (a role usually taken by a soprano) in Handel s late opera, which features such well-known arias as Endless pleasure, endless love, Myself I shall adore, and Oh sleep, why dost though leave me? Robert Carsen s stylish modern dress production hints at parallels with the problematic relationship between the late Princess Diana and the British Royal Family. Recorded live at the Zurich Opera House in January, 2007.

Ludwig Weber (Daland), Astrid Varnay (Senta), Wolfgang Windgassen (Erik), Elisabeth Schärtel (Mary), Josef Traxel (Der Steuermann) & Hermann Uhde (Der Holländer)

Chorus & Orchestra of the Bayreuth Festival, Hans Knappertsbusch

Hans Knappertsbusch conducted Der fliegende Holländer only once at Bayreuth. Even in retrospect the opening night of the 1955 Festival seems altogether exceptional.This was also the first time that Wagner's early Romantic had been performed in New Bayreuth. In the run-up to the opening night, there had been copious discussions about the work's suitability as a Festival offering, but when the production finally opened, such discussions suddenly seemed otiose, so high were the standards of the performance. In Wolfgang Wagner's production, the cast was dominated by three performers who can stand comparison with any of their successors.The hochdramatisch Swedish-American soprano Astrid Varnay had first made her mark in Bayreuth in 1951, and as the girlish figure of Senta she presented an impressively accomplished portrait, colouring her voice to produce a multi-dimensional character. Listeners may have heard a more youthful timbre in the part, but rarely has the Ballad been sung with such a convincing note of fascination bordering on the obsessive.

Plácido Domingo, Walter Hagen-Groll, Hans Sotin, Cheryl Studer and Bernd Weikl, Giuseppe Sinopoli, Deutsche Oper Chor und Orchester, Berlin

For some bizarre reason only failing marketing execs know, this fascinating reading of Dutchman has been sitting, unreleased, in DG's vaults since 1991. The performance is, to be sure, unorthodox: Even if one argues, correctly, that this is Wagner's most Italianate opera (and that he was writing treatises in defense of Bellini at the time), the sheer "Italian-ness" of Sinopoli's reading is certain to amaze. The long melodies are emphasized, legato is ever-present (Senta's opening humming actually sounds like Bellini), rubato is thick, and even the singers' diction seems to be (purposefully) soft. Bernd Weikl, with a voice ideally about only 2/3 the weight really needed for the role, sings a highly nuanced, interesting Dutchman, and Cheryl Studer's Senta, while lacking the insane intensity Rysanek brought to the role, is weirdly, wonderfully interior and sings up a storm. Placido Domingo is cookie-cutter ardent, singing with bright tone and little thought. Hans Sotin's Daland is dullish; Peter Seiffert's Steersman is distinguished. Highest marks go to Sinopoli, though: Tempi are quick and tension is high, but there's never a feeling of being rushed, and dynamic markings are scrupulously observed. The chorus is super, as is the orchestra. Bellini's music, Wagner wrote, had "real passion." You'll find it here. --Robert Levine, Amazon

Jovanotti (Voice), Angela Gheorghiu (Soprano), Aleem Kandour (Violin), Andrea Griminelli (Flute), Zucchero (Voice), Laura Pausini (Voice), Cynthia Lawrence (Soprano), Edin Karamazov (Lute), Luciano Pavarotti (Tenor), Sherrill Milnes (Bass), Sting (Voice), Andrea Bocelli (Tenor), Placido Domingo (Tenor), José Carreras (Tenor)
Conductor: Eugene Kohn, Ensemble: Prague Philharmonic Orchestra

This DVD set contains THE star-studded official Pavarotti Memorial Concert, filmed live at the stunning ancient city of Petra, Jordan. DVD 1 includes the complete concert from Petra, Jordan, recorded on October 12, 2008, which would have been the tenor's birthday. With pop, opera and classical stars, the concert highlights every aspect of Pavarotti's varied career. DVD 2 includes individual tributes to the tenor and his memorial service.

Romantische Oper in drei Akten, Welt-Ersteinspielung
Merlin - Robert Künzli, Viviane - Anna Gabler, Lancelot - Brian Davis, Glendower - In-Sung Sim, Modred - Daniel Behle, Dämon - Frank van Hove, Artus - Sebastian Holecek, Fee Morgana - Gabriele Popescu, und andere
Philharmonischer Chor München, Philharmonie Festiva, Leitung: Gerd Schaller
Aufnahme vom 19. April 2009 im Regentenbau, Bad Kissingen

The revival of the opera Merlin by the Austrian-Hungarian composer Carl Goldmark (1830-1915) has been the focal point of a concert in the Regentenbau of the Bavarian spa resort Bad Kissingen. The unparalleled works of the - in his lifetime - eminently successful composer have been only rarely performed since his death. The conductor Gerd Schaller, with his passion for largely unknown works, has presented the original version of Goldmark's Merlin on 19 April 2009 in cooperation with the Bavarian Radio, Studio Franken - Bayern 4 Klassik and the renowned Label Label PROFIL HÄNSSLER. The world première recording of this work, on the basis of this performance, will be issued on CD.

Performer: Performer: Cheryl Studer (Soprano), Paul Frey (Tenor), Eike Wilm Schulte (Baritone), Ekkehard Wlaschiha (Baritone), Manfred Schenk (Bass), Clemens Bieber (Tenor), Peter Maus (Tenor), Robert Riener (Baritone), Heinz Klaus Ecker (Bass), Natsue Von Stegmann (Soprano), Rachel Robins (Soprano), Akiko Makiyama (Mezzo Soprano), Katalin Benei (Mezzo Soprano), Sara Fulgoni (Soprano), Helen Lawson (Soprano), Kristina Gloge (Soprano), Martina Beier (Soprano), Kriemhild Stettner (Mezzo Soprano), Isolde Claassen (Mezzo Soprano), Yehudit Silcher (Alto), Gabriele Schnaut (Soprano), Philippa Thomson (Alto)
Conductor: Peter Schneider
Orchestra/Ensemble: Bayreuth Festival Orchestra, Bayreuth Festival Chorus

Documentary with Sir Roger Norrington & SWR Radiosinfonieorchester Stuttgart.
Explanations to Wagner's work and examples (the complete preludes) from "Parsifal", "Tristan & Isolde" and "Die Meistersinger"

"Sir Roger Norrington hat sich unter anderem auch mit der Aufführung von Musik des Barock und der Wiener Klassik in historischer Spielweise einen Namen gemacht. Seit Jahren beschäftigt er sich aber auch mit den großen Komponisten des 19. und 20. Jahrhunderts, wobei er ebenso wie bei der früheren Musik die jeweils zeitgenössische Spielweise zu ergründen sucht. In dieser Sendung erläutert Norrington an Ausschnitten aus den Vorspielen zu den Opern „Die Meistersinger von Nürnberg“, „Parsifal“ und „Tristan und Isolde“, wie Richard Wagner sich die Ausführung seiner Musik gedacht haben mag. Ohne jeden doktrinären Anspruch macht Norrington sich auf die Suche nach „Wegen zu Wagner“. Auf Grund von Wagners eigenen Angaben und des Studiums der zeitgenössischen musikalischen Praxis kommt er dabei zu Ergebnissen, die von der gewohnten Aufführungstradition erheblich abweichen. ", SWR

Excerpts Bayreuth 07.-08. 1936, 3. Act
Conductors: Wilhelm Furtwängler (7-1936) - Heinz Tietjen (8-1936), Chor und Orchester der Bayreuther Festspiele
Franz Völker, Maria Müller, Margarete Klose, Jaro Prohaska, Josef von Manowarda
Richard Strauss: Olympische Hymne "Völker! Seid des Volkes Gäste" (Bruno Seidler-Winkler, Berliner Solistvereinigung, Orchester der Staatsoper Berlin)

It's the "Bonus DVD", not the audio-cds!

This much awaited recording of Tristan was worth waiting for. The draw was, of course, Placido Domingo, who now in his mid 60s will never sing the role of Tristan on stage, but whose legions of fans have been certain that he'd make a remarkable go at it. He is indeed excellent, singing with beautiful tone and legato (Wagner insisted that the Italian art of singing be used for his operas as well) and clear if not impeccable diction. Except for some moments, such as midway through the first-act interview with Isolde and the Love Duet, where his attention seems to flag, Domingo shows great attention and sensitivity to Tristan's plight. There's the odd moment of strain, but they're so rare that a tenor half his age would be proud of such a vocal display. Two grand performances come from soprano Nina Stemme and conductor Antonio Pappano. Stemme is radiant as Isolde, with a big, clear, appealing sound that is never forced. Her identification with the character is not yet on a level with Flagstad's, Modl's, or Nilsson's; she lacks the worldly resentment to Tristan and she can't express sarcasm, but there's great urgency to her singing and it's refreshing to hear such a young, secure voice. Antonio Pappano leads the opera quickly (only too quickly once or twice), with little obsessive subtext, and he totally understands how to pace a scene for its dramatic tension. René Pape is a fine, youthful-sounding King Marke; Olaf Bär's Kurwenal is somewhat forced; Mihoko Fujimara is a light but effective Brangaene. And with such stars as Ian Bostridge and Rolando Villazon as the Shepherd and Seaman, the set is truly luxurious. --Robert Levine, Amazon

The tremendous success of the Boulez/Bayreuth Ring on DVD has inspired this DVD release of the classic documentary on the first-ever audio recording of the Ring. Recorded in the late 1950s and early 60s in Vienna's Sofiensaal (sadly lost to fire last year), Solti's legendary cycle, with the Vienna Philharmonic and a cast of great Wagnerian singers, remains the definitive Ring for many enthusiasts. Filmed during the recording of Götterdämmerung, The Golden Ring is similarly one the first and greatest music documentaries ever made for TV.

In addition to a fascinating look “behind-the-scenes” of the recording, we hear Sir Georg Solti talking about the issues in committing the Ring to disc, we see such great singers as Birgit Nilsson, Wolfgang Windgassen, Gottlob Frick and Dietrich Fischer-Dieskau in rehearsal, and witness the recording of several of the “final takes” that made their way onto the recording.

As well as the original English-language version of The Golden Ring, the DVD also includes the special German version of the programme, Hinter den Kulissen der Götterdämmerung, with German narration and with the Solti interviews conducted in German.

Finally, as a special bonus to Ring enthusiasts, also included are almost 70 minutes of Ring audio highlights (see track listing), taken from the legendary recording itself and presented for the very first time in 5.1 Dolby Digital surround sound.

This extraordinarily powerful 1983 production may be the best-sung performance by Luciano Pavarotti on DVD, but when acting values are counted in, Ingvar Wixell manages to outshine the tenor star. Verdi gave the Duke two of Italian opera's most brilliant arias ("Questa o quella" and "La donna e mobile"), but he gave the deformed jester Rigoletto a depth and complexity of character that is reflected in music of great variety and enormous emotional impact: the cruel mockery of the opening scene, the self-doubts inspired by his dialogue with Sparafucile, the paternal anxieties and final despair at his daughter's sad fate, and the burning, self-destructive thirst for revenge. All these motives work their way into music of great dramatic richness, variety, and intensity. Wixell rises to its challenges, not only in the title role but in a cameo appearance as Rigoletto's nemesis Monterone. Location filming provides an atmosphere unavailable in staged productions. --Joe McLellan, Amazon

Sächsische Staatskapelle Dresden & Fabio Luisi

1. Elīna Garanča,
2. Anne-Sophie Mutter
3. Christina Pluhar & L’Arpeggiata, Nuria Rial, Philippe Jaroussky
4. Xavier De Maistre
5. Plácido Domingo
6. David Fray
7. Christian Gerhaher
8. Wolfgang Bauer & Sax Allemande
9. Sol Gabetta