Adam, Adolphe (1803 1856)
The Opera Chûshingura and Japanese Emotionalism
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The Opera Chûshingura and Japanese EmotionalismSAEGUSA Shigeaki Several years ago I had a startling experience in Moscow, where a concert of my works was being performed. Some journalists there expressed amazement that Japan had composers of classical music who could write orchestral works. They did not even know there were orchestras in Japan, and were astounded when I told them Tokyo alone had nine. Apparently they thought the Japanese listened exclusively to kabuki and nô music. But so many Japanese musicians take prizes in the International Tchaikovsky Competition for Young Musicians, I said. The journalists knew this, and they had been to Japan, but they told me they had been taken to kabuki and nô. They were unaware of the existence of orchestras and thought most Japanese still went to kabuki and nô, not modern theater. This huge perception gap came as a shock to me. I wonder what percent of the Japanese population actually attends kabuki and nô performances today. The fact is that almost no one does; most people are steeped in Western musical culture. When a country shows off its culture to the world, people may be intrigued by ethnic forms but seem to find them very hard to understand. People say Indonesian and Indian music is fascinating, but aside from an idiosyncratic handful, few would listen to it every day. Being hard to fathom, perhaps its main appeal is its exoticism. Western clothing--not Japanese kimono--appears to be one area in which Japan can share its culture with the world. This seems to herald an age in which the thinking of people everywhere rests on the same base. What Japanese artists are internationally renowned? The names Issey Miyake, Yohji Yamamoto, and Rei Kawakubo are always included in listings of the world's top 10 fashion designers. If they were just kimono designers, they probably would not be ranked at all. I think they are world famous because they design Western-style clothing with a Japanese sensibility. The key to Miyake's designs, for example, is the way a single piece of cloth is draped--just like kimono. He has skillfully superimposed a "kimono sensibility" on a Western-clothing base. It is this originality, this ability to overlay a different culture on a Western substrate, that so many of the world's critics and intellectuals admire in Japanese designers. I believe it should be possible to do the same with music. If we take the music of the samisen, of the koto, of nô, to other countries just as it is, most people will have great difficulty understanding it. What is more, it cannot be replicated in countries where there are no musicians who can play the traditional Japanese instruments. Should we not, then, take Western music as our base? The question is how much of a Japanese flavor can be transmitted when doing so. In the West, especially among northern Europeans, music is a medium for transmitting thought. They have a strong aversion to immersing themselves in sheer feeling, although this is not true of Slavic composers and some composers from Latin cultures. The Japanese regard intoxication as beautiful. They get drunk on cherry blossoms, on liquor, on emotion. They prize music and theater that tugs at their heartstrings. Germanic and Anglo-Saxon peoples, however, seem to put the mind (logic) before the heart. Let us look at my opera Chûshingura (The Treasury of Loyal Retainers), based on a famous true story of allegiance and vengeance in early-eighteenth-century Japan.* I asked Werner Herzog, a German, to direct the production of Chûshingura performed in Tokyo this past May, reasoning that if I used a Japanese director, the opera would lack an international resonance. Herzog made a most interesting observation. Germans, he said, commit suicide by shooting themselves in the head, Italians by stabbing themselves in the heart, and the Japanese by slitting the belly. This struck me as a telling metaphor of the way different peoples perceive things, process emotions, understand art--with the head, the heart, or the belly. In reality, we probably do all this with the head, but we perceive it as emanating from the head, the heart, or the belly. One hundred percent of Japanese would say the seat of emotions is the abdomen or the navel, whereas most Westerners would say it is the head. Where one perceives the seat of emotions to be makes a big difference to the way one understands things. How then should I, as a Japanese composer, approach Western music? As I have said, the Japanese love to immerse themselves in emotion. They have a strong predilection for music that drowns them in feeling. The idea is to move as many people as possible to tears. Germanic and Anglo-Saxon peoples scorn sentimentality, but Russians and most Italians regard music as a sensuous experience. In this they are very close to the Japanese. In Chûshingura I aimed to create a new kind of music, as a Japanese composer, by superimposing Japanese sentiment on a Western base. I chose the story of Chûshingura for a number of reasons. For one thing, I wanted to show that the Japanese "company man" actually has a 400-year tradition. Japan is a most interesting country. For the 260-plus years of the Tokugawa shogunate (1603-1867) it had a bureaucratic government run by samurai. The functionaries of both the feudal domains known as han and the central shogunal government, or bakufu, they were the equivalent of today's "salary men." Of the 46 men who broke into Kira's mansion, only one--Horibe Yasubei--had ever actually used his sword as a weapon. The rest came from families that had been bureaucrats for generations and had never drawn sword against another human being. In short, they were salary men. When their "company" (their domain) was abruptly destroyed, they were enraged by the injustice of it all. As their reaction indicates, the Japanese have an inborn propensity for occasionally exploding in extreme behavior. Why has the story of Chûshingura, a minor historical episode, had such a lasting appeal for the Japanese? Even if the retainers' assault succeeded, they gained nothing. Win or lose, their lives were forfeit. They had to bid farewell to wives, children, lovers. Theirs was a selfless, profitless fight. Most generals fought to expand their territory or defend their holdings; these men rose up even though they had nothing to gain, even though their own death was the inevitable outcome. The same can be said of the kamikaze pilots of World War II, a little over 50 years ago. The Japanese find this sort of thing extremely beautiful. Through my opera I wanted to show the way the Japanese are seized by the urge to throw themselves into selfless action, as well as the fact that in the Genroku era (1688-1704), as today, there were others motivated by greed for gain. Back in the Tokugawa period samurai accounted for about 7% of the population; the same proportion of the population belongs to the bureaucracy today. Amazingly, the basic structure of bureaucratic rule by 7% of the people did not change even when the samurai class was abolished after the Meiji Restoration of 1868 that toppled the shogunate. Another thing I find interesting is that salary men, the private-sector equivalent of bureaucrats, really do work faithfully for their companies' sake. Why does the world criticize the hard-working Japanese so? To toil faithfully is, I believe, part of our national culture. I also wanted to make an indirect statement about Article 9 of the Constitution of Japan, which renounces war and the possession of war potential. Today there is debate over the pros and cons of Article 9, but in the Tokugawa period Japan did enjoy a long stretch of peace. For about a century before that the nation had been torn by incessant strife among rival domains. During the Sengoku, or Warring States, period (1467-1568) Japan produced more guns--the so-called Tanegashima muskets--than anywhere else in the world. When the nation was finally unified and pacified, there was an abrupt change. Guns and swords were rounded up, and the rule that only samurai could own weapons transformed murderous warrior groups into bureaucrats. This too I find highly interesting. I wish the whole world could be disarmed and fighting stopped. Article 9's ideal of no weapons and no fighting represents, I think, a new philosophy worth spreading. The dangerous Japanese propensity for extreme behavior, exemplified by the story of Chûshingura and by kamikaze pilots, suggests that if Japan ever became adept at crisis management the result could be a kind of fascism. To have Article 9 together with this dangerous propensity--what a contradiction! The peace imposed by the Tokugawa shogunate, the delicate balance achieved between warring impulses in the Japanese psyche, was shattered by the arrival of the "black ships" of U.S. Commodore Matthew Perry in the mid-nineteenth century. I wished to make the point that we did, nonetheless, enjoy a long period of tranquillity before that. One way to make Japan a respected nation is to appeal for a new philosophy of peace and disarmament. Doing so would demonstrate that the Anglo-Saxon worldview of Western Europe is not the only one, that there is room for a new worldview advocating unarmed peace. I believe Japan can make an international contribution in ways that do not involve force, such as educational and medical cooperation. I wanted to show that Japan can build a new culture on a base shared by the world. That is why I chose the genre of opera rather than kabuki or nô. Chûshingura has received a mixed reaction. Some critics have said the music is too emotional. I suppose it is, according to the Western mind-set. But I believe it is true to the Japanese way of thinking. *In 1701 Asano Naganori, lord of the domain of Akô, was goaded into drawing his sword against Kira Yoshinaka, a high-ranking direct retainer of the Tokugawa shôgun, during a reception at Edo Castle. This was an unforgivable breach of etiquette, and Asano was condemned to commit ritual suicide--seppuku, or self-disembowelment with a sword. Forty-seven of his samurai retainers vowed to avenge him. In January 1703, after almost two years' plotting, all but one of their number assaulted Kira in his Edo mansion and killed him. Cutting off his head, they laid it at their master's grave, then turned themselves in to the authorities. They were allowed to commit ritual suicide and were buried near their lord.--Ed. © 1997 Japan Echo Inc. SMETANA, Bedrich (1824 - 1884) 1) Die verkaufte Braut (Prodaná Nevěsta) Peter Dvorsky - Gabriele Benacková-Capová - Indrich Jindrák - Richard Novák - Miroslav Kopp - Jaroslav Horácek Dir: Zdenek Kosler / Reg: Frantisek Filip FILM 1981 - Stereo 2) Die verkaufte Braut (deutsch) Alfred Sramek - Gertrude Jahn - Lucia Popp - Siegfried Jerusalem - Walter Fink - Karl Ridderbusch - Czeslawa Slania - Gabriele Sima Dir: Adam Fischer / Reg: Otto Schenk Staatsoper Wien 1982 3) Libuše Eva Urbanová – Jiřina Marková – Miroslava Volková – Vladimir Okénko – Vratislav Kříž – Pavel Červinka – Ludĕk Vele - Miloslav Podskalský – Libuše Márová – Zdeňka Kloubová – Alice Randová – Miroslav Švejda Dir: Oliver Dohnanyi / Reg: Petr Novotný / Bü: Ivo Židek / Ko: Irena Greifova Prag 1995 - Stereo 4) Zwei Witwen (Dvě vdovy) Zdsze Kloubová – Pavla Aunická – Miroslav Švejda – Bohuslav Meršík – Martina Bausrová – Bohdan Petrovíč Dir: Frantižsek Przízler / Reg: Jana Kališová/ Bü: Miloň Keliš / Ko: Jan Rŭsická / Prag 20.6.1996 – Stereo NTSC SOLIVA, Carlo Evasio (1791 – 1853) 1) La Testa di Bronzo Elia Padovan (Adolfo, Principe di Presburgo) – Adelina Scarabelli (Floresca, Contessa Polacca) – Ernesto Gavazzi (Federico, Capitano) – Giorgio Surjan (Ermanno, Consigliere di Adolfo) – Pietro Ballo (Riccardo, Ufficiale delle guardie) – Simone Alaimo (Tollo, Servo di Corte) – Cathrin Asman (Anna, Zia di Tollo)
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Teatro dell’Opera di Roma 1986 STRAUSS, Johann (1825 - 1899)
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Gwyneth Jones (Helena) - Klaus König (Menelas) - Frances Lucey (Hermione, beider Kind) - Inga Nielsen (Aithra, eine ägyptische Königstochter und Zauberin) - Hans Günter Nöcker (Altair, der Herr der Berge) - Kenneth Garrison (Da-du, sein Sohn) - Annegeer Stumphius - Silvia Fichtl (Dienerinnen der Aithra) - Anne Pellekoorne (Die Muschel) - Marina Ulewicz - Frances Lucey - Helena Jungwirth - Melinda Paulsen (Elfen) Dir: Wolfgang Sawallisch / Reg: Helmut Lehberger / Bü: Jörg Zimmermann Bayerische Staatsoper München 5.6.1992 2) Arabella Oskar Czerwenka (Graf Waldner) - Cvetka Ahlin (Adelaide) - Arlene Saunders (Arabella) - Edith Mathis (Zdenka) - Raymond Wolansky (Mandryka) – Willy Hartmann (Matteo) - Horst Wilhelm (Graf Elemer) - William Workman (Graf Dominik) – Hans Sotin (Graf Lamoral) - Sylvia Geszty (Fiakermilli) – Ursula Boese (Kartenaufschlägerin) - Wilfried Plate (Zimmerkellner) - Harald Staar (Welko) - Philipp Essinger (Djura) - Victor Gawlitzek (Jankel) – Karlheinz Grill – Benno Meeh – Fritz Siebauer (Drei Spieler) Dir: Horst Stein / Reg: Rudolf Steinboeck / Bü+Ko: Rudolf Heinrich Staatsoper Hamburg im Studio 1969 - Stereo 3) Arabella Gundula Janowitz (Arabella) - Bernd Weikl (Mandryka) - Sona Ghazarian (Zdenka) - René Kollo (Matteo) - Hans Kraemmer (Graf Waldner) – Margarita Lilowa (Adelaide) - Göran Fransson (Graf Elemér) – Hans Helm (Graf Dominik) – Kurt Rydl (Graf Lamoral) – Edita Gruberova (Die Fiakermilli) - Martha Mödl (Kartenaufschlägerin) Dir: Sir Georg Solti / Reg: Otto Schenk / Bauten: Jan Schlubach / Ko: Bernd Müller+Jörg Neumann FILM 1977 - Stereo 4) Arabella Ashley Putnam (Arabella) - Gianna Rolandi (Zdenka) - Arthur Korn (Graf Waldner) - Regina Sarfaty (Adelaide) - John Bröcheler (Mandryka) - Keith Lewis (Matteo) - Glenn Winslade (Graf Elemer) - Jeremy Munro (Graf Dominik) - Geoffrey Moses (Graf Lamoral) - Gwendolyn Bradley (Fiakermilli) Dir: Bernard Haitink / Reg: John Cox / Bü+Ko: Julia Trevelyan Oman Glyndebourne Festival 1984 - Stereo 5) Arabella Karita Mattila (Arabella) – Barbara Bonney (Zdenka) – Thomas Hampson (Mandryka) – Günter Missenhardt (Graf Waldner) – Cornelia Kallisch (Gräfin Adelaïde) – Hugh Smith (Matteo) – Endrik Wottrich (Graf Elemer) – Jochen Schmeckenbecher (Graf Dominik) – Nicolas Courjal (Graf Lamoral) – Olga Trifonova (Die Fiakermilli) – Sarah Walzer (Eine Kartenaufschlägerin) – Jean-Michel Ankaoua (Welko) – Valery Drougovskoï – Jean-Jacques David – Philippe Lignères (Drei Spieler) – Jean-Yves Ravoux (Ein Zimmerkellner) Dir: Christoph von Dohnanyi / Reg: Peter Mussbach / Bü: Erich Wonder / Ko: Andrea Schmidt-Futterer / Licht: Alexander Koppelmann Théâtre musical de Paris – Châtelet 2002 - Stereo 6) Ariadne auf Naxos Gundula Janowitz (Primadonna / Ariadne) - René Kollo (Tenor / Bacchus) - Walter Berry (Musiklehrer) - Trudeliese Schmidt (Komponist) - Edita Gruberova (Zerbinetta) - Heinz Zednik (Tanzmeister / Brighella) - Erich Kunz (Haushof-meister) - Peter Weber (Offizier) – Georg Tichy (Perückenmacher) – Alfred ramek (Lakai) - Barry McDaniel (Harlekin) - Kurt Equiluz (Scaramuccio) – Manfred Jungwirth (Truffaldino) - Hilda da Groote (Najade) - Axelle Gall (Dryade) - Olivera Miljakovic (Echo) Dir: Karl Böhm / Reg+Bü+Ko: Filippo Sanjust FILM 1978 7) Ariadne auf Naxos - Not Available 8) Ariadne auf Naxos Susan Anthony (Primadonna / Ariadne) - Iride Martinez (Zerbinetta) - Sophie Koch (Komponist) - Jon Villars (Tenor / Bacchus) - Friedrich-Wilhelm Junge (Haushofmeister) - Gerald Hupach (Scaramuccio) - Scott Wilde (Truffaldin) – Carsten Süss (Brighella) - Urban Malmberg (Harlekin) - Theo Adam (Musiklehrer) - Werner Güra (Tanzmeister) - Christiane Hossfeld (Najade) - Angela Liebold (Dryade) - 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Eberhard Büchner (Flamand) - Andreas Schmidt (Olivier) - Theo Adam (La Roche) - Iris Vermillion (Die Schauspielerin Clairon) - Heinz Zednik (Monsieur Taupe) - Edith Schmid-Lienbacher (Eine italienische Sängerin) - Jonathan Welch (Ein italieni-scher Tenor) - Sarah Ludi (Eine junge Tänzerin) - Lorenz Minth (Der Haushof-meister) – Erich Weßner – Hannes Lichtenberger – Johann Reinprecht – Walter Zeh – Gottfried Kudrna – Wolfgang Holzherr – Werner Kamenik – Robert Springer (Acht Diener) Dir: Horst Stein / Reg: Johannes Schaaf / Bü+Ko: Andreas Reinhardt Kleines Festspielhaus Salzburg 1990 11) Capriccio - Not Available 12) Daphne Elisabeth Wachutka (Daphne) – Birgit Remmert (Gaea) – Francisco Araiza (Leukippos) – Jeffrey Dowd (Apollo) – Jacek Janiszewski (Peneios) – Konrad Jarnot (Erster Schäfer) – Thomas W. Kuckler (Zweiter Schäfer) – Timothy Sharp (Dritter Schäfer) – Hubert Wild (Vierter Schäfer) – Christiane Libor (Erste Magd) – Jolanta T. Nicolai (Zweite Magd) Dir: Pinchas Steinberg / Künstlerische Leitung: Harald Thor / Licht: Raimund Fischer Richard Strauss-Tage 2002 Garmisch-Partenkirchen 13) Elektra - Not Available 14) Elektra Leonie Rysanek (Elektra) - Astrid Varnay (Klytämnestra) - Caterina Ligendza (Chrysothemis) - Dietrich Fischer Dieskau (Orest) - Hans Beirer (Ägist) - Josef Greindl (Der Pfleger des Orest) - Kurt Böhme (Ein alter Diener) – Christopher Doig (Ein junger Diener) – Olga Varla (Die Schleppenträgerin) - Carmen Reppel (Die Vertraute) – Colette Lorand (Die Aufseherin) – Kaja Borris – Axelle Gall – Rohangiz Yachmi – Milkana Nikolova – Marjorie Vance (Fünf Mägde) – Rolf Boysen (Agamemnon) Dir: Karl Böhm / Reg: Götz Friedrich / Szene: Josef Svoboda / Ko: Pet Halmen / Bauten: Gerd Janda / Choreographie: Eleonor Fazan FILM 1982 15) Elektra Eva Marton (Elektra) - Cheryl Studer (Chrysothemis) - Brigitte Fassbaender (Klytämnestra) - James King (Aegisth) - Franz Grundheber (Orest) - Goran Simic (Der Pfleger des Orest) - Waltraud Winsauer (Die Vertraute) - Noriko Sasaki (Die Schleppträgerin) - Wilfried Gahmlich (Ein junger Diener) - Claudio Otelli (Ein alter Diener) - Gabriele Lechner (Die Aufseherin) – Margarita Lilowa - Gabriele Sima - Margareta Hintermeier - Brigitte Poschner-Klebel - Joanna Borowska (Fünf Mägde) Dir: Claudio Abbado / Reg: Harry Kupfer / Bü: Hans Schavernoch / Ko: Reinhard Heinrich / Licht: Robert Stangl+Rudolf Widmar Staatsoper Wien 10.6.1989 – Stereo - DVD 16) Elektra Gwyneth Jones (Elektra) - Leonie Rysanek (Klytämnestra) - Elizabeth Connell (Chrysothemis) - Simon Estes (Orest) - James King (Ägist) - Fernand Dumont (Der Pfleger des Orest) - Ludmila Kouatcheva (Klytämnestras Vertraute) - Nell Froger (Schleppträgerin) - Guy Gabelle (Ein junger Diener) - Bernard Polisset (Ein alter Diener) - Martine Surais (Aufseherin) - Bernadette Antoine - Roselyne Allouche - Anita Herrmann - Danièle Streiff - Doris Brüggemann - Marie-Blanche Guidicelli - Nelly Lasserre De Rozel – Nicole Chaudeau - Claudine Houasse - Florence Person - Danielle Michel (Mägde) Dir: Marek Janowski / Reg: Jean-Claude Auvray / Bü: Bernard Arnould / Ko: Louis Désiré / Licht: Patrice Trottier Théâtre romains d’Oranges 1991 17) Elektra (Amateurvideo) Hildegard Behrens (Elektra) - Karen Huffstodt (Chrysothemis) - Leonie Rysanek (Klytämnestra) - Kenneth Riegel (Ägist) - John Bröcheler (Orest) - Friedemann Kunder (Pfleger) - Gerlinde Lorenz (Aufseherin) - Therese Waldner (Vertraute) - Karin Wieser (Schleppträgerin) - John Horton Murray (Junger Diener) - Markus Marquardt (Alter Diener) - Elzbieta Ardam (Erste Magd) - Yvonne Wiedstruck (Zweite Magd) - Martina Borst (Dritte Magd) - Irmgard Vilsmaier (Vierte Magd) - Jennifer Trost (Fünfte Magd) Dir: Lorin Maazel / Reg: Keita Asari / Bü: Ichiro Takada+Shigeaki Tsuchiya / Ko: Hanae Mori / Licht: Yuji Sawada Großes Festspielhaus Salzburger 25.8.1996 18) Elektra Ortrun Wenkel (Klytämnestra) – Eszter Somogyi (Elektra) – Mária Temesi (Chrysothemis) – Attila Wendler (Ägist) – Tamás Busa (Orest) – István Rácz (Erzieher des Orest) – Edit Hruby (Klytämnestras Vertraute) – Judit Kerék (Schleppträgerin) – Antal Pataki (Ein junger Diener) – Péter Szakály (Ein alter Diener) – Franciska Hajdú (Aufseherin) – Ildikó Tas (1. Magd) – Katalin Károlyi (2. Magd) – Éva Szonda (3. Magd) – Erika Markovics (4. Magd) – Zita Váradi (5. Magd) Dir: Peter Schrottner / Reg: Judit Galgóczy / Bü: Katalin Juhász / Ko: Csaba Antal Duna-Plaza Budapest 27.3.1999 - Stereo 19) Die Frau ohne Schatten Thomas Moser (Der Kaiser) - Cheryl Studer (Die Kaiserin) - Marjana Lipovsek (Die Amme) - Bryn Terfel (Der Geisterbote) - Elizabeth Norberg-Schulz (Hüter der Schwelle) - Herbert Lippert (Erscheinung des Jünglings) - Andrea Rost (Stimme des Falken) - Elzbieta Ardam (Stimme von oben) - Robert Hale (Barak) - Eva Marton (Färberin) - Manfred Hemm (Der Einäugige) - Hans Franzen (Der Einarmige) - Wilfried Gahmlich (Der Bucklige) - Carmen Fuggiss - Petra Schnitzer - Dalia Schaechter (Drei Dienerinnen / Stimmen der Ungeborenen / Solo-Stimmen) – Noriko Sasaki – Rannveig Braga – (Stimmen der Ungeborenen / Solo-Stimmen) – Gerhard Eder – Karl Nebenführ – Wolfgang Scheider (Stimmen der Wächter) – Birgit Beer (Solo-Stimme) Dir: Sir Georg Solti / Reg: Götz Friedrich / Bü: Rolf Glittenberg / Ko: Marianne Glittenberg Großes Festspielhaus Salzburg 5.8.1992 - Stereo 20) Die Frau ohne Schatten Peter Seiffert (Der Kaiser) – Luana De Vol (Die Kaiserin) - Marjana Lipovsek (Die Amme) - Bryn Terfel (Der Geisterbote) - Elizabeth Norberg-Schulz (Hüter der Schwelle) - Herbert Lippert (Erscheinung des Jünglings) - Andrea Rost (Stimme des Falken) - Elzbieta Ardam (Stimme von oben) - Robert Hale (Barak) - Eva Marton (Färberin) - Manfred Hemm (Der Einäugige) - Hans Franzen (Der Einarmige) - Wilfried Gahmlich (Der Bucklige) - Carmen Fuggiss - Petra Schnitzer - Dalia Schaechter (Drei Dienerinnen / Stimmen der Ungeborenen / Solo-Stimmen) – Noriko Sasaki – Rannveig Braga – (Stimmen der Ungeborenen / Solo-Stimmen) – Gerhard Eder – Karl Nebenführ – Wolfgang Scheider (Stimmen der Wächter) – Birgit Beer (Solo-Stimme) Dir: Wolfgang Sawallisch / Reg: Ennosuke / Bü: Rolf Glittenberg / Ko: Marianne Glittenberg Bayerische Staatsoper in Nagoya 8.-11.11.1992 – Stereo DVD NTSC 21) Intermezzo Hanny Steffek (Christine) - Erwin Gruber (Der kleine Franzl, ihr Sohn) - Hermann Prey (Hofkapellmeister Robert Storch, ihr Mann) - Gertrud Freedmann (Anna, ihre Kammerjungfer) - Ferry Gruber (Baron Lummer) - Karl Schmitt-Walter (Der Notar) - Cäcilie Reich (Seine Frau) - Friedrich Lenz (Ein Kapellmeister) – Karl Christian Kohn (Ein Kommerzienrat) - Hans Hermann Nissen (Ein Justizrat) - Max Proebstl (Ein Kammersänger) - Paula Meyer (Fanny, Köchin) – Hildegard Seefried (Hausmädchen bei Storch) - Brigitte Fassbaender (Resi) Dir: Joseph Keilberth / Reg: Rudolf Hartmann / Bü+Ko: Jean-Pierre Ponnelle Cuvilliés-Theater München 1963 s/w 22) Intermezzo (englisch) Felicity Lott (Christine) - John Pringle (Robert Storch) - Ian Caley (Baron Lummer) - Elizabeth Gale (Anna) - Rupert Ashford (Franzl) – Maria Jagusz (Therese) - Yvonne Howard (Fanny) - Delith Brook (Marie) - Catherine Pierard (Resi) – Ian Caddy (Ein Kommerzienrat) - Andrew Gallacher (Ein Opernsänger) - Brian Donlan (Ein Justizrat) - Roger Bryson (Der Notar) - Rae Woodland (Seine Gattin) - Glenn Winslade (Stroh) Dir: Gustav Kuhn / Reg: John Cox / Bü+Ko: Martin Battersby / Licht: Robert Bryan Glyndebourne Festival 1983 - Stereo 23) Josephs Legende Judith Jamison (Potiphars Gattin) - Kevin Haigen (Joseph) - Karl Musil (Der Engel) - Franz Wilhelm (Potiphar) Dir: Heinrich Hollreiser / Choreographie+Reg: John Neumeier / Bü+Ko: Ernst Fuchs Wiener Staatsoper 1977 - Stereo 24) Der Rosenkavalier Elisabeth Schwarzkopf (Die Feldmarschallin Fürstin Werdenberg) - Otto Edelmann (Der Baron Ochs auf Lerchenau) - Sena Jurinac (Octavian, genannt Quinquin, ein junger Herr aus großem Haus) - Erich Kunz (Herr von Faninal, ein reicher Neugeadelter) - Anneliese Rothenberger (Sophie, seine Tochter) - Judith Hellwig (Jungfer Marianne Leitmetzerin, die Duenna) - Renato Ercolani (Valzacchi) - Hilde Rössel-Majdan (Annina) - Alois Pernerstorfer (Ein Polizei-kommissar) - Erich Majkut (Der Haushofmeister bei der Feldmarschallin) - Siegfried Fresl (Der Haushofmeister bei Faninal) - Josef Knapp (Ein Notar) - Fritz Sperlbauer (Ein Wirt) - Giuseppe Zampieri (Ein Sänger) – Hans Kres (Ein Friseur) - Lieselotte Maikl – Ute Frey – Evelyn Labruce (Drei adelige Waisen) - Mary Richards (Eine Modistin) - Kurt Equiluz (Ein Tierhändler) - Fritz Mayer – Rudolf Stumper – Otto Vajda – Alois Buchbauer (Vier Lakaien der Marschallin) – Karl Kolowratnik – Ludwig Fleck – Kurt Bernhard – Norbert Balatsch (Vier Kellner) – Hermann Tichavsky (Leopold) – Georg Pichler (Ein Arzt) – Wolfgang Kres (Ein kleiner Mohr)
Salzburger Festspiele 1960 – Stereo DVD 25) Der Rosenkavalier Gwyneth Jones (Die Feldmarschallin Fürstin Werdenberg) - Manfred Jungwirth (Der Baron Ochs auf Lerchenau) - Brigitte Fassbaender (Octavian, genannt Quinquin, ein junger Herr aus großem Haus) - Benno Kusche (Herr von Faninal, ein reicher Neugeadelter) - Lucia Popp (Sophie, seine Tochter) - Annelie Waas (Jungfrau Marianne Leitmetzerin, die Duenna) - David Thaw (Valzacchi, ein Intrigant) - Gudrun Wewezow (Annina, seine Begleiterin) – Francisco Araiza (Ein Sänger) – Heinz Müller (Ein Flötist) – Hans Wilbrink (Ein Notar) – Karl Schrader (Ein Friseur) – Osamu Kobayashi (Ein Tierbändiger) – Suzanne Sonnenschein (Eine Modistin) – Elisabeth von Ihering (Eine adelige Witwe) – Dorothea Wirtz – Maja Hake – Helena Jungwirth (Drei adelige Waisen) – Georg Paskuda (Der Haushofmeister bei der Feldmarschallin) – Friedrich Lenz (Ein Wirt) - Rudolf Schwab – Walter Brem – Artur Horn – Werner Liebl (Vier Lakaien der Marschallin) – Patrick Leppelt (Mohammed, ein Negerknabe) Dir: Carlos Kleiber / Reg: Otto Schenk / Bü+Ko: Jürgen Rose Bayerische Staatsoper München 1979 26) Der Rosenkavalier Anna Tomowa-Sintow (Die Feldmarschallin Fürstin Werdenberg) - Kurt Moll (Der Baron Ochs auf Lerchenau) - Agnes Baltsa (Octavian, genannt Quinquin, ein junger Herr aus großem Haus) - Gottfried Hornik (Herr von Faninal, ein reicher Neugeadelter) - Janet Perry (Sophie, seine Tochter) - Wilma Lipp (Jungfrau Marianne Leitmetzerin, die Duenna) – Heinz Zednik (Valzacchi, ein Intrigant) - Helga Müller-Molinari (Annina, seine Begleiterin) - Kurt Rydl (Ein Polizei-kommissar) - John van Kesteren (Der Haushofmeister bei der Feldmarschallin) - Franz Kasemann (Der Haushofmeister bei Faninal) - Alfred Sramek (Ein Notar) - Karl Terkal (Ein Wirt) - Vinson Cole (Ein Sänger) - Anton Hejna (Ein Flötist) – Peter Busse (Ein Friseur) - Gerda Vermeer (Eine adelige Witwe) - Gertrud Ottenthal - Graciela de Gyldenfeldt – Czeslawa Slania (Drei adelige Waisen) - Gabriele Sima (Eine Modistin) - Horst Nitsche (Ein Tierhändler) - Oswald Haderer (Ein Arzt) – Nikolaus Simkowsky (Leopold) - Michael Haigl (Ein Hausknecht) – Adolf Tomaschek – Johann Reinprecht – Wolfgang Scheider – Gerhard Panzenböck (Vier Lakaien der Marschallin) – Wolfgang Ferschl – Gottfried Kudrna – Josef Pogatschnig – Robert Springer – Christian Kollros (Lerchenauer) – Wolfgang Holzherr – Ingo Koblitz – Hannes Lichtenberger – Walter Zeh (Vier Kellner) – Martina Pöchlinger (Ein kleiner Mohr) Dir+ Reg: Herbert von Karajan / Bü: Teo Otto / Ko: Erni Kniepert Salzburger Festspiele 1984 - Stereo 27) Der Rosenkavalier Kiri Te Kanawa (Die Feldmarschallin Fürstin Werdenberg) - Aage Haugland (Der Baron Ochs auf Lerchenau) - Anne Howells (Octavian, genannt Quinquin, ein junger Herr aus großem Haus) - Barbara Bonney (Sophie) – Jonathan Summers (Herr von Faninal) - Phyllis Cannan (Marianne) - Robert Tear (Valzacchi) - Cynthia Buchan (Annina) - Paul Crook (Ein Wirt) – Roderick Earle (Ein Polizeikommissar) - John Gibbs (Ein Notar) - John Dobson (Der Haushofmeister bei Faninal) - Kim Begley (Der Haushofmeister bei der Feldmarschallin) - Dennis O’Neill (Ein Sänger) – Linda Kitchen – Kate McCarney – Yvonne Lea (Drei adelige Waisen) – Nada Pobjoy (Eine adelige Witwe) – Susan Maisey (Eine Modistin) – Alan Duffield (Ein Tierbändiger / Ein Arzt) – Ray Hatch (Ein Friseur) – Ignatius McFayden (Ein Flötist) – Kevin Mathurin (Mohammed) – Peter Garvie-Adams (Leopold) – Paschal Allen – Donaldson Bell – Malcolm Campbell – Keith Jones (Vier Lakaien der Marschallin) – Kenny Baker – George Macpherson – John Parry – Keith Raggett – Duncan Reece – John Roche (Lerchenauer) – Richard Hazell – John Kerr – John Kollmann – Anthony Smith (Vier Kellner) Dir: Sir Georg Solti / Reg: John Schlesinger / Bü: William Dudley / Ko: Maria Bjornson / Licht: Robert Bryan / Bewegung: Eleanor Fazan Royal Opera House Covent Garden 1984 - Stereo 28) Der Rosenkavalier Felicity Lott (Die Feldmarschallin Fürstin Werdenberg) - Kurt Moll (Der Baron Ochs auf Lerchenau) - Anne Sofie von Otter (Octavian, genannt Quinquin, ein junger Herr aus großem Haus) - Gottfried Hornik (Herr von Faninal, ein reicher Neugeadelter) - Barbara Bonney (Sophie, seine Tochter) - Olivera Miljakovic (Jungfer Marianne Leitmetzerin, die Duenna) - Heinz Zednik (Valzacchi, ein Intrigant) - Anna Gonda (Annina, seine Begleiterin) - Peter Wimberger (Ein Polizeikommissar) – Waldemar Kmentt (Der Haushofmeister bei der Feldmarschallin) - Franz Kasemann (Der Haushofmeister bei Faninal) - Wolfgang Bankl (Ein Notar) - Keith Ikaia-Purdy (Ein Sänger) – Lukas Gaudernak (Ein Flötist) – Heinz Totzler (Ein Friseur) – Ingeborg Piffl (Eine adelige Witwe) - Felicitas Equiliuz – Marianne Sattmann – Elisa Zurmann (Drei adelige Waisen) – Lotte Leitner (Eine Modistin) – Ulrich Großrubatscher (Ein Tierhändler) - Peter Jelosits (Ein Wirt) – Adolf Tomaschek – Johann Reinprecht – Franz Wimmer – Gerhard Panzenböck (Vier Lakaien der Marschallin) – Robert Werner – Werner Kamenik – Karl Nebenführ – Josef Pogatschnig (Vier Kellner) – Wolfgang Pöltner (Ein Arzt) – Jörg Schneider (Leopold, Diener des Barons) – Michael Heigl (Ein Hausknecht) – Christine Dirnberger (Ein kleiner Mohr) Dir: Carlos Kleiber / Reg: Otto Schenk / Bü: Rudolf Heinrich / Ko: Erni Kniepert / Licht: Peter Petschnig Staatsoper Wien 23.3.1994 - Stereo 29) Der Rosenkavalier Elizabeth Whitehouse (Die Feldmarschallin Fürstin Werdenberg) – Daniel Lewis Williams (Baron Ochs von Lerchenau) – Ildiko Komlosi (Octavian, genannt Quinquin, ein junger Herr aus großem Haus) – David Pittman Jennings (Herr Von Faninal) – Désirée Rancatore (Sophie) – Sergio Bertocchi (Valzacchi) – Nelly Boschkowa (Annina) – Pietro Ballo (Ein Sänger) – Tiziana Tramonti (Marianne, die Duenna) – Bodo Schwanbeck (Ein Polizeikommissar / Ein Notar) – Gunter Gütmann (Der Haushofmeister bei der Feldmarschallin / Ein Wirt) – Reinhard Alessandri (Der Haushofmeister bei Faninal / Ein Tierhändler) – Bridget Bolliger – Milena Josipovic – Sandra Giuliodori (Drei adelige Waisen) – Laura Giordano (Eine Modistin) – Luca Casalin (Erster Lakai / Erster Kellner) – Alessandro Patalini (Zweiter Lakai / Zweiter Kellner) – Antonio Feltracco (Dritter Lakai) – Luca Gallo (Vierter Lakai / Vierter Kellner) – Mattia Nicolini (Dritter Kellner) – Maurizio Lo’Piccolo (Ein Hausknecht) Dir: John Neschling / Reg+Bü+Ko: Pier Luigi Pizzi / Licht: Luigi Saccomandi Teatro Massimo, Palermo 24.5.1998 - Stereo 30) Salome Theresa Stratas (Salome) - Astrid Varnay (Herodias) - Hans Beirer (Herodes) - Bernd Weikl (Jochanaan) - Wieslav Ochman (Narraboth) - Hanna Schwarz (Page) - Reinhold Möser (Erster Soldat) - Wolfgang Probst (Zweiter Soldat) - Heinz Klaus Ecker (Erster Nazarener) - Norbert Heidgen (Zweiter Nazarener) – Nikolaus Hillebrand (Cappadocier) – Friedrich Lenz (Erster Jude) - Ewald Aichberger (Zweiter Jude) – Kurt Equiluz (Dritter Jude) - Karl Terkal (Vierter Jude) – Alois Pernerstorfer (Fünfter Jude) Dir: Karl Böhm / Reg: Götz Friedrich / Bü: Gerd Staub / Ko: Jan Skalicky / Choreographie: Robert Cohan FILM 1974 31) Salome Montserrat Caballé (Salome) – Norman Bailey (Jochanaan) – Josephine Veasey (Herodias) – Fritz Uhl (Herodes) – Wieslaw Ochman (Narraboth) – Evelia Marcote (Dienerin) – José Duran (Erster Jude) – Alfonso Ferrer (Zweiter Jude) – Francisco Matilla (Dritter Jude) – Pedro Gilabert (Vierter Jude) – Juan P.G. Marques (Fünfter Jude) – Jesus Sanz (Erster Nazarener) – José Gabriel Vivas (Zweiter Nazarener) – Francisco Valls (Erster Soldat) – Francisco Plazas (Zweiter Soldat) - J. Luis Alcalde (Kappadozier) – José Rodriguez (Sklave) Dir: Julius Rudel / Reg: Madrid 1977 – Stereo NTSC 32) Salome Leonie Rysanek (Salome) – Bernd Weikl (Jochanaan) – Hans Beirer (Herodes) – Gertrude Jahn (Herodias) – Josef Hopferwieser (Narraboth) – Axelle Gall (Ein Page) Dir: Heinrich Hollreiser / Reg: Boleslaw Barlog / Bü+Ko: Jürgen Rose Staatsoper Wien in Tokyo 2.10.1980 33) Salome Montserrat Caballé (Salome) - Vera Baniewicz (Herodias) - Horst Hiestermann (Herodes) - Bodo Brinkmann (Jochanaan) - Hans Sojer (Narraboth) - Rosa M. Ysas (Ein Page) - Josep Ruiz (Erster Jude) - Alfredo Heilbron (Zweiter Jude) - Antoni Comas (Dritter Jude) - Vicenc Esteve (Vierter Jude) - Antoni Lluch (Fünfter Jude) - Jacob Will (Erster Nazarener) - Stefano Palatchi (Zweiter Nazarener / Kappadozier) - Nevec Belamaric (Erster Soldat) - Alfred Burgstaller (Zweiter Soldat) - Rosa M. Conesa (Ein Sklave) Tänzer: José de Udaeta (Herodes) - Tilly Söffing (Herodias) - Darie Cardyn (Salome) - Jean-Marie Marion (Jochanaan) - Wolfgang Grascher (Narraboth) - Darrel Toulon (Ein Page) - Michael B. Hall (Ein Sklave) – Jordi Cortes – José J. Pedrosa – Enric Romero – Marcio Rongetti – Carles Salas (Fünf Soldaten) – Francesc Lloberas – Fernando Martin – Joaquim Sabate (Drei Sklaven) Dir: Uwe Mund / Reg: Jochen Ulrich / Bü: Katrin Kegler / Ko: Marie Theres Gramer / Licht: Heinrich Brunke Gran Teatre del Liceu 1989 34) Salome + Porträt Leonie Rysanek Catherine Malfitano (Salome) - Simon Estes (Jochanaan) - Leonie Rysanek (Herodias) - Horst Hiestermann (Herodes) – Clemens Bieber (Narraboth) - Camille Capasso (Ein Page) - Uwe Peper (Erster Jude) - Karl-Ernst Mercker (Zweiter Jude) - Peter Maus (Dritter Jude) - Warren Mok (Vierter Jude) - Manfred Röhrl (Fünfter Jude) - Friedrich Molsberger (Erster Nazarener) - Ralf Lukas (Zweiter Nazarener) - William Murray (Erster Soldat) - Bengt Rundgren (Zweiter Soldat) - Klaus Lang (Ein Cappadocier) - Aimée Elizabeth Willis (Ein Sklave) Dir: Giuseppe Sinopoli / Reg: Petr H. Weigl / Bü: Josef Svoboda / Ko: Josef Jelinek / Choreographie: Bernd Schindowski Deutsche Oper Berlin 30.9.1990 35) Salome Mara Zampieri (Salome) - Leonie Rysanek (Herodias) - Monte Pederson (Jochanaan) – Heinz Zednik (Herodes) – Richard Brunner (Narraboth) – Graciela Araya (Ein Page der Herodias) – Wilfried Gahmlich (Erster Jude) – Peter Jelosits (Zweiter Jude) – Ruben Broitman (Dritter Jude) – Helmut Wildhaber (Vierter Jude) – Dariusz Niemirowicz (Fünfter Jude) – Kurt Rydl (Erster Nazarener) – István Gáti (Zweiter Nazarener) – Franz Hawlata (Erster Soldat) – Wolfgang Bankl (Zweiter Soldat) - Walter Zeh (Ein Cappadocier) – Adolf Tomaschek (Ein Sklave) – Wolfgang Pöltner (Ein Henker) Dir: Heinrich Hollreiser / Reg: Boleslaw Barlog / Bü+Ko: Jürgen Rose Staatsoper Wien 16.9.1991 36) Salome (Amateurvideo) Horst Hiestermann (Herodes) - Helga Dernesch (Herodias) - Gwyneth Jones (Salome) - John Bröcheler (Jochanaan) - Kenneth Garrison (Narraboth) - Silvia Fichtl (Ein Page der Herodias) - Ulrich Reß (Erster Jude) - Ferry Gruber (Zweiter Jude) - Hermann Sapell (Dritter Jude) - Georg Paskuda (Vierter Jude) - Alfred Kuhn (Fünfter Jude) - Karl Helm (Erster Nazarener) - Hans Wilbrink (Zweiter Nazarener) - Jan Zinkler (Erster Soldat) - Guido Götzen (Zweiter Soldat) - Rüdiger Trebes (Ein Cappadocier) - Violeta Urmana (Eine Sklavin) Dir: Heinrich Bender / Reg: August Everding / Bü+Ko: Jörg Zimmermann Bayerische Staatsoper München 27.2.1992 37) Salome Maria Ewing (Salome) - Michael Devlin (Jochanaan) - Kenneth Riegel (Herodes) - Gillian Knight (Herodias) - Robin Leggate (Narraboth) - Fiona Kimm (Page der Herodias) - Roderick Earle (Erster Soldat) - Eric Garrett (Zweiter Soldat) - Colin Iveson (Ein Cappadocier) - Karen Robertson (Ein Sklave) – Francis Egerton (Erster Jude) - Paul Crook (Zweiter Jude) - John Dobson (Dritter Jude) - Lynton Atkinson (Vierter Jude) – Michael Pearce (Fünfter Jude) - Mark Beesley (Erster Nazarener) - Rodney Gibson (Zweiter Nazarener) - Jeanette Brooks - Angela Walker (Salomes Mägde) Dir: Sir Edward Downes / Reg: Sir Peter Hall / Bü+Ko: John Bury / Choreo-graphie: Elizabeth Keen / Licht: John Bury Royal Opera House Covent Garden April 1992 - Stereo 38) Salome Gwyneth Jones (Salome) – Jean-Philippe Lafont (Jochanaan, der Prophet) – Leonie Rysanek (Herodias) – Ragnar Ulfung (Herodes, Tetrarch von Judäa) – Peter Jeffes (Narrabath, Hauptmann der Leibwache) – Elisabeth Laurence (Dienerin) – Jean-Luc Maurette – Wilhelm Teepe – Huw Rhys-Evans – Guy Flechter – Frank Ferrari (Fünf Juden) – François Castel (Soldat) – Antoine Garcin (Soldat) – Neal Davies – Thierry Tregan (Zwei Nazarener) – Frederic Leroy (Ein Cappadozier) – Paula Manuguerra (Eine Sklavin) Dir: Serge Baudo / Reg: Charles Roubaud / Bü: Andre Stern / Ko: Katia Duflot / Choreographie: Nicole Leduc / Licht: Henri Alekan Marseille 26.4.1994 – DVD NTSC 39) Salome (Amateurvideo) Monte Pederson (Joachanaan) - Catherine Malfitano (Salome) - Leonie Rysanek (Herodias) - Heinz Zednik (Herodes) Dir: Zubin Mehta / Reg: Luc Bondy Florenz 3.6.1994 40) Salome Ljuba Kazarnovskaya (Salome) - Konstantin Pluzhnikov (Herodes) - Jevgenia Tselovalnik (Herodias) - Alexander Morosov (Jochanaan) - Leonid Zakhozhajev (Narraboth) - Ljuba Sokolova (Page) - Nikolai Gassiev - Andrei Karabanov - Michael Egorov - Victor Vikhrov - Juri Shkliar (Fünf Juden) - Gennady Bezzubenkov - Juri Laptev (Zwei Nazarener) - Andrei Burin - Andrei Khramtzov (Zwei Soldaten) - Grigory Karassiov (Kappadozier) - Lia Schevtzova (Sklave) – Annatoli Gridin (Mond) Dir: Valery Gergiev / Reg: Julie Taymor / Bü: George Tsypin / Licht: Don Holder / Ko+Maske: Georgij Meskhishvilli / Choreographie: Julie Taymor+Andris Liepa Passionsfestspielhaus Oberammergau 1995 - Stereo 41) Salome Catherine Malfitano (Salome) - Bryn Terfel (Jochanaan) - Kenneth Riegel (Herodes) - Anja Silja (Herodias) - Robert Gambill (Narraboth) - Ruby Philogene (Page der Herodias) - Graeme Broadbent (Erster Soldat) - Michael Druiett (Zweiter Soldat) - Simon Wilding (Ein Kappadoke) - Andrea Hazell (Sklave) - Peter Bronder (Erster Jude) - Alexander Oliver (Zweiter Jude) - Timothy Robinson (Dritter Jude) - Rupert Oliver Forbes (Vierter Jude) - Jeremy White (Fünfter Jude) - Andrew Greenan (Erster Nazarener) - Garry Magee (Zweiter Nazarener) Dir: Christoph von Dohnanyi / Reg: Luc Bondy / Choreographie: Lucinda Childs / Bü: Erich Wonder / Ko: Susanne Raschig Royal Opera House Covent Garden 1997 - Stereo 42) Die schweigsame Frau Kurt Moll (Sir Morosus) - Martha Mödl (Seine Haushälterin) - Barry McDaniel (Der Barbier) - Donald Grobe (Henry Morosus, Neffe von Sir Morosus) - Reri Grist (Aminta, seine Frau) - Benno Kusche (Vanuzzi, Direktor der Operntruppe) - Lotte Schädle (Isotta) - Glenys Loulis (Carlotta) - Albrecht Peter (Morbio) - Max Proebstl (Farfallo) - Karl Bellgardt - Franz Strauch - Arthur Horn - Lothar Schreiber (Komödianten) Dir: Wolfgang Sawallisch / Reg: Günther Rennert / Bü+Ko: Rudolf Heinrich Bayerische Staatsoper München 1972 - Stereo STRAWINSKY, Igor (1882 - 1971) 1) L’histoire du soldat Christine Gloger - Kolja Blacher - Birgit Scherzer - Christian Tichy - Raynold Farone - Thomas Clemens - Lilly Scheuermann
Schweizer Fernsehen 1990 2) Oedipus rex Philip Langridge - Jessye Norman - Bryn Terfel - Harry Peeters - Robert Swensen - Michio Tatara Dir: Seiji Ozawa / Reg: Julie Taymor Saito Kinen Festival 1993 - Stereo 3) The Rake’s Progress Felicity Lott - Leo Goeke - Samuel Ramey - Richard Van Allan - Nuala Willis – John Fryatt - Rosalind Elias - Thomas Lawlor Dir: Bernard Haitink / Reg: John Cox Glyndebourne Festival Opera 1989 - Stereo 4) The Rake’s Progress Greg Fedderly - Barbara Hendricks - Håkan Hagegård - Brian Asawa - Arild Helleland - Erik Saeden - Gunilla Söderström Dir: Esa-Pekka Salonen / Reg: Inger Åby Schwedisches Fernsehen 1995 - Stereo 5) The Rake’s Progress Jonathan Best - Dawn Upshaw - Jerry Hadley - Monte Pederson - Linda Ormistan - Barry Banks - Peter Tuff Dir: Silvain Cambreling / Reg: Brian Large Kleines Festspielhaus Salzburg 1996 - Stereo 6) The Rake’s Progress Jerry Hadley – Samuel Ramey – Dawn Upshaw – Victoria Vergara – John Macurdy – Joan Khara – Steven Cole – Kevin Short – Hager D. Guedi – Makram Hamdam - Dominique Bousquet – Guillaume Labbe Dir: Kent Nagano / Reg: Alfredo Arias / Bü: Roberto Platé / Ko: Françoise Tournafond / Licht: Patrice Trouier / Choreographie: Compagnie Andy Degroat Aix-en-Provence Juli 1992 - Stereo 7) Feuervogel (Ballett) Mette Hønningen - Torben Jeppesen - Lars Damsgaard - Mogens Boesen – Bjarne Hecht - Thomas Johansen - Anne Adair - Karina Elver - Christina Nilsson - Ann-Kristin Hauge - Tina Holmann - Benedikte Paaske - Kit Dyring - Gabi Dissmann – Eva Kloborg - Ingrid Glindemann - Kim Nielsen - Annemari Vingaard - Arlette Weinreich - Kim Thonsgard - Marianne Rindholt - Heidi Ryom - Henriette Muus - Ulla Simonsen - Lise Stripp - Mike Andersen - Anita Soby - Niels Balle - Michael Bastian - Peter Bo Bendixen - Thomas Berentzen - Kurt Nielsen - Claus Hjort Dir: Poul Jørgensen / Choreographie: Glen Tetley Royal Danish Ballet 1982 - Stereo SECAM 8) Petrushka (Ballett) Sergei Vikharev Dir: Victor A. Fedotov / Choreogr: Oleg Vinogradov Maryinsky Theater, St. Petersburg 1991 - Stereo 9) Pulcinella (Ballett) Johan Meijer - Erika Trabi - Robin Woolmer - Jennifer Haynes - Marion Vijn - Andreas Justrich - José Luis Vieira - Rinus Sprong - Paula Vink - Wout Fransen - Marie Amelie Moreau - Bruno Heijnderickx - Maren Timm - Jerome Meijer - Thomas Stuart Dir: Claudio Abbado / Choreographie: Nils Christe Scapino Ballet 1988 - Stereo 9) Le Sacre du Printemps Tania Bari - Christine Brabant - Marie-Claire Carié - Louba Dobriévitch - Jaleh Kerendi - Germinal Casado - Floris Alexander - Paolo Bortoluzzi - Antonio Cano - Pierre Dobriévitch Dir: André Vandernoot / Reg + Choreogr: Maurice Béjart FILM Belgien 1970 - Stereo SUCHOŇ, Eugen (1908 – 1993) Krútňava (Wirbelsturm) Ondrej Malachovský (telina)– Peter Dvorský (Ondrej) – Klaudia Dernerová (Katrena) – Ján Ďurčo (Zimoň) – Alžbeta Michálková (Zimoňka) – Elena Holičková (Zalíka) – Ida Kirilová (kolnica)– Iveta Jiříková (Marka) – Jitka Sapara-Fischerová (Zuzka) – Helga Bachová (Pastierik) – Jozef Ábel (Krúpa) – Peter Bárd (Hríň) – Ladislav Neshyba (Oleň) – Mikuláš Doboš (Stareji) – Andrea Čukanová (Plaka / Starejia) – Igor Pasek (Erste Brautjungfer) – Anna Czaková (ena / Kuchárka) – Gustáv Herényi (Bote) Dir: Wolfdieter Maurer / Reg: Juraj Jakubisko / Bü: Milan Ferenčík / Ko: L’udmila Várossová / Choreographie: Jozef Dolinský Opera Slovenského národného divadla Bratislava 9.12.1999 - Stereo SULLIVAN, Arthur Seymour (1842 - 1900)
Russell Smythe - John Fryatt - Thomas Lawlor Dir: Alexander Faris / Reg: David Alden / FilmReg: Dave Heather / Bü: Allan Cameron / Ko: Jenny Beavan Film 1982 - Stereo
Keith Michell - Eric Shilling - Tom McDonnell - Francis Egerton - Anne Collins - Nan Christie - Fiona Kimm - Sandra Dugdale - Christopher Booth-Jones - Peter Savidge - Alan Watt Dir: Alexander Faris / Reg: Peter Wood / FilmReg: Dave Heather / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Marie Baron - John Keane - Karen Skidmore - Paul Massel - Eric Donkin – Douglas Chamberlain - Richard McMillan - Deborah Milsom - Kimble Hall - Stephen Beamish - Aggie Cekuta - Dale Mieske - Richard March - Jean Stilwell - Marcia Tratt - Karen Wood - Jim White Dir: Berthold Carriere / Reg+Choreographie: Brian Macdonald /Bü+Ko: Susan Benson
Stratford Festoval of Canada 1983 - Stereo
Peter Marshall - Frankie Howerd - Meryl Drower - Della Jones - Michael Bulman - Alan Watt - Gordon Sandison - Anne Mason Dir: Alexander Faris / Reg: Michael Geliot / FilmReg: Rodney Greenburg / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Derek Hammond-Stroud - Richard van Allen - Alexander Oliver - Thomas Hemsley - Beverley Mills - Anne Collins - Kate Flowers - David Hillman - Sandra Dugdale - Pamela Field Dir: Alexander Faris / Reg: David Pountney /FilmReg: Dave Heather / Bü: Allan Cameron / Ko. Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Robert Eddie - Heather Begg - Peter Cousens - Anne-Maree McDonald - Caroline Clack - Jennifer Bermingham - John Germain - Gregory Yurisich - Graeme Ewer Dir: Andrew Greene / Reg: Christopher Renshaw / Bü+Ko: Tim Goodchild / Choreographie: Carole Todd The Australian Opera Sydney 1988 - Stereo
William Conrad - Clive Revill - Anne Collins - Stafford Dean - Kate Flowers - John Stewart - Gordon Sandison - Fiona Dobie - Cynthia Buchan Dir: Alexander Faris / Reg: Michel Geliot / FilmReg: Rodney Greenberg / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Derek Hammond-Stroud - John Fryatt - Sandra Dugdale - Anne Collins - Terry Jenkins - Shelagh Squires - Donald Adams - Roderick Kennedy - Shirley Chapman - Patricia Hay Dir: Alexander Faris / Reg: John Cox / FilmReg: Dave Heather / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Christine Douglas - Heather Begg - Anthony Warlow - Dennis Olsen - Toni Powell - John Miley - Neil Kirkby - Roxane Hislop - John Germain - Jennifer Bermingham - Graeme Ewer Dir: David Stanhope / Reg: John Cox / Bü+Ko: John Stoddart Sydney Opera House 28.2.1995 - Stereo
Peter Allen - Keith Michell - Alexander Oliver - Gillian Knight - Janis Kelly - Paul Hudson - Jenny Wren - Kate Flowers - Brian Donlan Dir: Alexander Faris / Reg: Michael Geliot / FilmReg: Rodney Greenburg / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Jon English - Simon Gallaher - Toni Lamond - Derek Metzger - Tim Tyler - Helen Donaldson Dir: Kevin Hocking / Reg+Choreographie: Craig Schaefer Lyric Theatre, Queensland Performing Arts Centre 5.11.1994 - Stereo
Frank Gorshin - Nan Christie - Laurence Dale - Anne Collins - Bernard Dickerson - Claire Powell - Richard Jackson - Neil Howlett - Tano Rea - Christopher Booth-Jones - Peter Savidge - Josephine Gordon - Claire Powell - Jenny Wren - Elise McDougall Dir: Alexander Faris / Reg: Terry Gilbert / FilmReg: Dave Heather / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Vincent Price - Keith Michell - John Treleaven - Donald Adams - Sandra Dugdale - Ann Howard - Johanna Peters - Paul Hudson - Beryl Korman Dir: Alexander Faris / Reg: Christopher Renshaw / FilmReg: Barrie Gavin / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
Clive Revill - David Kernan - Alexander Oliver - Nan Christie - Donald Adams - Nuala Willis - Enid Hartle - Janis Kelly - Mark Lufton Dir: Alexander Faris / Reg: Stephen Pimlott / FilmReg: Dave Heather / Bü: Allan Cameron / Ko. Jenny Beavan / Choreographie : Terry Gilbert Film 1982 - Stereo
Frankie Howerd - Kate Flowers - Ryland Davies - Elenor McCreadie - Beryl Kaye - Tom McDonnell - Anna Dawson - Brian Donlan - Roger Bryson - Eleanor McCready - Elise McDougall Dir: Alexander Faris / Reg: Wendy Toye / FilmReg: Derek Bailey / Bü: Allan Cameron / Ko: Jenny Beavan Film 1982 - Stereo
Joel Grey - Alfred Marks - Elizabeth Gale - David Hillman - Claire Powell - Elizabeth Bainbridge - Beryl Korman - Geoffrey Chard - Peter Savidge - Michael Bulman Dir: Alexander Faris / Reg: Anthony Besch / FilmReg: Dave Heather / Bü: Allan Cameron / Ko: Jenny Beavan / Choreographie: Terry Gilbert Film 1982 - Stereo
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