Martti Talvela

Mozart’s “The Magic Flute”

Production of Mozart's opera about the Spanish nobleman who seeks to rescue his beloved Konstanze from the hands of the Pasha. Karl Bohm conducts the Chorus and Orchestra of the Bayerischen Staatsoper with the right balance of serious purpose and light lilting lyricism. This production, staged by August Everding with set and costume design by Max Bignens, was filmed from a live television production relayed on the First Programme (Channel 1) of German television on 25 April 1980,

This MET production of Bedrich Semtana's classic folk opera boasts a superb cast, including Nicolai Gedda, Jon Vickers, Teresa Stratas, and Marti Talvela. The staging and mis-en-scene is traditional and very well done. Everyone seems to be enjoying this presentation. Although not to the same standard as today's HD productions, this is still a wonderful way to get to know this delightful opera.

In this documentary portrait prepared for the anniversary of Ludwig Van Beethoven's 200th birthday, Leonard Bernstein illustrates his analysis with excerpts from his performances of Beethoven's Piano Concerto No. 1 in C Major and the Ode to Joy from the Ninth Symphony.

Beethoven's opera Fidelio, conducted by Karl Böhm, featuring Gwyneth Jones as Leonore and James King as Florestan

To play Beethoven's music is to give oneself over completely to the child-spirit which lived in that grim, awkward, violent man. Without that utter submission it is impossible to play the Adagio of the Ninth. Or, Heaven knows, the first movement. And the Finale? Most of all! It is simply unplayable unless we go all the way with him, as he cries out "Brüder!" - Leonard Bernstein

This performance, taped for TV in 1967, has many of the most famous singers in the German orbit of the time, mostly in prime form, in roles that suit them, a great conductor in his prime, and is a well thought out production. Don Carlos is given in German, in the four act version with the usual cuts of that era and some extra cuts (the royal procession in the first scene is gone, the middle of the garden scene is gone, cuts are made in all the ensembles in the auto da fe scene, there is a snip -- not the biggest I've heard -- in the final Carlos/Elisabetta duet -- and finally the very end is rewritten by unknown hands -- the Grand Inquisitor grasps Carlos, Elisabetta faints (so no Friar, identification of the Friar as Charles V, and no final B flat.)