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            <marc:subfield code="a">It's all eerily pertinent today, this saga of an iconic American composer jostled by Populist currents on the far left, then the far right - and finally retreating from the fray. The film includes the participation of a couple of distinguished American historians: Michael Kazin (on Populism) and Joseph McCartin (on the Red Scare). It also incorporates extensive excerpts from PCE's Naxos DVD of &lt;i&gt;The City&lt;/i&gt; (1939) - &lt;i&gt;Copland's&lt;/i&gt; highest achievement as a film composer, and the least known consequential music that he composed.</marc:subfield>
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            <marc:subfield code="a">After a quarrel with virtuoso violinist George Bridgetower, &lt;i&gt;Beethoven&lt;/i&gt; dedicated &lt;i&gt;Sonata No. 9&lt;/i&gt; to the French violinist Rodolphe Kreutzer, who is known to players as the author of the Kreutzer Etudes. Unfortunately, Rodolphe Kreutzer never performed the Sonata: to him, a famous violin teacher, it seemed unplayable.

Featuring the second movement, which unfolds multi-faceted variations with an underlying pastoral mood. In the first variation the string ensemble is dominant, while the solo violinist shines in the second, a pizzicato accompaniment from the strings adding charming tonal colour. The third variation plays out in a minor key, while in the fourth, the theme dissolves into figures and trills, to an intricate accompaniment by the string ensemble.</marc:subfield>
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            <marc:subfield code="a">From the prestigious Royal Ballet at world-famous Covent Garden comes this Shakespearean adaptation by choreographer &lt;i&gt;Christopher Wheeldon&lt;/i&gt;, already considered a modern-day classic! Building on the success of his ballet version of &lt;i&gt;Alice in Wonderland&lt;/i&gt;, Wheeldon brought the Bard to the ballet stage in 2014 to rapturous acclaim from critics and audiences alike, who praised its intelligent and emotionally potent story, told through exquisite dance.

The story follows the destruction of a marriage through consuming jealousy, the abandonment of a child and a seemingly hopeless love. Yet, through remorse and regret - and after a seemingly miraculous return to life - the ending is one of forgiveness and reconciliation. With powerful designs by Bob Crowley, atmospheric music by &lt;i&gt;Joby Talbot&lt;/i&gt;, and brilliant work from the soloists and the corps de ballet, Wheeldon's &lt;i&gt;The Winter's Tale&lt;/i&gt; is a masterful modern narrative ballet, "lighting up the stage like a shaft of sunlight" (The Independent, in a five-star review); "Christopher Wheeldon's 2014 ballet is one of his finest, with complex storytelling and ecstatic dances."</marc:subfield>
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As a first violinist and a founder in 1996 of the Aviv String Quartet, Sergey won several top prizes at international competitions, as well as the Israeli Prize of Ministry of Culture, Ministry of Education of Germany, and Chamber Music Annual Prize, awarded by the National Lottery of Israel.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Uri Vardi&lt;/i&gt; studied at the Rubin Academy in Tel Aviv, was an Artist Diploma student at Indiana University, and earned his Master's degree from Yale University. His teachers have included Janos Starker, Aldo Parisot, Eva Janzer, and Uzi Wiesel. Born in Szeged, Hungary, Vardi grew up on kibbutz Kfar Hahoresh, Israel. Vardi has recorded and toured widely with the Israel Chamber Orchestra and was a founding member of the Sol-La-Re String Quartet. He has served as Assistant Principal Cellist of the Israel Chamber Orchestra and Principal Cellist of the Israel Sinfonietta. In 1990, following an extensive teaching and performing career in Israel, Vardi was appointed professor of cello at the University of Wisconsin-Madison. In addition to his work at Wisconsin, Vardi has taught and conducted master classes at numerous music schools. 

Uri Vardi has specialized in the Feldenkrais Method, for which he received the 1999 UW-Madison Arts Institute Faculty Development Award. He completed a Feldenkrais Practitioners Training and was certified by the Feldenkrais Guild of North America and by the International Feldenkrais Federation as a Feldenkrais practitioner in 2003. For the last five years, Vardi has created a new course at UW - Madison: " Feldenkrais for Performing Artists". In 2012, Vardi was awarded the UW Art Institute Emily Mead Baldwin Award to create a Program for Somatic Education in the Performing Arts at UW-Madison.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Sander Sittig&lt;/i&gt; from the Netherlands teaches chamber music, piano accompaniment and artistic research at the Rotterdam Conservatory "Codarts University for The Arts". After winning prizes at several international piano competitions he embarked on a career that took him all over Europe, the Far East and the USA often as a partner of famous violinists such as Shlomo Mintz, Ilya Grubert and Liza Ferschtman. Sittig recorded solo compositions by Mozart and chamber music on CD and performs regularly for radio and television. His recitals are famous for his lively and informative talks, often with multimedia support. Sander took part in the peace music project "Violins of Hope". His engagement to the music and young people is devoted and committed.</marc:subfield>
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            <marc:subfield code="a">The first part of the &lt;i&gt;Beethoven's 32 Variations&lt;/i&gt; on a same 8 bars theme, differing in character, technical difficulty, and dynamics. Students can see how they have some freedom about tempos and pedals, but have to follow some rules as well, especially when preparing for a competition. Main goals: 1) Changes in the atmospheres 2) Different Tempo choices 3) Use of pedals (not mentioned in the 1st print) 4) What to practice most.</marc:subfield>
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Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan. Gulsin Onay has given concerts in the major musical centres of the world. She holds the titles of State Artist in her native Turkey, and of soloist for the Presidential Symphony Orchestra in Ankara. She is "Artist in Residence" at Bilkent University in Ankara and holds an honorary doctorate degrees from Bosphorus University in Istanbul, and from Hacettepe University in Ankara. The Sevda-Cenap And Music Foundation awarded its prestigious 2007 Honorary Award Gold Medal to Gulsin Onay, and she was named "Pianist of the Year" in the 2011 Donizetti Classical Music Awards. In 2014 she was awarded the Honorary Medal of the 42nd Istanbul Music Festival.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Ricardo Castro&lt;/i&gt; is a pianist and conductor with a huge career who studied with Maria Tipo at the Conservatory of Music in Geneva. He teaches at the Fribourg Conservatory, "HEMU - Haute Ecole de Musique Vaud-Valais-Fribourg" in Switzerland. His career began with a 1987 ex-aequo win at the International Competition of the ARD in Munich. 

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            <marc:subfield code="a">&lt;i&gt;David Bowie&lt;/i&gt; released &lt;i&gt;Blackstar&lt;/i&gt; on his 69th birthday, January 8, 2016, two days before his death.  It was his parting gift to the world, a self-eulogy, hinting at the sacred and reveling in the profane. Blackstar is a concept album, but the concept is unnamed, or is the Un-nameable itself: facing death, living in its shadow.  There is no clear story line, no single alter ego, no Ziggy Stardust or Aladdin Sane. Instead Bowie inhabits a collection of characters, taking listeners through aspects of their lives, using a myriad set of images - hospital beds, death masks, possession, trance, acts of passion and violence - that evoke Death and Transfiguration.

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David Bowie's voice was unique and inimitable, his range matched by his stylistic breadth.  Over his career, from album to album, but also within a single song, sometimes a single phrase, Bowie would shapeshift while always remaining himself.  He could be a brooding rocker one moment and an English music hall star the next; he could start a phrase bel canto and end it like a blues man.  He could be a jazz crooner, soul stylist, folk singer, sprech-stimmer, always sounding expressive and authentic.  Because his 4-octave vocal range matches the cello almost exactly, Ziporyn knew Blackstar would be a cello concerto, with Maya Beiser as soloist.  She transforms the instrument with each performance, whether she's playing &lt;i&gt;Bach, Dvorak, Piazzolla&lt;/i&gt;, or &lt;i&gt;Janis Joplin&lt;/i&gt;.  In Blackstar she is vocalist one moment, lead guitarist the next, she evokes Bowie's spirit while never ceasing to be herself.</marc:subfield>
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            <marc:subfield code="a">Royal Ballet Artistic Associate Christopher Wheeldon magically captured the twists and turns of Lewis Carroll's classic story, &lt;i&gt;Alice's Adventures in Wonderland&lt;/i&gt;, in his 2011 ballet. Bob Crowley's vivid sets and costumes take us down the rabbit hole into a colourful world full of curious creatures and captivating characters. Joby Talbot's original score is full of sweeping melodies and contemporary sounds. Lauren Cuthbertson stars as the inquisitive Alice, with Federico Bonelli as the charming Knave of Hearts, Steven McRae as the tap-dancing Mad Hatter and Laura Morera as the formidable Queen of Hearts. This exuberant and engaging ballet is spectacular entertainment for the whole family.

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            <marc:subfield code="a">JANÁČEK, L.: Káťa Kabanová [Opera] (Salzburg Festival, 1998) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Káťa Kabanová, JW I/8 (Salzburg Festival, 1998) (NTSC) ( 01 hrs., 46 min., 30 sec. ) / Janáček</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Katia Kabanova&lt;/i&gt; is an opera in three acts sung in Czech, which libretto by Vincenc Cervinka was inspired by Alexander Ostrovsky's play The Storm. The story takes place on the banks of the Volga. Katia, a young, sensible and sincere woman, is married to Tichon Kabanov, whose mother profoundly despises her. She is in love with Boris and dreams of going away from the solitude of her home to experience liberty and true love. One night, when her husband is away, she secretly meets Boris, and the two lovers tell each other about their feelings. But Katia, tormented by guilt, confesses everything when her husband comes back. Pressure and rejection by society constrain her to commit a tragic act to end her suffering.

This opera by &lt;i&gt;Leos Janacek&lt;/i&gt; was premiered in 1921. It contains all the natural elements that Janacek loves such as wind, water, storms... as well as a presentation of profound and true human feelings. This opera brilliantly combines Russian theater and romantic and post-romantic Czech music.</marc:subfield>
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            <marc:subfield code="a">BERLIOZ, H.: Damnation de Faust (La) (Salzburg Festival, 1999) (NTSC)</marc:subfield>
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            <marc:subfield code="a">La Damnation de Faust (Salzburg Festival, 1999) (NTSC) ( 02 hrs., 25 min., 59 sec. ) / Berlioz</marc:subfield>
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            <marc:subfield code="a">Faust is a victim of the "malady of his century", the feeling characterized by melancholy and dissatisfaction which marked artistic creation in the beginning of the 19th century and set the basis of the Romantic Movement. His knowledge is a burden which does not allow him to dream and he is tormented by his impiety (Alfred de Musset also expressed this feeling in the magnificent Rolla). Mephistoph?les, the devil personified as a human being, comes to him with an offer: should Faust follow him and forget about his erudition, he will have access to pleasure, happiness and everything he desires.

With the help of magic and fiendish creatures, the devil present the young Marguerite to Faust and both celebrate their love in a duet &lt;i&gt;Love has taken my ravished soul&lt;/i&gt;. But to avoid disgrace and Marguerite's mother's fury, they have to part. In the wake of their union, Mephistopheles tells Faust that Marguerite is in prison for having poisoned her mother with a sleeping beverage. Mephistolpheles promises that he will free her if Faust agrees to serve him. As soon as Faust sells his soul to the devil, he is thrust in Hell. The last notes of &lt;i&gt;Berlioz's&lt;/i&gt; work describe the apocalypse where blood flows, skeletons dance and the lakes are set on fire, where as Marguerite, the naive soul which love lead astray, is welcomed in Heaven.

While excerpts of the score are popular today, like the Hungarian March in the first part or Marguerite's romanza &lt;i&gt;D'amour l'ardente flamme&lt;/i&gt; in the fourth part, the complete "legende dramatique," as the composer called it, is rarely performed. But you must remind of this opera for its unity, its dramaturgy, its libretto (written by Gerard de Nerval) and its long lyrical flights of poetry. Alex Olle and Carlos Padrissa (La Fura dels Baus) well understood it, when they staged this blazing and infernal version of Berlioz's score. The musical direction by Sylvain Cambreling, but also the performance by Vesselina Kasarova (Marguerite), Paul Groves (Faust), Williard White (Mephistopheles) and Andreas Macco (Brander), joined by the Staatskapelle Berlin Orchestra, the Chorus Orfeon Donostiarra from San Sebastian and the Tolzer Knabenchor made this production at the Salzburg Festival a reference version of Berlioz's score.</marc:subfield>
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            <marc:subfield code="a">These two pinnacle of Italian opera, &lt;i&gt;Pagliacci&lt;/i&gt; and &lt;i&gt;Cavalleria rusticana&lt;/i&gt; have it all - love, infidelity, betrayal, jealousy and murder. Both are classic examples of verismo operas that dramatise the lives of ordinary people: Pagliacci fuelled by the tension between everyday life and the aesthetic world of the stage. Cavalleria rusticana juxtaposing unbridled passion with profound faith. Robert Carsen's widely acclaimed 2019 production plays a masterful game of theatre-in-theatre, avoiding cliches and calling into question the nature of reality</marc:subfield>
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            <marc:subfield code="a">Buxtehude, Dieterich</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">BUXTEHUDE, D.: Ich bin die Auferstehung, BuxWV 44 (Jespersen, Concerto Copenhagen, Mortensen) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
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            <marc:subfield code="a">Ich bin die Auferstehung, BuxWV 44 (NTSC) ( 06 min., 01 sec. ) / Buxtehude</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Mortensen, Lars Ulrik, Artist -- Concerto Copenhagen, Ensemble -- Jespersen, Jakob Bloch, Artist -- Anonymous, Lyricist -- Buxtehude, Dieterich, Composer</marc:subfield>
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        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">One can vividly imagine the musical spectacle of the Abendmusiken, as it finds expression in the bass cantata &lt;i&gt;Ich bin die Auferstehung und das Leben&lt;/i&gt;. Here Jesus is portrayed in the form of the bass singer in the St. John's Gospel's narrative of The Raising of Lazarus (Chapter XI, vv. 25-26), which is the reading for the 16th Sunday after Trinity. 

Bearing in mind the Resurrection, this church concert may very well have been used to celebrate Christ's victory over death on Easter Sunday, as &lt;i&gt;Buxtehude's&lt;/i&gt; use of the military instruments zink and trumpet could imply. Christ's words about the believer's life after death: "der wird leben, ob er gleich sturbe" (though he were dead, yet shall he live) is delivered rhetorically as recitative, after which the contrast between death and life is presented with imaginative dramatics in the following instrumental section. 

Ich bin die Auferstehung und das Leben, like the great majority of Buxtehude's vocal music, has been preserved in the Duben Collection, into which it was copied in 1683. It was via Lubeck merchants and Baltic traders that the Swedish court kapellmeister Gustav Duben was supplied with manuscripts of music by, among others, Buxtehude to the court of Stockholm.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Concert</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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            <marc:subfield code="a">Buxtehude, Dieterich</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/8.226623.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=8.226623</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/8.226623</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">BAC030</marc:controlfield>
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            <marc:subfield code="a">Bel Air Classiques Naxos</marc:subfield>
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            <marc:subfield code="a">Saint-Saëns, Camille</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Rossini, Gioachino</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">NEW YEAR'S EVE IN SAINT PETERSBURG (Mariinsky Theatre, 2006)</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
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            <marc:subfield code="c">2007</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">The Sleeping Beauty, Op. 66 (excerpts) (NTSC) ( 00 sec. ) / Tchaikovsky -- Carnival of the Animals: XIII. The Swan (NTSC) ( 00 sec. ) / Saint-Saëns -- Il viaggio a Reims: Viva il diletto augusto regnator (NTSC) ( 00 sec. ) / Rossini</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Gergiev, Valery, Conductor -- St. Petersburg Mariinsky Theatre Orchestra, Orchestra -- St. Petersburg Mariinsky Theatre Ballet, Ensemble -- Osmolkina, Yekaterina, Artist -- Tereshkina, Viktoria, Artist -- Pavlenko, Daria, Artist -- Fadeyev, Andrian, Artist -- Korsakov, Anton, Artist -- Lopatkina, Ulyana, Artist -- St. Petersburg Mariinsky Theatre Chorus, Choir -- Saint-Saëns, Camille, Composer -- Tchaikovsky, Pyotr Il'yich, Composer -- Rossini, Gioachino, Composer -- Balocchi, Luigi, Lyricist</marc:subfield>
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        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">A truly remarkable New Year's Eve in St. Petersburg's fabled Mariinsky Theatre, with Valery Gergiev and the Mariinsky (ex-Kirov) Ballet.

It was at the Mariinsky Theatre in St. Petersburg that the ballet &lt;i&gt;The Sleeping Beauty&lt;/i&gt; premiered in 1890, with a score by &lt;i&gt;Tchaikovsky&lt;/i&gt; and choreography by Marius Petipa. This New Year's Eve programme revolves around Act III, in which Princess Aurora is brought out of her long sleep by the prince of her dreams and marries him. This is the Mariinsky troupe in a veritable explosion of grace and virtuosity.

In addition, prima ballerina Uliana Lopatkina dances &lt;i&gt;Camille Saint-Saens&lt;/i&gt; famous &lt;i&gt;Dying Swan&lt;/i&gt;, first performed by Anna Pavlova.

In conclusion the soloists of the Mariinsky Theatre's Young Singers' Academy perform the finale of &lt;i&gt;Rossini's Journey to Rheims&lt;/i&gt; in a joyous celebration of the coming of the New Year.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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        <marc:datafield tag="650" ind1=" " ind2="4">
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            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=BAC030</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/BAC030</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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            <marc:subfield code="a">Grieg, Edvard</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="a">GRIEG, E.: Peer Gynt (arr. B. Dean and M.-A. Turnage) (Zurich Ballet, 2008) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Peer Gynt, Op. 23 (arr. B. Dean and M.-A. Turnage) (Zurich Ballet, 2008) (NTSC) ( 01 hrs., 49 min., 48 sec. ) / Grieg</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Bidzinski, Boguslaw, Artist -- Zurich Opera House Chorus, Choir -- Zurich Opera House Orchestra, Orchestra -- Jensen, Eivind Gullberg, Conductor -- Schepmann, Philipp, Artist -- Kohl, Christiane, Artist -- Brodbeck, Sarah-Jane, Artist -- Han, Yen, Artist -- Voje, Angelica, Artist -- Brunner, Juliette, Artist -- Martirosyan, Vahe, Artist -- Grigoryan, Arman, Artist -- Adamczak, Agnieszka, Artist -- Zhu, Huiling, Artist -- Zürich Ballet, Ensemble -- Rademaker, Marijn, Artist -- Quaresma, Ana Carolina, Artist -- Gardette-Rousseau, Juliette, Artist -- Turnage, Mark-Anthony, Arranger -- Ibsen, Henrik, Lyricist -- Grieg, Edvard, Composer -- Dean, Brett, Arranger</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">Considered one of the greatest European choreographers of our time, Heinz Spoerli has created a &lt;i&gt;Peer Gynt&lt;/i&gt; that combines the lyrical with the grotesque, the fantastical universe of gnomes with the reality of the modern world, and philosophy with folklore. Mischievous moments give a touch of lightness to the legend's tragic theme. 

For this production, the contemporary composers &lt;i&gt;Brett Dean&lt;/i&gt; and &lt;i&gt;Mark-Anthony Turnage&lt;/i&gt; adapted &lt;i&gt;Grieg's&lt;/i&gt; score at the choreographer's direction. The talented young conductor Eivind Gullberg Jensen joins forces with soprano Christiane Kohl and dancer Yen Han (who together personify Solveig), and with dancer Marijn Rademaker and actor Philipp Schepmann (who bring Peer Gynt himself to life).</marc:subfield>
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        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Ballet &amp; Dance</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=BAC050</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/BAC050</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">CHERUBINI, L.: Médée [Opera] (La Monnaie - De Munt, 2011) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Médée (La Monnaie - De Munt, 2011) (NTSC) ( 02 hrs., 23 min., 12 sec. ) / Cherubini</marc:subfield>
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            <marc:subfield code="a">Michael, Nadja, Artist -- Stotijn, Christianne, Artist -- Brussels La Monnaie - De Munt Opera Chorus, Choir -- Rousset, Christophe, Conductor -- Talens Lyriques, Les, Ensemble -- Streit, Kurt, Artist -- Arquez, Gaelle, Artist -- Kerkhove, Inge van de, Artist -- Texier, Vincent le, Artist -- Inizan, Anne-Fleur, Artist -- Burger, Alex, Artist -- Malotaux, Louis, Artist -- Cherubini, Luigi, Composer -- Hoffman, François-Benoît, Lyricist</marc:subfield>
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            <marc:subfield code="a">Eclipsed in popularity for decades by its Italian translation, the original French libretto to &lt;i&gt;Cherubini's&lt;/i&gt; masterpiece has recently found renewed favor with opera companies around the world. An eclectic vision of &lt;i&gt;Medee&lt;/i&gt;, an opera comique in three acts with both spoken dialogue and arias, is presented here by the visionary stage director Krzysztof Warlikowski. Atop a narrative framework set in Ancient Greece and inspired by the famous tragedy of Euripedes, 1960s-era videos, music, and costumes flesh out a set of strikingly contemporary characters on the Brussels stage.

The impeccable interpretation of the score by Les Talens Lyriques, under the baton of Christophe Rousset, nonetheless keeps us firmly ensconced in the beguiling musical ambiance envisioned by Cherubini. The expressive Nadja Michael shines in the title role, as does Kurt Streit playing Jason, newly back from his quest for the golden fleece. The Greek hero, who spurned Medea's advances during his return trip home, falls in love with Dirce, daughter of King Creon. Their wedding preparations are going well and the royal subjects are rejoicing-but nobody is prepared for the return of the cruel Medea, who has vowed to exact vengeance on her erstwhile lover and all those he holds dear.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/BAC076.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=BAC076</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/BAC076</marc:subfield>
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            <marc:subfield code="a">STRAUSS, R.: Elektra [Opera] (Aix-en-Provence Festival, 2013) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Elektra, Op. 58, TrV 223 (Aix-en-Provence Festival, 2013) (NTSC) ( 01 hrs., 50 min., 59 sec. ) / Strauss</marc:subfield>
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            <marc:subfield code="a">Pieczonka, Adrianne, Artist -- Behle, Renate, Artist -- McIntyre, Donald, Artist -- Meier, Waltraud, Artist -- Mazura, Franz, Artist -- Salonen, Esa-Pekka, Conductor -- Orchestre de Paris, Orchestra -- Herlitzius, Evelyn, Artist -- Hablowetz, Silvia, Artist -- Alexander, Roberta, Artist -- Randle, Tom, Artist -- Petrenko, Mikhail, Artist -- Gulbenkian Choir, Choir -- Munger, Marie-Eve, Artist -- Hill, Andrea, Artist -- Hyman, Bonita, Artist -- Hofmannsthal, Hugo von, Lyricist -- Strauss, Richard, Composer</marc:subfield>
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            <marc:subfield code="a">A timeless tragedy told and retold through the centuries, staged by one of the most renowned visionaries of the opera stage to a score by an undisputed master of twentieth-century romanticism: all of this is on the bill in this production for the ages, performed in 2013 at the Aix-en-Provence Festival in the south of France. The legendary Patrice Chereau (who passed away just months later) honors &lt;i&gt;Richard Strauss's&lt;/i&gt; masterpiece with feverish intensity, supported by a dream cast and an Orchestre de Paris in top form under the baton of Esa-Pekka Salonen.

Soprano Evelyn Herlitzius gives life to the &lt;i&gt;Elektra&lt;/i&gt;, the focus of Hugo von Hofmannsthal's libretto that drew its inspiration in the Sophocles play. The daughter of Agamemnon - murdered king of Mycenae, betrayed upon his return from the Trojan War by his wife Clytemnestra and her lover Aegisthus (the dazzling Waltraud Meier and Tom Randle)- Elektra is unafraid to court danger in search of justice, desperately trying to protect her younger brother Orestes (a brilliant Mikhail Petrenko), rightful heir to the throne, and seeking to avenge her father under the watchful eyes of his executioners.</marc:subfield>
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            <marc:subfield code="a">VERDI, G.: Nabucco [Opera] (Arena di Verona, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Nabucco (Arena di Verona, 2017) (NTSC) ( 02 hrs., 12 min. ) / Verdi</marc:subfield>
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            <marc:subfield code="a">Surguladze, Nino, Artist -- Arena of Verona Choir, Choir -- Oren, Daniel, Conductor -- Siwek, Rafal, Artist -- Arena of Verona Orchestra, Orchestra -- Pelizzari, Rubens, Artist -- Branchini, Susanna, Artist -- Gagnidze, George, Artist -- Borin, Elena, Artist -- Antognetti, Paolo, Artist -- Ceriani, Nicolo, Artist -- Verdi, Giuseppe, Composer -- Solera, Temistocle, Lyricist</marc:subfield>
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            <marc:subfield code="a">A new production of &lt;i&gt;Verdi's Nabucco&lt;/i&gt; at the Arena di Verona, and probably the most exciting lyrical event of the summer 2017.

Verdi's third opera - but first great popular success - was created at the Teatro alla Scala in Milan in 1842, in the epicentre of the Risorgimento and the capital of Italian nationalism, at a time where the supporters of Italian independance from Austrian occupation were starting to make their voices heard. The 'Chorus of the Hebrew slaves', pivotal point in the third act where the Jews, exiled from Babylon by Nabuchodonosor, mourn their country, 'so beautiful and lost', immediately resonated with the Italian nationalists and has ever since been a symbol of Italian national identity.

Boldly transposing the action out of biblical times and into Italian Risorgimento, French director Arnaud Bernard goes as far as to center the entire opera during the popular uprisings of 1848 and in the insides of the Milanese opera house. A clever way to emphasize on the legends that have been building around Verdi's operas and the role they played in the political process of uniting the Italian peninsula, and in the construction of an authentic italianita.

Soprano Susanna Branchini literally steals the stage as Nabuchodonosor's daughter Abigaille (for whom Verdi probably wrote his most challenging score), while Israeli-born conductor Daniel Oren, a true connoisseur of Verdi's musical language as well as a regular guest at the Arena di Verona, conducts with great panache this 'lyrical epic' that holds such a special place in the heart of all Italians.</marc:subfield>
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            <marc:subfield code="a">BRITTEN, B.: Billy Budd [Opera] (Teatro Real, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Billy Budd, Op. 50 (Teatro Real, 2017) (NTSC) ( 02 hrs., 53 min. ) / Britten -- Disc 2 ( 00 sec. ) / Britten</marc:subfield>
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            <marc:subfield code="a">Spence, Toby, Artist -- Madrid Teatro Real Chorus, Choir -- Bolton, Ivor, Conductor -- Sherratt, Brindley, Artist -- Madrid Teatro Real Orchestra, Orchestra -- Oliemans, Thomas, Artist -- Soar, David, Artist -- Imbrailo, Jacques, Artist -- Rock, Duncan, Artist -- Gillet, Christopher, Artist -- Pequenos Cantores de la Jorcam, Choir -- Jürgens, Torben, Artist -- Crozier, Eric, Lyricist -- Britten, Benjamin, Composer -- Forster, E.M., Lyricist</marc:subfield>
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            <marc:subfield code="a">800 liters of water, two sails, thirty pulleys, sixty hammocks: for the Bicentenary of the Teatro Real of Madrid, Deborah Warner coined a colossal production of &lt;i&gt;Benjamin Britten's Billy Budd&lt;/i&gt;. A critically-acclaimed performance, praised for its depth and intelligence.

'Oh, what have I done?' Captain Edward Fairfax Vere, former commander of the H.M.S. Indomitable asks himself with horror at the beginning of the opera, before recounting the tragic events that took place aboard his ship in 1797. The story revolves around a young model sailor, Billy Budd, and John Claggart, the unscrupulous master-at-arms obsessed and crazed by Billy's angelic beauty; and follows the characters in their fall down to the most infernal depths of perversion and psychosis, exploring the themes of innocence, culpability, individual responsibility and justice. In this ambiguous and symbolic tale, drawn from Herman Melville's last masterpiece, the composer Benjamin Britten, who returns for the occasion to symphonic opera and its infinite possibilities, unsettles and disturbs us by revealing the complexity and universality of human experience. Far from writing the characters as allegories of Good and Evil, the opera shows us instead the remorseless logic followed by the surge of one's darkest desires. But in this opera dominated by masculinity, Deborah Warner goes beyond the story of violence, jealousy and hatred and chooses to focus instead on the collateral beauty produced by comradeship, friendship and forgiveness.

Baritone Jacques Imbrailo, who knows the title role perfectly, delivers a stunning rendition of the young sailor's part, while British singers Toby Spence and Brindley Sherratt provide solid interpretations of Captain 'Starry' Vere and of John Claggart. In the pit, Ivor Bolton masterfully deploys, along with the Orchestra of the Teatro Real, all the energy and power of Britten's fifth opera. A now iconic production, co-produced by the Opera of Rome and the Royal Opera House.</marc:subfield>
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            <marc:subfield code="a">Forster, E.M.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/BAC154.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=BAC154</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/BAC154</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">LAZAR, B. / CHEMLA, J. / HUBERT, F.: Traviata [Opera] (after A. Dumas (fils) and G. Verdi) (Théâtre des Bouffes du Nord, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Traviata - Vous méritez un avenir meilleur (after A. Dumas (fils) and G. Verdi) (Théâtre des Bouffes du Nord, 2017) (NTSC) ( 02 hrs., 10 min. ) / Not Applicable</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Levasseur, Gabriel, Artist -- Llado, Sebastien, Artist -- Billy, Jerome, Artist -- Hetzel, Myrtille, Artist -- Chemla, Judith, Artist -- Hubert, Florent, Conductor -- Escobar, Paul, Conductor -- Bigourdan, Damien, Artist -- Chauvin, Elise, Artist -- Baffi, Florent, Artist -- Salvat, Marie, Artist -- Ciofolo, Axelle, Artist -- Bris, Bruno Le, Artist -- Locher, Benjamin, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">An overpowering and paradoxical perfume of dream and reality floats around &lt;i&gt;La Traviata&lt;/i&gt;, as if the life and death of this so-called  'errant' woman seem more real and more elusive than those of other opera heroines. It is with this perfume, composed of rare flower essences, of alcohols, of prescription drugs, of skins caressed, of seemingly odourless money, that Giuseppe Verdi deeply impregnated his musical material, just at the time when the perfume of the story of the courtesan Marie Duplessis, who died in 1847, six years before the opera was created in Venice, was evaporating.

In &lt;i&gt;Traviata - You Deserve a Better Future&lt;/i&gt;, the audience is invited into Violetta's privacy to have a close look at the fire to which she abandons herself among the guests of this musical and phantasmagorical celebration that blends theatre and opera, voices that speak and sing; and where the distinction between the instrumentalists and the singers becomes blurred, where Charles Baudelaire is seated next to Christophe Tarkos, and where the phantoms of this Paris in full industrial boom whose future we are living in at present, sing and die.</marc:subfield>
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            <marc:subfield code="a">DEBUSSY, C.: Pelléas et Mélisande [Opera] (Zürich Opera, 2016) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Pelleas et Melisande (Zürich Opera, 2016) (NTSC) ( 02 hrs., 45 min. ) / Debussy</marc:subfield>
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            <marc:subfield code="a">Naef, Yvonne, Artist -- Mayr, Reinhard, Artist -- Sherratt, Brindley, Artist -- Ketelsen, Kyle, Artist -- Altinoglu, Alain, Conductor -- Imbrailo, Jacques, Artist -- Dekeyser, Charles, Artist -- Winters, Corinne, Artist -- Philharmonia Zürich, Orchestra -- Zusatzchor Opernhaus Zürich, Choir -- SoprAlti der Oper Zürich, Choir -- Göritz, Damien, Artist -- Maeterlinck, Maurice, Lyricist -- Debussy, Claude, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Pelleas et Melisande&lt;/i&gt; from the Opernhaus Zurich should be remembered as one of Dmitri Tcherniakov's most innovative production. Forget about the fountains, the caverns, the forest, the castles and the towers: here, the density of &lt;i&gt;Maurice Maeterlinck's&lt;/i&gt; and &lt;i&gt;Claude Debussy's&lt;/i&gt; symbolism becomes the starting point of an analytical journey into the human mind : it is now the psychoanalyst, "doctor" Golaud, who has to uncover the secrets of Melisande, an unfortunate and traumatized creature he brings home, and whose silence and puzzling attitude eventually bring him on the verge of insanity.

But the production is also the occasion for a reunion between Dmitri Tcherniakov and French conductor Alain Altinoglu, after the tremendous success of the &lt;i&gt;Tchaikovsky&lt;/i&gt; dyptich &lt;i&gt;Iolanta&lt;/i&gt; / &lt;i&gt;The Nutcracker&lt;/i&gt; - arguably one of the most successful titles of the Bel Air Classiques catalogue. Their artistic complicity is intact: the precise, analytical but also nuanced and poetic baton of Altinoglu proves to be the best possible response to Tcherniakov's subtle exploration of the human psychology. Corinne Winters, as Melisande, Jacques Imbrailo, as Pelleas, and especially Kyle Ketelsen, as Golaud, embody with an incandescent realism these characters plagued by a form of evil and violence that we will never quite understand.</marc:subfield>
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            <marc:subfield code="a">Janáček, Leoš</marc:subfield>
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            <marc:subfield code="a">JANÁČEK, L.: From the House of the Dead [Opera] (Bavarian State Opera, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
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            <marc:subfield code="a">Muff, Alfred, Artist -- Kaufmann, Jonas, Artist -- Polgár, László, Artist -- Bidzinski, Boguslaw, Artist -- Nylund, Camilla, Artist -- Magnuson, Elizabeth Rae, Artist -- Strehl, Christoph, Artist -- Groissböck, Günther, Artist -- Bermudez, Gabriel, Artist -- Zurich Opera House Chorus, Choir -- Harnoncourt, Nikolaus, Conductor -- Zurich Opera House Orchestra, Orchestra -- Treitschke, Georg Friedrich, Lyricist -- Beethoven, Ludwig van, Composer -- Sonnleithner, Joseph, Lyricist</marc:subfield>
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            <marc:subfield code="a">This stellar production of &lt;i&gt;Beethoven's Fidelio&lt;/i&gt; - the sole opera by the universally beloved composer born 250 years ago - stands out from the pack. First, it features a young Jonas Kaufmann in 2004, near the beginning of his meteoric rise to superstardom thanks to the qualities already on full display here: a dark and stentorian tenor voice, remarkable acting capacities, and a seemingly effortless expressiveness that make him a perfect fit for the iconic roles he would go on to embody, not least of which is Florestan.

But even the greatest soloist cannot make an opera work on his own - and?the unique alchemy here between Jurgen Flimm's minimalist staging and Nikolaus Harnoncourt's expert musical approach focuses the drama's power on the ineffable power of love, rather than just on philosophy or politics. Fidelio tells the story of Leonora (soprano Camilla Nylund, in one of the roles that launched her to international success like Kaufmann), who disguises herself as a man (Fidelio, "faithful one"), to rescue her husband (Florestan), unjustly imprisoned by his enemy Pizarro (here, a powerful Alfred Muff) and guarded by the warden Rocco (a worthy Laszlo Polgar). Fittingly, the original title of the opera was Leonore, or The Triumph of Marital Love.</marc:subfield>
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            <marc:subfield code="a">CZERNOWIN, C.: Heart Chamber [Opera] (Deutsche Oper Berlin, 2019) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Heart Chamber (Deutsche Oper Berlin, 2019) (NTSC) ( 01 hrs., 27 min. ) / Czernowin -- I Did Not Rehearse to Say I Love You (NTSC) ( 01 hrs., 26 min. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Ciofi, Patrizia, Artist -- Henschel, Dietrich, Artist -- Kalitzke, Johannes, Conductor -- Berlin Deutsche Opera Orchestra, Orchestra -- Wey, Terry, Artist -- Fussenegger, Uli, Artist -- Frenkel, Noa, Artist -- Ensemble Nikel, Ensemble -- South West German Radio Experimental Studio, Ensemble -- Aulbert, Frauke, Artist -- Czernowin, Chaya, Composer -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">The works of award-winning composer &lt;i&gt;Chaya Czernowin&lt;/i&gt; have been performed worldwide at significant new music festivals and prestigious venues, and she is the first woman to be appointed composition professor at Harvard University. Commissioned by Deutsche Oper Berlin and widely acclaimed in the critical press, &lt;i&gt;Heart Chamber&lt;/i&gt; uses voice and stage as internalised sonic and visual landscapes to create a genuine multi-sensory musical experience. With only two characters and a hint of a narrative, this is a grand opera on the smallest of transformations, focusing on the intense beauty and vulnerabilities of falling in love. 'It is seldom that audiences at the Duetsche Oper Berlin have listened with such rapture to a new commission' (Online Merker).</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: Leonore (1805 version) [Opera] (Opera Lafayette, 2020) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Leonore, Op. 72 (1805 version) (Opera Lafayette, 2020) (NTSC) ( 02 hrs., 28 min. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Paulin, Nathalie, Artist -- Opera Lafayette Chorus, Choir -- Brown, Ryan, Conductor -- Opera Lafayette Orchestra, Orchestra -- Beaudin, Pascale, Artist -- Sylvestre, Alexandre, Artist -- Richer, Jean-Michel, Artist -- Geddes, Keven, Artist -- Hegedus, Stephen, Artist -- Scollin, Matthew, Artist -- Beethoven, Ludwig van, Composer -- Sonnleithner, Joseph, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Beethoven&lt;/i&gt; started composing &lt;i&gt;Leonore&lt;/i&gt; in January 1803. The subject - the release to freedom of an unjustly imprisoned man by his devoted wife - was part of the genre of 'rescue operas' which were very popular at the end of the 18th century. The premiere of Leonore, given before an uncomprehending audience at a time of political upheaval, was a failure and Beethoven responded by shortening the work from three acts to two, which was the version performed in 1806. After further revisions it was to emerge in 1814 as &lt;i&gt;Fidelio&lt;/i&gt;. This performance is from Opera Lafayette's Leonore Project which included a performance of &lt;i&gt;Pierre Gaveaux's Leonore, ou L'Amour conjugal&lt;/i&gt; - the opera on which Beethoven modelled his Leonore.</marc:subfield>
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            <marc:subfield code="a">CAVALLI, F.: Ercole amante [Opera] (Opéra Comique, 2019) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Ercole amante (Opéra Comique, 2019) (NTSC) ( 03 hrs., 07 min. ) / Cavalli -- Disc 2 ( 00 sec. ) / Cavalli</marc:subfield>
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            <marc:subfield code="a">Bonitatibus, Anna, Artist -- Visse, Dominique, Artist -- Tittoto, Luca, Artist -- Pichon, Raphaël, Conductor -- Pierro, Nahuel di, Artist -- Pygmalion, Orchestra -- Adam, Krystian, Artist -- Bridelli, Giuseppina, Artist -- Aspromonte, Francesca, Artist -- Semenzato, Giulia, Artist -- Lefebvre, Eugénie, Artist -- Pygmalion Chorus, Choir -- Chenez, Ray, Artist -- Buti, Francesco, Lyricist -- Cavalli, Francesco, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Francesco Cavalli&lt;/i&gt;, a natural successor to &lt;i&gt;Monteverdi&lt;/i&gt;, was the most famous and influential Italian opera composer during the mid-17th century. Cardinal Mazarin, chief minister to the king, commissioned Cavalli to create a Parisian spectacle to celebrate the wedding of the 'Sun King' Louis XIVand the Infanta of Spain. &lt;i&gt;Ercole amante&lt;/i&gt; ('Hercules in Love') was the flattering subject chosen for this regal extravaganza combining larger-than-life characters with mythology, and genuine human emotions with natural and cosmic phenomena. The result is a sumptuous Baroque spectacle, conceived on a vast scale in this lavish production by directors Valerie Lesort and Christian Hecq.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Written on Water&lt;/i&gt; is a dance feature film about an artist whose happy and comfortable married life is upended when she unexpectedly falls in love with someone else. Featuring Paris Opera Ballet's Aurelie Dupont, Ballet Zurich principal dancer Alexander Jones, and choreographer, dancer, writer and director &lt;i&gt;Pontus Lidberg&lt;/i&gt;, Written on Water conveys the drama of desire and the turmoil of the creative process.</marc:subfield>
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            <marc:subfield code="a">With the complicity of the excellent Royal Swedish Ballet, &lt;i&gt;Alexander Ekman&lt;/i&gt; makes dreams dance in a new surprising, lyrical and cosmic choreographical piece.

After the instant success of &lt;i&gt;Midsummer Night's Dream&lt;/i&gt;, exploring the density of traditional mysticism and the maze of imagination, choreographer Alexander Ekman and the Royal Swedish Ballet once again brings us on a dancing journey through the looking glass, beyond our own reality. Known for the spectacular quality of his pieces and the oneiric imagery he tends to deploy, Ekman seamlessly takes us from one unlikely situation from the next, thanks to the incredible technical maestria and versatility of the Royal Swedish Ballet dancers. "I like creating worlds that have never been seen before", Ekman wrote while creating Play with the Paris Opera Ballet : without ever sacrificing lyrical beauty and deep contemplation to pointless incongruity, &lt;i&gt;Eskapist&lt;/i&gt; proves once again that the theatrical stage truly is a magic place, where the world as we know it shifts shapes only to dissolve into the most poetic fantasies one could envision.

Once more, Ekman has sought support from his long-term acolyte, Swedish composer &lt;i&gt;Mikael Karlsson&lt;/i&gt;, whose entrancing music follows the wide range of styles mobilized by Ekman: sometimes downright comic and uplifting, and sometimes reflexive, deep, and ultimately cosmic.</marc:subfield>
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Of Ancient India, composer &lt;i&gt;Ludwig Minkus&lt;/i&gt; made in his &lt;i&gt;La Bayadere&lt;/i&gt; the shiny background of the tragic love story between a priestess and a warrior, unable to get together in this world or in the next. For this new production with the Mikhailovsky Ballet, of which he is the artistic director, Spanish choreographer Nacho Duato created a new version extremely respectful of &lt;i&gt;Marius Petipa's&lt;/i&gt; original, preserving the traditional synopsis and the great coups de theatre of the libretto, and keeping the original choreography for the most famous scenes. But at the same time, he liberates the ballet from the weight of its own anachronism, removes the episodes of pointless pantomime, and relocates it in a extravagant, lavish and colourful set.

Before working on La Bayadere, Duato had already tackled some of the great classics of the Russian classical ballet school: his original versions of &lt;i&gt;Sleeping Beauty&lt;/i&gt; and &lt;i&gt;The Nutcracker&lt;/i&gt;, both commissionned by the Mikhailovsky, have since then toured in the whole world and were met with tremendous success - from Milan and Berlin to Novossibirsk. For this new project, he surrounds himself with the excellent Principals Angelina Vorontsova and Victor Lebedev, but also with Andrea Lassakova, outstanding in the role of Gamzatti.</marc:subfield>
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&lt;i&gt;Oberon&lt;/i&gt;, Konig der Elfen is certainly less well known than &lt;i&gt;Weber's&lt;/i&gt; classic &lt;i&gt;Der Freischutz&lt;/i&gt;, but it's an enchanting piece. It's less ambitious than &lt;i&gt;Mozart&lt;/i&gt; in sentiment and execution and certainly doesn't have the same musical genius or memorable pieces, but it has considerable character of its own, particularly when a good production like this shows its merits. &lt;i&gt;OperaJournal&lt;/i&gt;</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Gulsin Onay&lt;/i&gt; graduated at the Paris Conservatoire,at the age of 16, winning the prestigious "Premier Prix du Piano". She won many prizes in top international competitions, including the Marguerite Long-Jacques Thibaud (in Paris) and the Ferruccio Busoni (in Bolzano).

Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan. Gulsin Onay has given concerts in the major musical centres of the world. She holds the titles of State Artist in her native Turkey, and of soloist for the Presidential Symphony Orchestra in Ankara. She is "Artist in Residence" at Bilkent University in Ankara and holds an honorary doctorate degrees from Bosphorus University in Istanbul, and from Hacettepe University in Ankara. The Sevda-Cenap And Music Foundation awarded its prestigious 2007 Honorary Award Gold Medal to Gulsin Onay, and she was named "Pianist of the Year" in the 2011 Donizetti Classical Music Awards. In 2014 she was awarded the Honorary Medal of the 42nd Istanbul Music Festival.</marc:subfield>
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            <marc:subfield code="a">The renowned collaborations between Zurich Opera and &lt;i&gt;Nikolaus Harnoncourt&lt;/i&gt; in the 1970s and early '80s were crucial milestones in projecting historically-aware performance away from historicism-for-its-own-sake, towards vitally-conceived productions for contemporary audiences. &lt;i&gt;Il Ritorno&lt;/i&gt; enjoyed great success in 1977, in Jean-Pierre Ponnelle's imaginative staging, in which Harnoncourt's opulent instrumental palette lifted the hearts of many, though only the eyebrows of the purists. In this musical 'revival' (the production is entirely new with its simple, fresh, whitewashed, open space and modern mosaic floor), to celebrate 25 years of the swashbuckling original, Harnoncourt allows the nobility of the score to roll unimpeded by the driven intensity of the older recorded account on Teldec from 1971 (9/89R).

The vocal contributions are also more eloquent than ever with outstanding contributions from the two protagonists, Vesselina Kasarova and Dietrich Henschel; can &lt;i&gt;Monteverdi&lt;/i&gt; have ever heard this, his first opera for Venice's Teatro San Cassiano in 1640, sung with such an extraordinary range of vocal beauty and immediacy of expression? This extends to all the characters, notably in the wonderful discussion between the truculent Neptune and appeasing Jupiter, in Act 1, scene 4, where comedy and gravitas are superbly juxtaposed. Rudolf Schasching's comic Iro is brilliantly characterised and Isabel Rey's Minerva and Malin Hartelius' Melanto are accomplished throughout. Martina Jankova completes the trio of exceptional female minor roles with an exquisite 'Procurero la pace' near the end.</marc:subfield>
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Between the individual movements, Daniel Barenboim talks to &lt;i&gt;Annie Dutoit&lt;/i&gt; about his childhood in Argentina, family, idols, social values and, of course, music. Annie Dutoit, Swiss professor, actress, music journalist and daughter of Martha Argerich has known Daniel Barenboim since her childhood. This private concert is not just an occasion for an intimate chamber music concert, it is also an encounter with the private person Barenboim - a contemporary document that will remain unique in this form.</marc:subfield>
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            <marc:subfield code="a">For the first time in scenic version, and to celebrate &lt;i&gt;Leonard Bernstein's&lt;/i&gt; centennial, the delightful &lt;i&gt;Wonderful Town&lt;/i&gt; filmed during its French premiere at the Opera de Toulon!

With a keen sensitivity to the demands and specificities of the American "musical", and after the triumph of &lt;i&gt;Sondheim's Follies&lt;/i&gt; in 2015, the Opera de Toulon once again embarked on a Broadway adventure with the French premiere of Bernstein's Wonderful Town, and brought back for the occasion stage director Olivier Benezech, a major connoisseur of the genre.

A true declaration of love to the city of New-York, Wonderful Town tells the tale, with a boisterous rhythm and vast amounts of jazzy tunes, of two sisters from Ohio looking for success and glory in the big city. Lighter in tone than later works like &lt;i&gt;West Side Story&lt;/i&gt; or &lt;i&gt;Candide&lt;/i&gt;, its smart combination of the different musical traditions one could hear when wandering in the streets of New-York, its accomplished orchestral writing and colouring, and its vivid sense of comedy earned it no less than five Tony awards when it premiered in 1953.

A story of love and swing with a touch of social satire, it is here revived with all the energy and the sparkle one could hope for: from the highly effective scenography by Luc Londiveau and Gilles Papain to the authenticity and thoughtfulness of Benezech's precise and vigorous direction of the cast. American conductor Larry Blank, well-known by the Broadway scene and therefore no stranger to the traps this falsely naive score can set, works wonders with the in-house orchestra, filling the hearts of the audience with a contagious cheerfulness that will not be easy to forget...</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Beethoven&lt;/i&gt; was born into a musical family in Bonn. He was well taught and generally well educated. With the support of his local ruler he went to Vienna to further his musical studies. He was soon celebrated as a pianist and composer and spent the rest of his life in Vienna supported by generous patrons and free to compose as he wished. In spite of going stone deaf he was able to continue composing, producing some of his greatest works in his later years. The documentary details his life and times and is followed by an overview of his works.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Brahms&lt;/i&gt; was born in Hamburg into a poor but musical family. His talent was early recognized and he received devoted and first class tuition. He was discovered by the violinist Joachim and the composer Schumann and he enjoyed amazing success from his very first published work. Brahms never married but settled in Vienna where he came to be recognized as one of the great musical masters of the century.</marc:subfield>
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            <marc:subfield code="a">The Polish composer &lt;i&gt;Frederic Chopin&lt;/i&gt; is unique in that he composed almost exclusively for his own instrument, the piano. As a pianist he was self taught and had an astonishing talent for improvisation. As a composer he was a perfectionist in the classical mould and his wonderful compositions ensure that he is one of the best loved names in world music. The documentary traces his short life and includes an overview of his musical works.</marc:subfield>
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            <marc:subfield code="a">Drawing inspiration from the tonal centres of &lt;i&gt;Beethoven's Piano Sonata No. 14 in C sharp, Op. 27, No. 2, Rachmaninov's Prelude in C sharp, Op. 3, No. 2, Tchaikovsky's August and June&lt;/i&gt; from &lt;i&gt;The Seasons, Op. 37b&lt;/i&gt;, and &lt;i&gt;Khachaturian's Toccata, Dhaivaya: Alter(ing) Hue&lt;/i&gt; includes modulations on a motif based on C sharp, B, G, and E flat, coupled with an adaptation of and variations on a well-known Sri Lankan hymn tune. The hymn has two titles: Jehovah  Thou Hast Promised and Danno  Budunge. The first is sung to a Christian text, the second to a Buddhist text. The word 'dhaivaya' meaning 'destiny' belongs to the Sinhala language. The work evolved  in 2011 and was first performed at the John F. Kennedy Center for the  Performing  Arts, in Washington DC, in 2012.</marc:subfield>
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            <marc:subfield code="a">Rhapsody in Blue (NTSC) ( 00 sec. ) / Gershwin -- Music for the Theatre Suite (NTSC) ( 00 sec. ) / Copland -- Ground O (NTSC) ( 00 sec. ) / Beaser -- Scheherazade, Op. 35 (NTSC) ( 00 sec. ) / Rimsky-Korsakov</marc:subfield>
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            <marc:subfield code="a">Schwarz, Gerard, Conductor -- All-Star Orchestra, The, Orchestra -- Astanova, Lola, Artist -- Kim, David, Artist -- Rimsky-Korsakov, Nikolay Andreyevich, Composer -- Gershwin, George, Composer -- Copland, Aaron, Composer -- Beaser, Robert, Composer</marc:subfield>
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            <marc:subfield code="a">The All-Star Orchestra gives you a front row seat to the world's greatest music, performed by top players chosen from over 30 great American orchestras, and conducted by Gerard Schwarz. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with 19 cameras during a once-a-year 'summit' in New York's historic Grand Ballroom at Manhattan Center, the All-Star Orchestra celebrates the symphonic experience in the 21st century.

Program 9: Visions of New York

&lt;i&gt;Gershwin's&lt;/i&gt; immortal &lt;i&gt;Rhapsody in Blue&lt;/i&gt; is featured in the rarely heard original jazz-orchestra version from the 1924 premiere, with rising-star pianist Lola Astanova. This iconic work is paired with &lt;i&gt;Aaron Copland's&lt;/i&gt; 1925 jazz-age classic &lt;i&gt;Music for the Theatre&lt;/i&gt;. &lt;i&gt;Robert Beaser's Ground O&lt;/i&gt; offers a modern musical perspective of New York after 9/11.

Program 10: 1001 Arabian Nights - The Legend of Scheherazade

&lt;i&gt;Nikolai Rimsky-Korsakov's&lt;/i&gt; exotic orchestral showpiece &lt;i&gt;Scheherazade&lt;/i&gt; is based on fantastical tales that - according to tradition - were told by the ingenious wife of a cruel Sultan so as to prolong her life for 1001 nights. Concertmaster David Kim conveys the voice of the wily heroine in virtuosic violin solos. Take a musical magic carpet ride between the worlds of Arabian folklore and Russian romanticism.</marc:subfield>
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            <marc:subfield code="a">Schwarz, Gerard, Conductor -- All-Star Orchestra, The, Orchestra -- Prokofiev, Sergey, Composer -- Sibelius, Jean, Composer -- Mussorgsky, Modest Petrovich, Composer -- Ravel, Maurice, Arranger</marc:subfield>
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            <marc:subfield code="a">The All-Star Orchestra gives you a front row seat to the world's greatest music, performed by top players chosen from over 30 great American orchestras, and conducted by Gerard Schwarz. The programs feature complete performances of popular masterpieces and world premieres of new works by leading American composers. Filmed in High-Definition with 19 cameras during a once-a-year 'summit' in New York's historic Grand Ballroom at Manhattan Center, the All-Star Orchestra celebrates the symphonic experience in the 21st century.

Program 13: Russian Treasures
The beloved orchestral showpiece of &lt;i&gt;Modest Mussorgsky's Pictures at an Exhibition&lt;/i&gt; is a series of imaginative musical portraits, including The Gnome, the Ballet of the Unhatched Chicks in their Shells and the spectacular finale, The Great Gate of Kiev. Excerpts from &lt;i&gt;Sergei Prokofiev's Romeo and Juliet&lt;/i&gt; includes: Capulets and Montagues, the Dance of the Knights, Portrait of Young Juliet, Scene at the Ball, the Fight, and The Death of Tybalt.

Program 14: Northern Lights
A pinnacle of Nordic Romanticism is &lt;i&gt;Jean Sibelius' Symphony No. 2&lt;/i&gt;. The grand, expansive melodies and searing harmonies have been called the musical equivalents of fire and ice. This is the most famous of the Finnish composer's symphonies.</marc:subfield>
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            <marc:subfield code="a">On 7 April 1923, &lt;i&gt;Ciboulette&lt;/i&gt; premiered at the Theatre des Varieties in Paris, and, as one of &lt;i&gt;Reynaldo Hahn's&lt;/i&gt; most elegant and refined works, it is considered one of the last masterpieces of French operetta. The story tells of the pretty market gardener Ciboulette who, after an encounter with a fortune teller, decides to throw herself into a hedonistic future. She comes across a whole collection of Parisian characters, but true love eventually triumphs as the prophecy is fulfilled. Although Hahn wrote other works in this genre none of them would match Ciboulette's success. This Opera Comique production has been acclaimed by BBC Music Magazine for a cast that was 'impeccable'.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Handel&lt;/i&gt; was born in the small German town of Halle. His father was Surgeon to the local ruler a certain Duke of Weissenfels. From an early Age he displayed a precocious musical talent. His local church organist was a fine musician and teacher so Handel's talent was carefully nurtured. After a spell playing the organ in a local church he left for Hamburg determined to become a composer of operas. He met with immediate success, a success which He enjoyed for the rest of his life. He settled in England and became a national institution. The film outlines his life and is followed by a brief overview of his works.</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 21 in C Major, Op. 53, "Waldstein" (NTSC) ( 25 min., 27 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">From two of &lt;i&gt;Beethoven's&lt;/i&gt; lesser sonatas (Nos. 19-20) to one of his greatest - &lt;i&gt;Sonata No. 21, Op. 53&lt;/i&gt;, known as &lt;i&gt;Waldstein&lt;/i&gt;, after its dedicatee, Count von Waldstein, a close friend and early patron of Beethoven. It is very tempting to talk of watershed moments ?EUR" perhaps only visible to us in hindsight - but the Waldstein, its every note radiant with inspiration, is surely a landmark in Beethoven's development, as well as in the development of the sonata genre in Beethoven's hands.</marc:subfield>
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            <marc:subfield code="a">Nestled between two titans - the &lt;i&gt;Waldstein&lt;/i&gt; and the &lt;i&gt;Appassionata&lt;/i&gt; - is an unusual, enigmatic two-movement work. &lt;i&gt;Beethoven's&lt;/i&gt; contemporaries and later generations of critics didn't think much of it, and it remains seldom performed today. The Sonata was Beethoven's first serious look at the possibilities of a two-movement form (if we disregard the two 'for the drawer' &lt;i&gt;Sonatas, Op. 49&lt;/i&gt;), which he went on to explore in the increasingly poetic Opp. 78, 90 and finally 111.

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            <marc:subfield code="a">&lt;i&gt;Beethoven&lt;/i&gt;, in his core, is a composer of light, his music uplifting and life-affirming. But in a few works he addressed the darkness with a mastery just as absolute, giving us within the sonata cycle the &lt;i&gt;Pathetique, Moonlight&lt;/i&gt;, and perhaps most vivid of all, the &lt;i&gt;Appassionata&lt;/i&gt;. These three are without doubt among the most popular of his works, attesting to some irresistible attraction these dark soundscapes must exert on us. Perhaps it is also an attestation to Beethoven's mastery of dramaturgy and his profound, relatable humanity: he knows how to grip us in a dark narrative, but we constantly feel that he lived through the same experience as us, felt the same emotions, possibly more strongly than we do. Trusting him, we willingly lower our defences and submit ourselves to this white-knuckle ride.

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            <marc:subfield code="a">The darkness which held us in its grip in the &lt;i&gt;Appassionata&lt;/i&gt; could not be counteracted more completely than it is by the sound of &lt;i&gt;Sonata No. 24's&lt;/i&gt; opening. Like a hymn rising above the deep octaves in the left hand, these four bars seem to come directly from the heart, devout and almost in awe of being in the presence of something exceedingly pure and beautiful.

The sonata's nickname, &lt;i&gt;A Therese&lt;/i&gt;, is a simple reflection of its dedicatee, the Countess Therese von Brunsvik, &lt;i&gt;Beethoven's&lt;/i&gt; former piano student. Beethoven was much attached to the family: Therese's brother, Franz, was a close friend and the dedicatee of both the Appassionata and the later &lt;i&gt;Fantasy, Op. 77&lt;/i&gt;, while Therese's younger sister, Josephine, has often been suggested as the addressee of Beethoven's letters to an 'Immortal Beloved'. (While this hypothesis remains unproved - and perhaps unprovable, barring a discovery of additional documents - we do know that Beethoven was passionately in love with Josephine, writing her at least 14 love letters between 1804 and 1810, in which he called her 'angel', 'my everything', and his 'only love'.)

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            <marc:subfield code="a">The genesis of this sonata is closely tied with that of &lt;i&gt;Sonata No. 24&lt;/i&gt;, as both were commissioned by &lt;i&gt;Muzio Clementi&lt;/i&gt;, an Italian-born, London-based pianist, composer and publisher. The contract for those and other works was signed on 20 April 1807, with &lt;i&gt;Beethoven&lt;/i&gt; agreeing to compose the two sonatas 'in an unspecified time and at his leisure'. This finally happened in the second half of 1809, and both sonatas were published by Clementi in mid-1810.

The &lt;i&gt;G major sonata, Op. 79&lt;/i&gt;, is a work light both in spirit and in technical difficulty, recognized as such by Beethoven, who asked the German publisher to call it &lt;i&gt;Sonata facile&lt;/i&gt; ('Easy Sonata') or &lt;i&gt;Sonatine&lt;/i&gt;.

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            <marc:subfield code="a">&lt;i&gt;Sonata No. 26&lt;/i&gt; is the only programmatic one of the entire cycle. It was created during the War of the Fifth Coalition in 1809, in which the Austrian Empire and its allies (Britain, Portugal and Spain) fought the French Empire under Napoleon and its German allies, chiefly Bavaria. It depicts the departure, absence and return of Archduke Rudolph, &lt;i&gt;Beethoven's&lt;/i&gt; longtime patron and student, who together with much of the Viennese aristocracy fled Vienna at the approach of Napoleon in May 1809. Beethoven may have begun the sonata before that (it might even not have been planned with Rudolph in mind, but rather meant to depict a more universal emotion), but it was definitely completed during Rudolph's absence, and presented to him as a gift upon his return to Vienna in early 1810.

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            <marc:subfield code="a">Piano Sonata No. 27 in E Minor, Op. 90 (NTSC) ( 14 min., 02 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Over four years separate this short two-movement sonata from its predecessor, &lt;i&gt;Les Adieux, Op. 81a&lt;/i&gt;. These years saw the creation of the Seventh and Eighth Symphonies, the Archduke piano trio, Violin Sonata No. 10 and the overtures to &lt;i&gt;Egmont&lt;/i&gt; and &lt;i&gt;Fidelio&lt;/i&gt;, among other works, but none for piano solo. The sonata was dedicated to &lt;i&gt;Beethoven's&lt;/i&gt; friend and patron Count Moritz von Lichnowsky, and was for a long time believed to contain an extra-musical narrative, similar to Les Adieux - namely the story of the count's marriage to the opera singer Josepha Stummer, after the death of his first wife, against the wishes of his family. 

This belief was based on an entry in Beethoven's conversation book dating from 1823, in which his part-time secretary Anton Schindler noted that 'Lichnowsky played the &lt;i&gt;Sonata, Op. 90&lt;/i&gt; containing the story of his marriage.' In later years Schindler elaborated on the story, writing that upon being questioned by Count Lichnowsky about the idea behind the music, Beethoven burst out laughing and told him it was the love story between the count and his wife. The first movement, he suggested, could be titled 'Struggle between mind and heart' and the second 'Conversations with the beloved'. Today we know that the original entry from 1823 was falsified by Schindler, and the entire story has likely been fabricated to support his claim that Beethoven often used 'poetic ideas' as inspiration for his music. The timeline doesn't quite fit either, as the marriage between the count and the singer didn't take place until 1820. But it is not inconceivable that there was some truth behind the story, as in summer 1814 - around the time of the sonata's composition - the illegitimate daughter of the count and the singer was born, so Beethoven might have known about the liaison by then.

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            <marc:subfield code="a">Piano Sonata No. 28 in A Major, Op. 101 (NTSC) ( 21 min., 22 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">The beautiful opening phrase conceals an unexpected fact: &lt;i&gt;Beethoven&lt;/i&gt; starts the sonata off-key, on the dominant (E major). This start in medias res contributes to the openness and questioning character of many of the phrases, and later in the movement Beethoven develops this idea, systematically avoiding a resolution into the home key of A major. This turns out to be part of the sonata's design - Beethoven masterfully builds up a subconscious need for a resolution throughout the movements and manages to delay the appearance of a strong A major until much later in the sonata - the opening of the finale. This also fits with the development of the sonata form in Beethoven's late period, with the last movement increasingly becoming the main weight-bearer and focal aim of the entire work.

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            <marc:subfield code="a">The &lt;i&gt;sonata&lt;/i&gt; is conceived on a symphonic scale, with a four movement structure that could be viewed from two different perspectives. On one hand, the narrative flows in one direction - we go from the light of the grand opening movement and the impish Scherzo into the deepest darkness of the slow third movement, gradually re-emerging from it in the connecting Largo, and fully triumphing in the final fugue, which is our goal and aim. On the other, the &lt;i&gt;Hammerklavier's&lt;/i&gt; form shows an exquisitely measured symmetry of proportions - both outer movements are eleven to twelve minutes long; going inward from the edges, we find the Scherzo and Largo at three minutes each; finally, at the centre, we reach the slow movement - which, at closer examination, exhibits the same five-part symmetry itself! The heart of this central movement, and thus the heart of the sonata, is the passage at 23:30, one of &lt;i&gt;Beethoven's&lt;/i&gt; most powerful personal musical utterances. Both views co-exist, supporting the vast musical tapestry, and helping unite the movements into one cohesive, albeit very complex, whole.

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            <marc:subfield code="a">In this 2016 production of &lt;i&gt;Giselle&lt;/i&gt;, the etoiles Marianela Nunez and Vadim Muntagirov join forces with Barry Wordsworth and the Royal Opera House Orchestra to bring the work that &lt;i&gt;Tchaikovsky&lt;/i&gt; considered to be "a poetic, musical, and choreographic jewel" to life.

"Lovely in their wedding clothes and crowned with flowers and ribbons, glittering rings on their fingers, the Willis dance in the moonlight as though they were elves. Their countenance, whiter than snow, glows with youth, they laugh with such perverse cheer, such entrancing gaiety (...) that no-one can withstand these dead Bacchants..." This is how Heinrich Heine described the willis, the fantastical creatures of mythology that are at the heart of Giselle, and who would become an archetypal character of Romantic ballet. Dead before their wedding days, the sinister maidens carry away any men they run across in a dance that leads to death.

The willis inspired Theophile Gautier to suggest a plot to Henri de Saint-Georges, author of the libretto that &lt;i&gt;Adam&lt;/i&gt; would set to music. The choreography established by Jean Coralli and Jules Perrot is employed here by Marius Petipa, the brother of Lucien, who was the dance partner of Carlotta Grisi, the Italian etoile dancer for whom the role of Giselle was written. The premiere of this choreography at the Imperial Mariinsky Theater in 1887 marked the arrival of the modern approach to this ballet, an interpretation that is still employed and beloved today.</marc:subfield>
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            <marc:subfield code="a">Horovitz, Joseph</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Nutcracker (The) [Ballet] (Royal Ballet, 2016) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The Nutcracker, Op. 71 (Royal Ballet, 2016) (NTSC) ( 01 hrs., 49 min. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">Royal Ballet, Covent Garden, Ensemble -- Royal Opera House Orchestra, Covent Garden, Orchestra -- Bonelli, Federico, Artist -- Gruzin, Boris, Conductor -- Avis, Gary, Artist -- Cuthbertson, Lauren, Artist -- Campbell, Alexander, Artist -- Hayward, Francesca, Artist -- Tchaikovsky, Pyotr Il'yich, Composer</marc:subfield>
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            <marc:subfield code="a">The Royal Ballet's &lt;i&gt;The Nutcracker&lt;/i&gt; is the quintessential Christmas ballet. When her nutcracker toy comes to life, young Clara is transported by the magician Drosselmeyer to a magical world of excitement and delight. Lauren Cuthbertson and Federico Bonelli dance the exquisite Sugar Plum Fairy and her Prince; Francesca Hayward and Alexander Campbell take the roles of Clara and the Nutcracker, and Gary Avis is the mysterious, kindly Drosselmeyer. This performance celebrated Peter Wright's 90th birthday and a production that has been in The Royal Ballet's repertory for more than thirty years. With sumptuous period designs, spellbinding stage effects and of course Tchaikovsky's iconic score, The Nutcracker continues to enchant audiences of all ages.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Sleeping Beauty (The) [Ballet] (Royal Ballet, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The Sleeping Beauty, Op. 66 (Royal Ballet, 2017) (NTSC) ( 02 hrs., 18 min. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">Royal Ballet, Covent Garden, Ensemble -- Royal Opera House Orchestra, Covent Garden, Orchestra -- Nuñez, Marianela, Artist -- Saunders, Christopher, Artist -- McGorian, Elizabeth, Artist -- Marriott, Alastair, Artist -- Kessels, Koen, Conductor -- McNally, Kristen, Artist -- Muntagirov, Vadim, Artist -- Calvert, Claire, Artist -- Tchaikovsky, Pyotr Il'yich, Composer</marc:subfield>
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            <marc:subfield code="a">Royal Ballet Principal Marianela Nunez delights as Princess Aurora, with Vadim Muntagirov as her Prince Florimund, in this performance of a timeless classic. Marius Petipa's &lt;i&gt;The Sleeping Beauty&lt;/i&gt; holds a special place in The Royal Ballet's repertory, with its vibrant sets and glittering costumes and featuring such iconic moments as the Rose Adage, the Vision pas de deux, the exuberant wedding celebration and the charming fairy-tale guests, all dances to &lt;i&gt;Tchaikovsky's&lt;/i&gt; richly layered music - one of the most beloved ballet scores of all time. This Sleeping Beauty captures all the magic and virtuosity that ballet has to offer.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Nutcracker (The) [Ballet] (Royal Ballet, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Peter Wright's timeless and enchanting interpretation of &lt;i&gt;The Nutcracker&lt;/i&gt; has been in The Royal Ballet's repertory for over thirty years. Presented in a festive period setting, this charming and magical production features Marianela Nunez as the exquisite Sugar Plum Fairy and Vadim Muntagirov as her charming Prince.

Vivid designs and spellbinding stage effects which include authentic Christmas tree decorations that magically come to life, and &lt;i&gt;Tchaikovsky's&lt;/i&gt; sumptuous, iconic score combine to create the quintessential Christmas ballet - an opulent treat for the senses for audiences of all ages.</marc:subfield>
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            <marc:subfield code="a">Ein Heldenleben (A Hero's Life), Op. 40, TrV 190 (NTSC) ( 00 sec. ) / Strauss -- Serenade No. 9 in D Major, K. 320, "Posthorn" (NTSC) ( 00 sec. ) / Mozart -- Violin Concerto (NTSC) ( 00 sec. ) / Jones</marc:subfield>
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            <marc:subfield code="a">Schwarz, Gerard, Conductor -- Kim, David, Artist -- Ralske, Erik, Artist -- All-Star Orchestra, The, Orchestra -- Bilger, David, Artist -- Meyers, Anne Akiko, Artist -- Strauss, Richard, Composer -- Mozart, Wolfgang Amadeus, Composer -- Jones, Samuel, Composer</marc:subfield>
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Program 11: A Hero's Life in Music
&lt;i&gt;Strauss'&lt;/i&gt; orchestral autobiography from 1899 is unique documentary in music, scored for extra-large orchestra - a sonic spectacular, and a showcase for the All-Star musicians. In this highly pictorial music, the listener follows the &lt;i&gt;Hero&lt;/i&gt; as he asserts his independence, falls in love, confronts his critics, engages in battle, creates a legacy of peace, and eventually comes to life's end.

Program 12: Mozart and A World Premiere
&lt;i&gt;Mozart's&lt;/i&gt; magical &lt;i&gt;Posthorn Serenade&lt;/i&gt; is paired with the world-premiere of &lt;i&gt;Samuel Jones' Violin Concerto&lt;/i&gt; with Anne Akiko Meyers performing on the legendary Vieuxtemps Guarneri del Gesu violin. This rare event showcases the collaboration between composer, soloist, and conductor in bringing a brand-new concerto to life.</marc:subfield>
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Program 15: British Enigmas
&lt;i&gt;Edward Elgar: Enigma Varations&lt;/i&gt;
The score is dedicated to "my friends picture within," and each Variation represents a real person. As he was finishing the work, Elgar wrote: "The enigma I will not explain - its 'dark saying' must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture." A musical mystery of great beauty and endless fascination.

&lt;i&gt;Benjamin Britten: The Young Person's Guide to the Orchestra&lt;/i&gt;
The perennial family favorite that showcases - one by one - all the instruments in the orchestra. It is a perfect introduction to the symphony orchestra.

Program 16: Mysterious Mountain
&lt;i&gt;Alan Hovhaness: Symphony No. 2, Op. 132, "Mysterious Mountain&lt;/i&gt;
The composer wrote: "Mountain are symbols, like pyramids, of man's attempt to know God. Mountains are symbolic meeting places between the mundante and spiritual."

&lt;i&gt;Eugene Goossens et al: Jubilee Variations&lt;/i&gt;
This is a world-premiere video recording of this unpublished 1944 work created by Eugene Goossens with contributions from ten composer friends: Aaropn Copland, Deems Taylor, Howard Hanson, Walter Priston, William Schumann, ROy Harris, Anis Fuleihan, Bernard Rogers, Ernest Bloch, and Paul Creston.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Robert T. Gibson's&lt;/i&gt; setting of &lt;i&gt;We Shall Overcome&lt;/i&gt; is dynamic and well-crafted. Attention has been paid to the construction of the vocals, which throughout the work act as accompaniment to the soloist. Requires an accomplished soloist and a strong choir. A beautiful sentiment for our times.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=GIADVD-1093</marc:subfield>
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            <marc:subfield code="a">HAYDN, J.: Life and Work of Joseph Haydn (The) (Documentary, 2017) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">Bolt, Rachel, Artist -- Sturrock, Kathron, Artist -- Gibbs, Robert, Artist -- Elysium Ensemble, Ensemble -- Szucs, Ferenc, Artist -- Rogers, John, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Joseph Haydn&lt;/i&gt; was born into a poor family in 18th century Hungary. His huge musical talent brought him into the service of a Prince. Eventually his work was recognized throughout the musical world. The film by Malcolm Hossick describes his fascinating life and the social change he went through. It is followed by a brief overview of his work. Joseph Haydn was born into a simple rural community where his father worked for the local landowner. Joseph's musical talents developed in local church choirs and his fine voice took him to the choir of St Stephen's in Vienna. We follow his career into the the employment of the Esterhazy family where he remained until he was sixty. His international fame as a composer brought him an invitation to London where his career was reborn. The video ends with a brief overview of Haydn's work useful to experienced music lovers and and newcomers alike. On the soundtrack some of his most characteristic compositions are played by members of the Elysium ensemble.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=L7922DVD</marc:subfield>
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            <marc:subfield code="a">MAHLER, G.: Life and Work of Gustav Mahler (The) (Documentary, 2008) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
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            <marc:subfield code="a">The Life and Work of Gustav Mahler (NTSC) ( 36 min., 02 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
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            <marc:subfield code="a">&lt;i&gt;Gustav Mahler&lt;/i&gt; was born into a poor family in a small town in the Austro-Hungarian Empire. His astonishing musical talent carried him from there to the heights of music in his day as a conductor and composer. His vast musical landscapes have made him into one of the most admired composers in the musical canon. This film by Malcolm Hossick traces his remarkable life and is followed by a brief overview of his works. Mahler was born into a poor family in a small town in the Austro-Hungarian Empire. His astonishing musical talent carried him from there to the heights of music in his day as a conductor and composer. His vast musical landscapes have made him into one of the most admired composers in the musical canon. This film by Malcolm Hossick traces his remarkable life and is followed by a brief overview of his works.</marc:subfield>
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            <marc:subfield code="e">Composer</marc:subfield>
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        </marc:datafield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/L7923DVD</marc:subfield>
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    <marc:record>
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        <marc:controlfield tag="001">L7924DVD</marc:controlfield>
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            <marc:subfield code="a">The Life and Work of Wolfgang Amadeus Mozart (NTSC) ( 36 min., 23 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Mozart&lt;/i&gt; was born into a musical family and his extraordinary musical talent was evident at an early age. As a child prodigy he traveled to all the capitals of Europe and developed into one of the greatest composers of all time. The video uncovers his delightful character and explores the difficulties he had to overcome to to establish himself as an independent artist in age when musicians were simply seen as the servants of the rich and powerful. The video ends with a brief overview of Mozart's work useful to experienced music lovers and newcomers alike. On the soundtrack some of his most characteristic compositions are played by members of the Elysium ensemble.</marc:subfield>
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        </marc:datafield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/L7924DVD</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">PUCCINI, G.: Life and Work of Giacomo Puccini (The) (Documentary, 2017) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Streaming video.</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">The Life and Work of Giacomo Puccini (NTSC) ( 32 min., 50 sec. ) / Not Applicable</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Elysium Ensemble, Ensemble -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;Puccini&lt;/i&gt; was born in Lucca in Italy to a musical family and went on to write some of the best loved operas of all time. This film by Malcolm Hossick traces his interesting life and is followed by an overview of his work. Born in the beautiful old Tuscan city of Lucca in 1858 you could argue Puccini was destined to be a composer. For generations his family had been at the centre of musical life in the city. Few could have prophesied the phenomenal success he enjoyed in his day and his works are still as popular as ever. This film by Malcolm Hossick film traces his interesting and eventful life and is followed by an overview of his work.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Documentary</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="710" ind1="2" ind2=" ">
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        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/L7925DVD.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=L7925DVD</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/L7925DVD</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">L7926DVD</marc:controlfield>
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            <marc:subfield code="a">709629279261</marc:subfield>
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            <marc:subfield code="a">TMW Media Group</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">RAVEL, M.: Life and Work of Maurice Ravel (The) (Documentary, 2000) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">The Life and Work of Maurice Ravel (NTSC) ( 36 min., 34 sec. ) / Not Applicable</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Elysium Ensemble, Ensemble -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;Ravel&lt;/i&gt; was born in the little seaside town of Ciboure in French Basque country near the Spanish border. His mother had also been born in Ciboure but his father was a Swiss engineer and a naturalized French citizen. Ravel lived most of his life in Paris, following his music studies there and becoming one of the greatest of French composers and in spite of his relatively small output one of the most influential composers of the 20th century. The program traces his life and his musical development and ends with an overview of his works.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Documentary</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="710" ind1="2" ind2=" ">
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        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/L7926DVD.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=L7926DVD</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/L7926DVD</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">NAVD1015</marc:controlfield>
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        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos DVD</marc:subfield>
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            <marc:subfield code="a">Naxos</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">GESUALDO - Murder, Madness and Madrigals (Film and Documentary, 2019) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Gesualdo - Murder, Madness and Madrigals (Film and Documentary, 2019) (NTSC) ( 01 hrs. ) / Not Applicable</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Besta, Robert, Artist -- Holle, Natalie, Artist -- Veen, Adriaan van, Artist -- Würz, Birgit, Artist -- Jähnert, Sascha, Artist -- Mauritz, Philipp, Artist -- Gesualdo Six, The, Ensemble -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;Carlo Gesualdo&lt;/i&gt; - beastly murderer and divine composer - is one of the most striking figures in the history of music. Based on his dramatic honour killing, the film tells the story of multifaceted, revolutionary music and the search for forgiveness.

Gesualdo, 47, is the Prince of Venosa, a musical genius and insomniac. Every night he lies awake, haunted by the gruesome act he committed on the 16th of October 1590. Developing from this opening sequence, the documentary tells the story of this extraordinary character, well-illustrated through visits to the original settings in Naples and the village of Gesualdo, as well as enacted scenes.

Through the power of music, the film explores the thin line between fascination and disgust. How is it possible to commit a capital crime, yet write divine music? Are crime and genius interwoven? And can salvation through music be achieved?</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Feature Film</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="710" ind1="2" ind2=" ">
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        <marc:datafield tag="830" ind1=" " ind2="0">
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/NAVD1015.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NAVD1015</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/NAVD1015</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">NRE01601</marc:controlfield>
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            <marc:subfield code="a"></marc:subfield>
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        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos Regular CD (NRE)</marc:subfield>
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        <marc:datafield tag="040" ind1=" " ind2=" ">
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            <marc:subfield code="a">Puccini, Giacomo</marc:subfield>
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            <marc:subfield code="a">Tchaikovsky, Pyotr Il'yich</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Cilea, Francesco</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Satie, Erik</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">FUOCO SACRO - A Search for the Sacred Fire of Song (Documentary, 2022) (NTSC)</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
            <marc:subfield code="b">tdi</marc:subfield>
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        <marc:datafield tag="337" ind1=" " ind2=" ">
            <marc:subfield code="a">video</marc:subfield>
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        <marc:datafield tag="338" ind1=" " ind2=" ">
            <marc:subfield code="a">Online resource</marc:subfield>
            <marc:subfield code="b">cr</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="490" ind1="1" ind2=" ">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Fuoco Sacro - The Search for the Holy Fire of Song (Documentary, 2021) (NTSC) ( 01 hrs., 32 min., 28 sec. ) / Not Applicable -- Eugene Onegin, Op. 24, Act II Scene 2: Letter Scene (NTSC) ( 00 sec. ) / Tchaikovsky -- 3 Melodies (NTSC) ( 00 sec. ) / Satie -- Adriana Lecouvreur, Act I: Io son l'umile ancella (NTSC) ( 00 sec. ) / Cilea -- La Rondine, Acti I: Chi il bel sogno di Doretta (NTSC) ( 00 sec. ) / Puccini -- Gianni Schicchi: O mio babbino caro (NTSC) ( 00 sec. ) / Puccini -- 3 Gnossiennes (NTSC) ( 00 sec. ) / Satie</marc:subfield>
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        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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Hannigan is the analyst. She dissects every role in minute detail and interprets it with icy fire. Her Lulu, her Melisande, her Marie in &lt;i&gt;Zimmermann's Soldaten&lt;/i&gt; are beings from a future world: remote, self-assured, modern women. Masculine desire leaves them cold; even when they succumb, they are still in charge. This is similar to Grigorian, who won acclaim for her Salome in Salzburg. Grigorian's Salome is both victim and perpetrator; she enjoys her desire and the deadly spiral into which she is drawn. With Jaho, on the other hand, everything is in the voice; she carries the whole gamut of emotions in it and captivates audiences - as Violetta, Angelica, Ciocio-san - with her vocal acting.</marc:subfield>
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            <marc:subfield code="a">Chalupt, René</marc:subfield>
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            <marc:subfield code="a">Liquid Voices (Cassino da Urca, 2019) (NTSC) ( 01 hrs., 20 min., 36 sec. ) / Oliveira</marc:subfield>
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            <marc:subfield code="a">This cinematic production of a contemporary opera by composer &lt;i&gt;Jocy de Oliveira&lt;/i&gt;, tells the story of Mathilda Segalescu, an opera singer aboard the Sturma, the last jewish ship to leave Romania during World War II, that sank in the Black sea killing all its passengers. Years later, a Turkish fisherman rescues her piano from the waters and falls in love with her spirit kept safe by the memory of the waters. A true homage to all refugees of war.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;The Bohemians&lt;/i&gt; is an exciting new movie version of &lt;i&gt;La Boheme&lt;/i&gt;, set in present-day Williamsburg, Brooklyn. As the current hotbed of counter-cultural artistic expression, Williamsburg presents the perfect modern counterpart to the Latin Quarter of Paris in the mid-1800s. The film stars well-known performers as well as aspiring new opera singers like Israel Lozano, a three-time winner of Placido Domingo's Operalia competition, and Suzanne Kantorski-Merrill, who both have approached the project with an amazing passion. The film also relies on the contributions of a number of graduates from Juilliard, the Academy of Vocal Arts and Manhattan School of Music.</marc:subfield>
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            <marc:subfield code="a">Three contrasting ballets by the Royal Ballet's Founder Choreographer &lt;i&gt;Frederick Ashton: The Dream&lt;/i&gt; (1964) is an enchanting adaptation of &lt;i&gt;Shakespeare's&lt;/i&gt; &lt;i&gt;A Midsummer Night's Dream&lt;/i&gt; to music by &lt;i&gt;Mendelssohn&lt;/i&gt;. &lt;i&gt;Symphonic Variations&lt;/i&gt; (1946) is an early Ashton masterpiece, and a breathtaking, abstract work on the beauty of pure movement. &lt;i&gt;Marguerite and Armand&lt;/i&gt; (1963), here danced by former Royal Ballet Principal Zenaida Yanowsky and Guest Artist Robert Bolle, is tragic love story of great lyric beauty. The Orchestra of the Royal Opera House is conducted by Emmanuel Plasson.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;The Mother&lt;/i&gt; is a powerful, narrative dance production choreographed and directed by Arthur Pita - a master storyteller. Inspired by &lt;i&gt;Hans Christian Andersen's&lt;/i&gt; dark tale, &lt;i&gt;The Story of a Mother&lt;/i&gt;, this sumptuously designed production stars international dance superstar Natalia Osipova and multi-award winning dancer Jonathan Goddard.

This inventive new production conjures up a dangerous, kaleidoscopic world, combining narrative dance and drama. In setting out to save her sick child, a young mother journeys into the unknown to face life and death. Will she succumb to the forces of evil, or will the power of motherhood prevail?</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Beethoven's&lt;/i&gt; only opera is a masterpiece, an uplifting story of risk and triumph. In this new production, conducted by Antonio Pappano, Jonas Kaufmann plays the political prisoner Florestan, and Lise Davidsen his wife Leonore (disguised as Fidelio) who daringly sets out to rescue him. Set in strong counterpoint are the ingredients of domestic intrigue, determined love and the cruelty of an oppressive regime. The music is transcendent throughout and includes the famous Act I Quartet, the Prisoners' Chorus and Florestan's impassioned Act II cry in the darkness and vision of hope. Tobias Kratzer's new staging brings together the dark reality of the French Revolutionary 'Terror' and our own time to illuminate &lt;i&gt;Fidelio's&lt;/i&gt; inspiring message of shared humanity.</marc:subfield>
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            <marc:subfield code="a">Described as 'a joyous romp' (Opera News), &lt;i&gt;Donizetti's&lt;/i&gt; dramma giocoso shows us what can go wrong when the egos of the actors get in the way of putting on a good show. From the prima donna and the sub-par lead tenor, to the seconda donna's boisterous mother (played by a bass singer) and all the characters in between, everyone is playing the diva whilst the director pulls his hair out in frustration, and questions of who will fund the production are raised...

&lt;i&gt;Le convenienze ed inconvenienze teatrali&lt;/i&gt; ('The Conventions and Inconveniences of the Stage') - a joyful play on words in itself - more commonly known as &lt;i&gt;Viva la mamma!&lt;/i&gt; is a two-act farce that shines an exaggerated spotlight on the behind-the-scenes working of a theatre and the rehearsal process with hilarious results.

Lauren Pelly directs this masterpiece of comic timing and satire, marking the continuation of his celebrated relationship with Opera de Lyon.</marc:subfield>
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            <marc:subfield code="a">Acclaimed director Laurent Pelly is one of the most renowned and prolific interpreters of &lt;i&gt;Offenbach's&lt;/i&gt; brilliantly inventive operettas, including several productions for the Opera de Lyon. The composer's satirical and hilarious opera bouffe version of the Charles Perrault's 17th-century tale of the serial wife-murdering Bluebeard (in which no-one actually gets murdered), deftly walks the line between humour and cruelty, with a stellar performance from Yann Beuron in the title role.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Jean-Christophe Maillot's&lt;/i&gt; inspired adaptation of Shakespeare's &lt;i&gt;The Taming of the Shrew&lt;/i&gt; won three Golden Masks (best choreographic show best male dancer (Petruchio) and best female dancer (Katherine)) and has toured the world to great acclaim since it was created for the Boilshoi in 2014. Now Jean-Christophe Maillot and The Ballets de Monte-Carlo bring this "funny", fast-witted version" (The Guardian) to the screen, with a fresh and witty re-interpretation of the combative relationship between Katherine and Petruchio as they fight to find true love. Set to an inspired selection of some of &lt;i&gt;Shostakovich's&lt;/i&gt; most memorable music, this is one of the finest "Shakespeare ballets" and not to be missed.</marc:subfield>
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            <marc:subfield code="a">Buffeted by social and political currents, &lt;i&gt;Copland&lt;/i&gt; can seem unmoored: a cork in a stream. He was politicised by the Depression - and by the example of Mexico, whose artists galvanized national identity and progressive thought. He wrote a prize winning workers' song and addressed a Communist picnic in Minnesota. Twenty years later, the Red Scare targeted him as a traitor. Can his odyssey be read as a parable illuminating the fate of the American artist?

The film features a re-enactment of Copland's grilling by Senator Joseph McCarthy (played by Edward Gero). It also highlights the most consequential Copland score we don't know: his ingenious music for Lewis Mumford's 1939 World's Fair film &lt;i&gt;The City&lt;/i&gt;, itself a complex product of the Popular Front. We reconsider the valedictory &lt;i&gt;Piano Fantasy&lt;/i&gt;, in which Copland refreshed his modernist roots - a galvanising performance by Benjamin Pasternack, who also recalls a telling encounter with the composer. Our other commentators include the American historians Michael Kazin and Joseph McCartin, who ponder the tangled legacy of American populism of the left and right.</marc:subfield>
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            <marc:subfield code="a">No non-Western musical idiom has so impacted on the Western concert tradition as Indonesian gamelan, beginning with the Javanese Pavilion at the 1889 Paris Exposition: an epiphany. Sampling gamelan-inspired works by &lt;i&gt;Debussy, Ravel&lt;/i&gt;, and &lt;i&gt;McPhee&lt;/i&gt;, the film arrives at a paragon exemplar of cultural fusion - &lt;/i&gt;Lou Harrison&lt;/i&gt; - and a pair of concertos for violin and piano, unsurpassed by those of any other American. The composer/scholar &lt;i&gt;Bill Alves&lt;/i&gt; demonstrates the layered complexity of Javanese gamelan, and how it translates into keyboard textures composed by Harrison for Keith Jarrett. For Harrison's &lt;i&gt;Concerto for Violin and Percussion&lt;/i&gt;, tour the 'junk percussion' - including flower pots and washtubs - that Harrison made sing and dance.

Participants include the gamelan scholars Jody Diamond and Sumarsam, and the conductor Dennis Russell Davies, who has long championed Harrison on both sides of the Atlantic.</marc:subfield>
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            <marc:subfield code="a">Dvořák's Prophecy - A New Narrative for American Classical Music: Film 3: The Souls of Black Folk and the Vexed Fate of Black Classical Music (NTSC) ( 01 hrs., 18 min. ) / Price</marc:subfield>
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            <marc:subfield code="a">Deas, Kevin, Artist -- Fagen, Arthur, Conductor -- Jeter, James, Conductor -- Price, Florence Beatrice, Composer -- Still, William Grant, Composer -- Dawson, William Levi, Composer -- Burleigh, Harry Thacker, Composer</marc:subfield>
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            <marc:subfield code="a">If &lt;i&gt;George Gershwin's Porgy and Bess&lt;/i&gt; - the highest creative achievement in American classical music - embodies a glorious (and controversial) fulfillment of &lt;i&gt;Dvorak's&lt;/i&gt; prophecy, there also exists a buried lineage of exceptional compositions of Black composers following in Dvorak's wake. Coming first was his assistant &lt;i&gt;Harry Burleigh&lt;/i&gt; whose seminal settings of &lt;i&gt;Deep River&lt;/i&gt; are as much compositions as transcriptions. Burleigh's initiative was sealed by singers like Paul Robeson and Marian Anderson. But &lt;i&gt;William Levi Dawson's&lt;/i&gt; oracular &lt;i&gt;Negro Folk Symphony&lt;/i&gt;, though triumphantly premiered by &lt;i&gt;Leopold Stokowski&lt;/i&gt; and his Philadelphia Orchestra in 1934, gathered dust - and Dawson was never to create the symphonic catalogue he seemed destined to undertake.

The commentators include George Shirley, the most legendary name in present-day Black classical music, also Kevin Deas, who sings Burleigh with singular authority, and the conductors Roderick Cox and the late Michael Morgan.</marc:subfield>
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            <marc:subfield code="a">Charles Ives' America (Dvořák's Prophecy) (Film 2, 2021) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Mayer, Steven, Artist -- Sharp, William, Artist -- Schermerhorn, Kenneth, Conductor -- Sinclair, James, Conductor -- Sánchez, Paul T., Artist -- Ives, Charles, Composer</marc:subfield>
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            <marc:subfield code="a">Steeped in nostalgia, in his Danbury childhood and the New England Transcendentalists with whom he profoundly identified, in the American experience of race which he absorbed from his Abolitionist grandparents, &lt;i&gt;Ives&lt;/i&gt; used the past with consummate empathy and brave artistry. A musical Whitman or Melville, he embodies the American trope of the 'self-made genius', heeding Emerson's call to cut the cultural umbilical cord with Europe, forging an original path. The music at hand here includes his &lt;i&gt;Second Symphony&lt;/i&gt; (a milestones in culling the vernacular to set beside &lt;i&gt;Huckleberry Finn&lt;/i&gt;), &lt;i&gt;The Housatonic at Stockridge&lt;/i&gt; (possibly the most sublime nature reverie in the American orchestral repertoire), and &lt;i&gt;The St Gaudens in Boston Common&lt;/i&gt; (a singular ghost dirge in tribute to Colonel Robert Gould Shaw's Black Civil War regiment). Also heard portions of Ive's &lt;i&gt;Concord Sonata&lt;/i&gt; performed by Steven Mayer (an interpretation seasoned by a lifetime of advocacy) and half a dozen Ives songs peerlessly sung (in live performance with Paul Sanchez) by William Sharp. The commentators include the Ives scholars J. Peter Burkholder and Judith Tick, and the conductor James Sinclair</marc:subfield>
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            <marc:subfield code="a">Beyond Psycho - The Musical Genius of Bernard Herrmann (Dvořák's Prophecy) (Film 5, 2021) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hollywood's supreme film composer was a casualty of the standard narrative - as he himself was bitterly aware. Not only were his movie scores high creative accomplishments; &lt;i&gt;Bernard Herrmann&lt;/i&gt; was a formidabale - and formidably unfashionable - concert composer whose &lt;i&gt;Clarinet Quintet&lt;/i&gt; may be the most beautiful chamber music by an American. His &lt;i&gt;Psycho Narrative&lt;/i&gt;, which also sampled, surpasses the &lt;i&gt;Psycho Suite&lt;/i&gt; normally heard.

He hones his gift for dramatizing the spoken word as the pre-eminent composer for a genre no longer remembered: the radio drama. Example, &lt;i&gt;Whitman&lt;/i&gt; (1944) - a Norman Corwin radio play that deserves to live as a concert work. It also exemplifies how radio, an unprecedented mass medium, once consolidated the American experience, its biggest star being Franklin D. Roosevelt.

The participants include the Whitman scholar Karen Karbiener, the critic Alex Ross, Murray Horwitz on radio lore, and William Sharp on playing Walt Whitman to music  by Bernard Herrmann.</marc:subfield>
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            <marc:subfield code="a">Dvořák, Antonín</marc:subfield>
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            <marc:subfield code="a">Horowitz, Joseph</marc:subfield>
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            <marc:subfield code="a">Beckerman, Michael</marc:subfield>
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            <marc:subfield code="a">Dvořák's New World Symphony - A Lens on the American Experience of Race (Dvořák's Prophecy) (Film 1, 2021) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Dvořák's Prophecy - A New Narrative for American Classical Music: Film 1: Dvořák's New World Symphony - A Lens on the American Experience of Race (NTSC) ( 01 hrs., 23 min. ) / Burleigh</marc:subfield>
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            <marc:subfield code="a">Deas, Kevin, Artist -- Gil-Ordóñez, Angel, Conductor -- PostClassical Ensemble, Ensemble -- Burleigh, Henry Thacker, Composer -- Dvořák, Antonín, Composer -- Horowitz, Joseph, Composer -- Beckerman, Michael, Composer</marc:subfield>
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            <marc:subfield code="a">This first film in the series keys on &lt;i&gt;Dvorak's&lt;/i&gt; prophecy and explores its present-day pertinence. In New York City and Spillville, Iowa, Dvorak boldly chose to regard African Americans and Native Americans as representative Americans. That decision was both acclaimed and ridicules at the time. It remains inspirational. His &lt;i&gt;New World Symphony&lt;/i&gt;, still the best-known and best-loved symphonic work conceived on American soil, is saturated with the influence of plantation song, and also with &lt;i&gt;Henry Wadsworth Longfellow's The Song of Hiawatha&lt;/i&gt;. This act of appropriation, the film argues, was an act of empathy performed by a great humanitarian.

The musical selections are mainly taken fro the &lt;i&gt;Hiawatha Melodrama&lt;/i&gt;, which co-composed with the music historian Michael Beckerman with orchestrations by Angel Gil-Ordonez. It makes Dvorak with Longfellow. 

The participating commentators include the music historians Mark Clague and Lorenzo Candelaria, the literary historian Brian Yothers, the conductor JoAnn Falletta, faculty members from Howard University - and also (sagely commenting on cultural appropriation) the bass-baritone Kevin Deas, with whom Horowitz long enjoyed the privilege of performing the spiritual arrangements of Dvorak's assistant Harry Burleigh.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">STRAUSS, R.: Life and Work of Richard Strauss (The) (Documentary, 2020) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Strauss&lt;/i&gt; was born in Munich into a very musical family. He showed talent for composition at an early age and had his first symphony performed when he was only seventeen. He began conducting in various opera houses around Germany and was soon astounding the world with his wonderful music. He began with compositions for orchestra but became one of leading composers of opera in the first half of the twentieth century. The video traces his career and ends with and overview of his works.</marc:subfield>
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            <marc:subfield code="a">SCHUBERT, F.: Life and Work of Franz Schubert (The) (Documentary, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Schubert&lt;/i&gt; was born the son of a schoolmaster in a suburb of Vienna. He became a singer in the choir of the court chapel. His precarious life struggling to live from his compositions was enlivened by the group of friends among whom he lived and who supported him and valued his work. He achieved little outside recognition in his own time and died of typhus at the tragically early age of 31.The film ends with a brief overview of Schubert's work useful to experienced music lovers and newcomers alike. On the soundtrack some of his most characteristic compositions are played by members of the Elysium Ensemble.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Sibelius&lt;/i&gt; was born in Finland. He learned to play the violin and after studying music for a while set out to be a composer. He developed a unique style and was steeped in the literature and natural beauty of his native land which inspired his music. These nordic roots have not stopped him becoming universally admired and his music is now a staple of modern concert halls. This film by Malcolm Hossick traces his life and his musical development. It is followed by an overview of his work.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Stravinsky&lt;/i&gt; was born into a musical family in the little town of Lermontov near St. Petersburg. His father was principal bass singer at the opera there, so music was part of his life. He studied at the St. Petersburg conservatioire under &lt;i&gt;Rimsky Korsakov&lt;/i&gt; and was soon making an impression with his compositions. He had early successes with his ballet music for Diaghilev and over a long and productive life went on to become arguably the greatest composer of the twentieth century. The video traces his eventful life and ends with a brief overview of his compositions.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Tchaikovsky&lt;/i&gt; was born into a modest family on the bottom rank of the Russian aristocracy. His father was a mining engineer and after an early education from a French governess Tchaikovsky was sent to the School of Jurisprudence in St. Petersburg Conservatory opened shortly afterwards and as one of its first graduates he launched into the doubtful career of music composition. His gifts were soon recognized and he went on to achieve extraordinary international acclaim. The video traces his career and ends with an overview of his works.</marc:subfield>
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            <marc:subfield code="a">The film by Malcolm Hossick tells the remarkable story of &lt;i&gt;Verdi&lt;/i&gt; - who rose from poverty and obscurity to become one of the greatest opera composers of all time. It is followed by an overview of his work. Verdi was born in the tiny and remote village of Roncole near Busetto a town in the then principality of Parma, Italy. With the help of a local businessman he was given a good general education and under the local organist a fine training in music. In spite of terrible setbacks in his personal life he went on to become one of Italy's most successful composers of opera. The video traces his career and development over a long life and many operas. He never stood still and in his later years he produced some of his finest work. The video ends with a brief overview of his compositions. Verdi was born in the tiny and remote village of Roncole near Busetto a town in the then principality of Parma, Italy. With the help of a local businessman he was given a good general education and under the local organist a fine training in music. In spite of terrible setbacks in his personal life he went on to become one of Italy's most successful composers of opera. The video traces his career and development over a long life and many operas. He never stood still and in his later years he produced some of his finest work. The video ends with a brief overview of his compositions.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Wagner&lt;/i&gt; was born in Leipzig into the family of a government official. However his father died and his mother remarried. His stepfather was an actor in the theatre at Dresden giving Wagner an exceptionally vivid experience of the theatre which was to be the basis of his great series of music dramas. He had immense natural musical gifts and a huge ego which carried his massive operatic projects through including the building of his own theatre at Bayreuth in Bavaria. The film traces his life and the development of his work and ends with an overview of his compositions.</marc:subfield>
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            <marc:subfield code="a">Divertimento, BB 118 (NTSC) ( 00 sec. ) / Bartók -- Cello Concerto No. 1, H. 196 (NTSC) ( 00 sec. ) / Martinů -- Eugene Onegin, Op. 24, Act II: Lenky's Aria: Kuda, kuda vï udalilis (arr. M. Grafe for cello and orchestra) (NTSC) ( 00 sec. ) / Tchaikovsky -- Petite Suite (arr. of Jeux d'enfants for orchestra) (NTSC) ( 00 sec. ) / Bizet -- Symphony No. 83 in G Minor, Hob.I:83, "La poule" (The Hen) (NTSC) ( 00 sec. ) / Haydn</marc:subfield>
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            <marc:subfield code="a">After her remarkable Lucerne Festival debut in 2014, the Argentinian cellist Sol Gabetta returned to the idyllic Swiss city in 2018 for a performance of &lt;i&gt;Martini's First Cello Concerto&lt;/i&gt;, one of her favorite virtuosic works for her instrument, accompanied by the Mahler Chamber Orchestra under Francois-Xavier Roth's baton. As she describes it, "The orchestral writing is opulent, the themes - which draw on superb popular Czech melodies - and a very interesting rhythmic structure." Martinu's masterpiece is framed by the folk melodies of &lt;i&gt;Bartok's Divertimento&lt;/i&gt;, &lt;i&gt;Haydn's Parisian Symphony "The Hen"&lt;/i&gt; (listen for the oboe's unmistakable pecking sounds!), and the carefree delights of dolls, spinning tops, and soap bubbles in &lt;i&gt;Bizet's Jeux d'enfants&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">12 Etudes, Opp. 10 and 25 (arr. Ni Fan and L. Böhm for 2 marimbas) (excerpts) (NTSC) ( 00 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">The 24 etudes for solo piano that make up &lt;i&gt;Chopin's&lt;/i&gt; Opp. 10 and 25&lt;/i&gt; cycles may be technical exercises, but their extra-musicality and picture painting has ensured their sustained popularity and place in the repertoire. &lt;i&gt;Etude in E flat major, Op. 10, No. 11&lt;/i&gt;, with its spread of undulating  arpeggios, creates a gently rippling texture  
that translates idiomatically to the soft, resonant tones of the marimba. By contrast, &lt;i&gt;Etude in A minor, Op. 25, No. 4&lt;/i&gt;, marked Agitato, is closer in character to a technical study but its syncopated staccato rhythm, which sets left-hand leaps against right-hand chords, creates a narrative of high drama.</marc:subfield>
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            <marc:subfield code="a">Böhm, Lukas</marc:subfield>
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NVF1303</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/NVF1303</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">Naxos Regular CD (NRE)</marc:subfield>
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            <marc:subfield code="a">Naxos</marc:subfield>
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            <marc:subfield code="a">Piazzolla, Astor</marc:subfield>
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            <marc:subfield code="a">PIAZZOLLA, A.: Histoire du Tango: III. Nightclub 1960 (arr. for two marimbas) (DoubleBeats) (from Naxos 8.574056) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Histoire du Tango (History of the Tango): III. Nightclub 1960 (arr. Ni Fan and L. Böhm for 2 marimbas) (NTSC) ( 04 min., 58 sec. ) / Piazzolla</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">DoubleBeats, Ensemble -- Piazzolla, Astor, Composer -- Fan, Ni, Arranger -- Böhm, Lukas, Arranger</marc:subfield>
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            <marc:subfield code="a">Argentine composer &lt;i&gt;Astor Piazzolla&lt;/i&gt; wrote &lt;i&gt;Histoire du Tango&lt;/i&gt; for flute and guitar in 1986, but over the years the work has proved equally effective in a number of different instrumental combinations, with the marimba often substituted for the guitar. The work acts as an entry point to the tango, detailing the history of the dance
in four movements. 

&lt;i&gt;Nightclub 1960&lt;/i&gt;, the third movement takes account of the changes in Buenos Aires at the turn of that decade, notably the integration of tango with the Brazilian bossanova. The marimba duo builds up to to a thrilling finish.</marc:subfield>
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            <marc:subfield code="a">Piazzolla, Astor</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Fan, Ni</marc:subfield>
            <marc:subfield code="e">Arranger</marc:subfield>
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            <marc:subfield code="a">Böhm, Lukas</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/NVF1304.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NVF1304</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/NVF1304</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">Miki, Minoru</marc:subfield>
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            <marc:subfield code="a">MIKI, Minoru: Marimba Spiritual (arr. for 2 marimba) (DoubleBeats) (after Naxos 8.574056) (NTSC)</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
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            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="b">cr</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">DoubleBeats, Ensemble -- Miki, Minoru, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Minoru Miki&lt;/i&gt; completed &lt;i&gt;Marimba Spiritual&lt;/i&gt; between Christmas Day 1983 and 13 January 1984. The world premiere was given at the Concertgebouw in Amsterdam two months later, after which Keiko Abe took it on a European tour. In 1988 the Safri Duo made a successful arrangement for two players; The DoubleBeats version featured here is for marimbas and a range of percussion: an odaiko, shime, bongo, bass drum, waterphone, spiral cymbal, caxixi (a shaker) and Asian gongs.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/NVF1305.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NVF1305</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/NVF1305</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">NVF1306</marc:controlfield>
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            <marc:subfield code="a">Naxos Regular CD (NRE)</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">Naxos</marc:subfield>
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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">PROKOFIEV, S.: Piano Concertos Nos. 1 and 2 / Sonata for Solo Violin, Op. 115 (Facebook Live with Tianwa Yang, Jun Märkl and Raymond Bisha)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Tianwa Yang and Jun Märkl discuss Prokofiev Violin Concertos with Raymond Bisha (NTSC) ( 01 hrs., 07 min., 39 sec. ) / Not Applicable</marc:subfield>
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        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Yang, Tianwa, Artist -- ORF Vienna Radio Symphony Orchestra, Orchestra -- Bisha, Raymond, Artist -- Märkl, Jun, Conductor -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">The Facebook Live Q&amp;A event, with violinist &lt;i&gt;Tianwa Yang&lt;/i&gt; and conductor &lt;i&gt;Jun Markl&lt;/i&gt; moderated by &lt;i&gt;Raymond Bisha&lt;/i&gt;, and it features the artists' recent Naxos release of &lt;i&gt;Violin Concertos Nos. 1 and 2&lt;/i&gt; by &lt;i&gt;Prokofiev&lt;/i&gt;.</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/NVF1306.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=NVF1306</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/NVF1306</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">PTC5186945</marc:controlfield>
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        <marc:controlfield tag="006">m||||||||h||||||||</marc:controlfield>
        <marc:controlfield tag="008">230831s||||||||cc syz|fsaefh       eng|d</marc:controlfield>
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            <marc:subfield code="a">827949094569</marc:subfield>
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        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">PentaTone</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">Naxos</marc:subfield>
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            <marc:subfield code="a">Fauré, Gabriel</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">FAURÉ, G.: 3 Songs, Op. 7: No. 1. Après un rêve (Haimovitz, Kodama) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
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        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
            <marc:subfield code="b">tdi</marc:subfield>
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            <marc:subfield code="a">video</marc:subfield>
            <marc:subfield code="b">v</marc:subfield>
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            <marc:subfield code="a">Online resource</marc:subfield>
            <marc:subfield code="b">cr</marc:subfield>
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        <marc:datafield tag="490" ind1="1" ind2=" ">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">3 Songs, Op. 7: No. 1. Après un rêve (arr. for cello and piano) (NTSC) ( 03 min., 05 sec. ) / Fauré</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Kodama, Mari, Artist -- Haimovitz, Matt, Artist -- Anonymous, Arranger -- Fauré, Gabriel, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Apres un reve&lt;/i&gt; (1878) is one of &lt;i&gt;Faure's&lt;/i&gt; most popular songs, a longing for dreams of a mysterious night, and an elusive, ecstatic love that withers in the light of day. 

The instrumental song-without-words omits the text by Romain Bussine, who adapted an anonymous Italian poem. Faure's Papillon was published
in 1898, but commissioned fourteen years earlier. This short encore piece oscillates between virtuosic moto perpetuo writing, the butterfly wings flapping in flight, and a soaring melody in the cello accompanied by a descending bass line in the piano.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Concert</marc:subfield>
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            <marc:subfield code="a">Anonymous</marc:subfield>
            <marc:subfield code="e">Arranger</marc:subfield>
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            <marc:subfield code="a">Fauré, Gabriel</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/PTC5186945.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=PTC5186945</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/PTC5186945</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
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