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Symphonien - Erschienen am 27. Oktober 2017 | Sony Classical

Hi-Res Booklet Auszeichnungen Gramophone Record of the Month - Diapason d'or / Arte - Choc de Classica - 5 Sterne Fono Forum Klassik
Ein Album, eine Sinfonie: man fühlt sich in das Zeitalter der Long Play, zu Zeiten von Mravinsky, Doráti, Markevitch, Karajan und vielen anderen Interpreten zurückversetzt, die die Diskografie der letzten Sinfonie von Pjotr Iljitsch Tschaikowsky stark geprägt haben. Das CD-Cover scheint es auch zu bestätigen, es erinnert an alte RCA-Covers aus den 50er- und 60er-Jahren. Sony Classical unterstützt den griechisch-russischen Dirigenten in seinem künstlerischen Bestreben voll und ganz und hat ohne Bedenken ein Album mit einer Dauer von ungefähr fünfundvierzig Minuten herausgebracht – das von derselben Plattenfirma zuvor veröffentlichte, von der Presse hochgelobte Sacre du printemps (2015) war sogar noch länger. Auf dem vorliegenden Album setzt Teodor Currentzis seine Erkundungen von Tschaikowskys Welt mit der Pathétique fort und unterstreicht die dynamischen Kontraste zum Teil mit natürlichen und zum Teil mit eher technischen Mitteln (Adagio lamentoso), wobei er spezielle Methoden aus der Pop-Produktion anwendet. Er betont den oft dunklen Charakter des Werkes und sucht noch vor einer Hervorhebung seiner rhythmischen Energie, Atmosphären entstehen zu lassen, die meistens recht morbid sind. Für CD-Sammler ist diese Neuerscheinung ein guter Anlass, ihre Diskografie zu überprüfen, und für alle anderen eifrigen Qobuz-Nutzer eine Gelegenheit, dieses emblematische Orchesterwerk wiederzuentdecken. © TG/Qobuz
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Oper - Erschienen am 17. Februar 2014 | Sony Classical

Hi-Res Booklet Auszeichnungen 4F de Télérama - 4 étoiles Classica - Hi-Res Audio
There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French. © TiVo
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Ballett - Erschienen am 9. Oktober 2015 | Sony Classical

Hi-Res Booklet Auszeichnungen 5 de Diapason - 4F de Télérama
In describing his interpretation of Igor Stravinsky's Le Sacre du printemps, Teodor Currentzis emphasizes the essential Russian origins of the music, and points out the folk influences that give it its cultural resonance. This is indeed the case, since the Russian and Lithuanian folk songs that Stravinsky used have been identified, and the score overflows with themes and melodic fragments that evoke an ancient tribal culture. This is perhaps the reason so much of this elastic performance of Le Sacre du printemps feels like a melodically based interpretation, rather than a sharp, rhythmic exploration, with more attention paid to articulation and phrasing than to accentuation and rhythm. While Currentzis and Musica Aeterna produce punchy moments in the expected places, they tend to slacken in subdued sections and deprive the work of the overwhelming drive and ruthless violence it needs. Opinions may vary over Currentzis' melodic approach, mainly in Part I, though from the Glorification de l'Élue to the Danse Sacrale in Part II, the orchestra kicks into gear and produces the necessary propulsion and volatility to make a convincing ending. © TiVo
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Symphonieorchester - Erschienen am 8. Januar 2016 | Sony Classical

Hi-Res Booklet Auszeichnungen 5 de Diapason - Qobuzissime
Er ist der unangefochtene König der Gegensätze, der Extreme und der wilden Fantasie. Und nun taucht er, Teodor Currentzis in eines der wohl brillantesten und fantasiereichsten Werke ein: Tschaikowskis Violinkonzert, bei dem er von der talentierten moldawischen Geigerin Patricia Kopatchinskaja begleitet wird. Auch sie ist eine wahre Naturgewalt, eine Künstlerin, die, laut Kritikern des Diapason, „alles wage und dabei sogar Gitlis, Kremer oder Kennedy in den Schatten stelle.“ Der Zuhörer weiß Bescheid: dieses Konzert von Tschaikowski stammt aus dem tiefsten Russland. Aus derselben Gegend also, in der auch Strawinskys Les Noces verortet ist. Ein derber Festtagstisch mit exzessivem Wodkagenuss, gelehrten Mönchen, einem frechen Chor und kühnen Solisten, die von den von Strawinsky gewählten Instrumenten – vier Klavieren und einem Schlagzeug – begleitet werden. Alle früheren Interpretationen könnten sich vor den Kopf gestoßen fühlen. Currentzis scheut nicht davor zurück, meisterlich und fast schon provokativ das Kantige und die Schärfe der Partitur besonders hervorzuheben und in Szene zu setzen. Aufgenommen in Madrid im Oktober 2013 (Strawinsky) und Perm (Russland) im April/Mai 2014 (Tschaikowski). © SM / Qobuz
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Symphonien - Erschienen am 26. Oktober 2018 | Sony Classical

Hi-Res Booklet Auszeichnungen 5 de Diapason - Gramophone Editor's Choice
Mit seiner 6. Sinfonie, der „Tragischen“ (der Titel ist ausnahmsweise einmal kein Apokryph oder verlegerischer Werbetrick, sondern wurde dem Werk von Mahler bei seiner Wiener Premiere hinzugefügt) knüpft der Komponist beinahe wieder mit der klassischen Form der Sinfonie an: zusätzliche Stimmen in der Partitur – was er bereits in der 5ten begonnen hatte – Aufbau in vier Sätzen (wobei die 5te in fünf Sätze und drei "Teile" gegliedert ist), kein Programm oder philosophischer Inhalt. Sicher, das Orchester bleibt immens mit seinen vierfach besetzten Holzbläsern, acht Hörnern, sechs Trompeten und nicht zu vergessen ein beeindruckendes Arsenal an Schlagzeug mit Alpenglocken, Hammer und Xylophon, die er sonst nie verwendete. Mahler führt hier den spätromantischen Trend zu gigantischen Werken für überdimensionale Orchester an sein Äußerstes. Man muss sagen, dass der letzte Satz mit seiner Dauer von mindestens einer halben Stunde, dem in der Tat tragischen Thema und einer undurchdringlicher Düsterkeit den damaligen Kritikern, die das Werk für etwas aufgebläht hielten, unheimlich war. Es liegt daher am Dirigenten, die Partitur so transparent wie möglich zu gestalten, die kontrapunktischen Linien lesbar und die Klangfarben durch die Unermesslichkeit des Orchesters hindurch wahrnehmbar zu machen. Teorod Currentzis begibt sich mit seinem Orchester MusicAeterna ins Abenteuer. © SM/Qobuz
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Klassik - Erschienen am 14. März 2011 | Alpha

Hi-Res Booklet Auszeichnungen Hi-Res Audio
This release stands out from among both the dozens or hundreds of available recordings of Mozart's Requiem in D minor, K. 626, and from among the recordings in the catalog of France's Alpha label. On the latter count, while most of Alpha's recordings have been historically oriented, this one falls into glorious Russian tradition of luxurious expression, and the usual art-historical essay included with Alpha's discs is missing here (although the packaging does bear some gorgeous Byzantine iconography). The recording pairs four western European soloists, who traveled all the way to Novosibirsk for the lengthy recording sessions, with the New Siberian Singers and the chamber orchestra MusicAeterna under its conductor, Teodor Currentzis. This is not a large choir (33 singers), but it has the rich sound associated with Russian opera choruses, which is what this group does as a general rule. If you're thinking this sounds a bit like Mozart as conducted by Rachmaninov, you're about right, especially in the sections where the dying Mozart seems to gaze into the fires of hell. The considerably more delicate soloists, especially alto Stéphanie Houtzeel, make a vivid contrast with the choir in this deeply colored, almost raw performance, which is nevertheless very carefully done in its details and sonically matched to the Novosibirsk opera house where it was recorded. By any measure this choir is a striking new talent. © TiVo
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Gesamtaufnahmen von Opern - Erschienen am 17. November 2014 | Sony Classical

Hi-Res Booklet + Video Auszeichnungen 4F de Télérama
Greco-Russian conductor Teodor Currentzis had caused quite a controversy in the operatic world. Settling in the provincial city of Perm, he formed a historical-instrument (although hardly a historical-performance) group called MusicAeterna and shaped it to reflect his unique musical visions. This release is one of a group of three devoted to Mozart's operas with libretti by Lorenzo da Ponte, whom Currentzis regards as a kind of revolutionary comparable to the most outrageous figures in rock music, and his reading of Così fan tutte is explicitly rock-influenced. This doesn't mean that there are guitars or electric instruments, but listen to some of the overture for an idea: blazing speed, slashing attacks that include bow noise from the strings, and a heavy continuo in the recitatives that at times includes a hurdy-gurdy. Plainly there is no historical evidence for such a practice, and it's safe to say that Currentzis' reading is not the music Mozart heard in his head. There are some pretty well-known singers on this release, including soprano Simone Kermes as Fiordiligi, but they function pretty much as cogs in Currentzis' machinery. The recitatives have a fascinating skittery quality, and when Currentzis does let up on the hell-for-leather intensity, he creates beautifully delicate slow arias. Opinions, both critical and audience-formed, on Currentzis are sharply polarized, and this release will do nothing to change that situation. His backers include the executive staff at Sony Classical, who provide a luxurious hardbound book with libretto of the kind previously only seen on labels that get government support, and sprang for a studio recording in Russia (the edgy sound is well-matched to the concept). Listener reactions to this are necessarily going to be highly subjective, but note that this recording has one trait common to many paradigm-shifting performances: the players seem to be having a great deal of fun, even if (or perhaps because) they probably had to unlearn everything they had been trained in so that they could follow their conductor's instructions. © TiVo
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Klassik - Erschienen am 17. Oktober 2014 | Sony Classical

Hi-Res Booklet Auszeichnungen 5 Sterne Fono Forum Klassik
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Oper - Erschienen am 17. Februar 2014 | Sony Classical

Hi-Res Booklet Auszeichnungen Hi-Res Audio
There are many splendid recordings of Mozart's Le nozze di Figaro that appeal to every taste, but there are relatively few that can be categorized as historically authentic, in the truest sense of the term. Of these, the 2014 Sony release by Teodor Currentzis and Musicaeterna may be the most thoroughly researched and carefully restored version available. Taking pains to consult original sources, and to use period instruments or modern replicas (including a fortepiano, a lute, and even a hurdy-gurdy), Currentzis creates a Classical sound that works brilliantly with the score as written and as Mozart intended, and makes the music as vivid and exciting as possible. Currentzis also has called for a historical approach to singing, and embellishments that were typical of Mozart's day are employed, as well as a more intimate delivery and purer vocal style with less vibrato. The cast may not feature international stars, but the artists are well-suited to Currentzis' goals of presenting Figaro in true period practice. Prominent in this production are Andrei Bondarenko as Count Almaviva, Simone Kermes as the Countess, Fanie Antonelou as Susanna, Mary-Ellen Nesi as Cherubino, and Christian van Horn as Figaro, who give their roles distinctive characterizations along with their impeccable vocal production. Sony's recording is rich in details and close enough to the musicians to give a front-row feeling. Le nozze di Figaro is presented on three CDs in a deluxe hardcover book that includes an interview with the conductor and the complete libretto in English, Italian, German, and French. © TiVo
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Symphonieorchester - Erschienen am 11. Mai 2010 | Alpha

Booklet Auszeichnungen 4F de Télérama
Shostakovich wrote his Fourteenth Symphony, one of his most relentlessly dark-hued works, in 1969 at a point when he felt he had essentially wasted his life and was "a dull and mediocre" composer. The symphony, scored for soprano, bass, strings, and percussion, is a devastating reflection of his bleak and hopeless state of mind. The texts he uses for its 11 movements dwell largely on either the dreaded finality of death or the misery of life, which is little better than death. Shostakovich seems indifferent to making the work symphonic in any conventional sense, and fully embraces the formal eccentricity that its grim texts dictate. Its effect is that of an orchestral song cycle, with some movements lasting as long as 10 minutes and others (the abrupt finale) as short as a minute. The performance is the second release on the Alpha label featuring Greek conductor Teodor Currentzis leading Musica Aeterna, the chamber orchestra of the Opera of Novosibirsk, Siberia, the first being an astonishing, revelatory 2008 performance of Purcell's Dido and Aeneas. This recording demonstrates that the earlier disc was no fluke, that these are performers with a distinctive point of view, and the passion and finesse to effectively put it across. The symphony here frequently sounds like chamber music and has an intimacy that makes its depictions of grief, depression, and bitter irony especially poignant and personal. The soloists, soprano Julia Korpacheva and Petr Migunov are fully expressive, but their performances are understated rather than grandly dramatic, as is appropriate, making the moments when they do cut loose -- Korpacheva in the sixth movement and Migunov in the eighth -- all the more effective. Their voices are full and pure but not especially large, and they make a good fit with Currentzis' understated and supple reading. This dark symphony is not the kind of piece that tends to inspire warm affection, but its emotional and musical honesty make it a work that can draw listeners back again and again, and this is a performance that bears close and repeated attention. Alpha's sound is clean, present, and atmospheric. © TiVo
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Klassik - Erschienen am 9. April 2021 | Sony Classical

Hi-Res Booklet
Der Dirigent, Schauspieler und Parfümeur Teodor Currentzis lädt mit diesem neuen Meilenstein aus seiner aktuellen Arbeit an einer Gesamtausgabe der Beethoven-Sinfonien zu einem berauschenden Fest voller Rhythmus und Energie ein. Dem griechischen Dirigenten zufolge besitzt die 7. Sinfonie in A-Dur die vollkommenste Form, die je in der Gattung der Sinfonie geschaffen wurde. „Jede Note hat ihren Platz in einer absoluten Symmetrie", sagt Currentzis, der die Sinfonie mit „den fließenden Linien eines griechischen Tempels – insbesondere im dorischen Stil“ vergleicht. Die Struktur der Siebten ist „in der Tat äußerst komplex", sagt Currentzis. „Das Geheimnis besteht darin, in die Musik einzutauchen, der Frische und dem Licht entgegen, sich dann schwungvoll zum sakralen Tanz des zweiten Satzes und von dort zum Scherzo und zum tänzerischen Finale zu bewegen. Es ist eine Art Reise in die Frische, zu neuer Vitalität, die Entstehung einer neuen Zelle in einer widersprüchlichen Welt.“ Teodor Currentzis, der seine MusicAeterna perfekt zu führen versteht, bietet uns eine Version von großer Raffinesse, in der zwischen jedem Pult die Luft zu zirkulieren scheint, die bis in kleinste Details sorgfältig erarbeitet wurde und mit Kontrasten und einer Palette von Nuancen spielt, die wir schon lange nicht mehr gewohnt sind, ohne die Effekthascherei und Exzentrik, die diesem Interpreten manchmal vorgeworfen werden. Die fantastische Akustik im großen Saal des Wiener Musikvereins, in dem dieses Album im Sommer 2018 aufgenommen wurde, rundet den Eindruck von Beschwingtheit und Fülle dieser neuen Version ab, die sich zu hundert anderen hinzugesellt. © François Hudry/Qobuz
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Gesamtaufnahmen von Opern - Erschienen am 4. November 2016 | Sony Classical

Hi-Res Booklet
Die Don Giovanni Laien, die an die Aufnahmen der österreichisch-deutschen Tradition der Nachkriegszeit gewöhnt sind, werden vielleicht von dieser Aufnahme etwas überrascht sein, die bei Sony Classical mit MusicAeterna und Teodor Currentzis erschienen ist. Die Tempi nähern sich den barocken Traditionen an, die Namen großer aktuell gefragter Opernstars fehlen in der Vokalbesetzung, was den Vorteil hat, dass keiner das Cover Foto an sich reißen will (was auf keinen Fall heißen soll, dass es sich um zweitrangige Stimmen handelt: die Sänger sind super!). Die Rezitative sind vom Hammerklavier begleitet - ein Hammerklavier, das hier und da in den Arien wiederkehrt. Es herrscht eine Kultur des gewaltigen Kontrasts zwischen den sachtesten und den zahlreichen, rauen wie gewalttätigen Passagen. Der treue Qobuzhörer hat es verstanden: Wir stehen einem Ikonoklasten gegenüber - teuflisch, jugendlich (denn nach all dem ist der dämonische Don ein sehr junger Mann, kein Charakter eines ungewissen Alters mit gefärbtem Haar) und flapsig, der einen nur überraschen kann. Jetzt sind Ihre Ohren gefragt! © SM/Qobuz
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Klassik - Erschienen am 4. Dezember 2020 | Sony Classical

Hi-Res
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Klassik - Erschienen am 3. April 2020 | Sony Classical

Hi-Res Booklet
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Klassik - Erschienen am 17. Oktober 2014 | Sony Classical

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Klassik - Erschienen am 6. November 2008 | Alpha

It's difficult to know where to begin enumerating the qualities that make this astonishing performance of Dido and Aeneas unique. The most obvious is geographical: the recording was made at the Opera Theatre of Novosibirsk, Siberia. The chorus is the New Siberian Singers and the early music ensemble Musica Aeterna, is based in Novosibirsk, and most of the secondary parts are taken by Russian singers. Otherwise, the cast is international; Simone Kermes (Dido) is German, Deborah York (Belinda) is British, and Dimitris Tiliakos (Aeneas) and conductor Teodor Currentzis are Greek, although Currentzis has been based in Russia since 1994 and has been at the Novosibirsk Opera since 2004. The performance itself challenges much of the conventional wisdom about the opera; it is so daringly idiosyncratic that if it didn't work brilliantly, it might be dismissed as an eccentric exercise in interpretive hubris. To begin with, the performance practice sounds more Continental than English in its execution of dotted rhythms, instrumentation, style of ornamentation, and extreme tempo choices. Currentzis treats the score with a latitude not usually brought to Purcell, as a framework open to, and even requiring, extensive elaboration from the performers. For instance, he supplements Purcell's string and continuo orchestra with theorbo, guitar, lute, viola da gamba, and percussion; he repeats some movements and even adds instrumental interludes based on the existing vocal material. Currentzis' tempos tend to be extreme -- the fast are very fast and the slow are very slow -- but his choices never seem capricious or arbitrary; they make musical and dramatic sense, and heighten the emotional impact of the opera in a way that sounds natural and spontaneous. His use of dynamics is likewise out of the ordinary. Dido's monologue at the opening of the opera and her lament at the end are sung in a grief-stricken pianissimo. It's a marvel that Kermes can sing with such purity, control, intensity, and expressiveness at a level that rarely rises above a whisper. Even her final "Remember me," which most sopranos take as an opportunity to cut loose, is rendered as the hushed last request of a woman who is close to death. Kermes brings a striking power to the moments that call for it, however, as in her contemptuous dismissal of Aeneas. As Belinda, York sings with a clear, bright tone and infectious energy. Aeneas is not a role that offers much of an opportunity to shine, but Tiliakos makes the most of it. The New Siberian Singers and Musica Aeterna, both of which Currentzis founded, respond to his demands with performances of stunning virtuosity and intensity. This outside-the-box performance should be of interest to any fan of Dido and Aeneas, and might make converts of listeners who think of Baroque opera as quaint and stuffy. © TiVo
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Klassik - Erschienen am 9. Oktober 2015 | Sony Classical

You may have heard about the radical Mozart performances coming out of the provincial city of Perm, Russia, led by conductor Teodor Currentzis. He's in the middle of a cycle of Mozart's operas with libretti by Lorenzo da Ponte, with a sure-to-be-explosive Don Giovanni yet to come as of late 2015. This single-album set of excerpts from Currentzis' reading of Così fan tutte has sold well out of the blocks, perhaps to listeners curious to hear what the fuss is about, but unwilling to invest in an entire box set. With only snatches of recitative and transition, you miss the outrageous continuo group of fortepiano, lute, cello/gamba, and, yes, hurdy-gurdy. That's a major omission, but all the other aspects of the full opera, and of Currentzis' gleeful disregard for convention, are amply represented. Consider the garish tempo contrasts, with the blistering overture pushed right up to the boundary of playability, while soon after that in Act One the trio "Soave sia il vento" is glacial. That number is one of the many places where it's apparent that soprano Simone Kermes, as Fiordiligi, is perhaps Currentzis' ideal collaborator, able to cope with extravagant musical demands, to deliver fresh characterizations, and generally to enter into the spirit of the thing and make you believe that maybe, just maybe, everybody will be performing Mozart this way in 30 years. In general the characterizations are strong and appealing; Currentzis may be a wild man, but he does not unduly draw attention to himself. And the work of his hand-built Musicaeterna, his historical-instruments group in Perm, is sharp as a tack here: it's an ensemble that can react to all of this conductor's demands. You may get a shock from this, but it's a good kind of shock, and the excerpt album can be generally recommended. © TiVo
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Klassik - Erschienen am 17. Oktober 2014 | Sony Classical

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Klassik - Erschienen am 9. Oktober 2015 | Sony Classical

Hi-Res
You may have heard about the radical Mozart performances coming out of the provincial city of Perm, Russia, led by conductor Teodor Currentzis. He's in the middle of a cycle of Mozart's operas with libretti by Lorenzo da Ponte, with a sure-to-be-explosive Don Giovanni yet to come as of late 2015. This single-album set of excerpts from Currentzis' reading of Così fan tutte has sold well out of the blocks, perhaps to listeners curious to hear what the fuss is about, but unwilling to invest in an entire box set. With only snatches of recitative and transition, you miss the outrageous continuo group of fortepiano, lute, cello/gamba, and, yes, hurdy-gurdy. That's a major omission, but all the other aspects of the full opera, and of Currentzis' gleeful disregard for convention, are amply represented. Consider the garish tempo contrasts, with the blistering overture pushed right up to the boundary of playability, while soon after that in Act One the trio "Soave sia il vento" is glacial. That number is one of the many places where it's apparent that soprano Simone Kermes, as Fiordiligi, is perhaps Currentzis' ideal collaborator, able to cope with extravagant musical demands, to deliver fresh characterizations, and generally to enter into the spirit of the thing and make you believe that maybe, just maybe, everybody will be performing Mozart this way in 30 years. In general the characterizations are strong and appealing; Currentzis may be a wild man, but he does not unduly draw attention to himself. And the work of his hand-built Musicaeterna, his historical-instruments group in Perm, is sharp as a tack here: it's an ensemble that can react to all of this conductor's demands. You may get a shock from this, but it's a good kind of shock, and the excerpt album can be generally recommended. © TiVo
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Klassik - Erschienen am 27. November 2015 | Sony Classical

Hi-Res

Der Interpret

Teodor Currentzis im Magazin
  • Don Currentzis
    Don Currentzis An der Spitze des russischen Orchesters Musicaeterna, widmet sich der außergewöhnliche Teodor Currentzis den Opern Mozarts, insbesondere Don Giovanni...
  • Currentzis entstaubt Le Nozze di Figaro
    Currentzis entstaubt Le Nozze di Figaro Heute erscheint die erste der drei Da Ponte Opern von Mozart, Le Nozze di Figaro, aufgenommen im russischen Perm, mit dem Ensemble MusicAeterna, unter der Leitung von Teodor Currentzis.