Pact With The Devil
Featuring Ludwig van Beethoven Johann Sebastian Bach Chaconne Felix Mendelssohn Bartholdy.
In 1997 Christoph von Dohnányi was appointed Principal Conductor of the Philharmonia Orchestra. In Rehearsal is an unflashy but riveting documentary, made in the Royal Festival Hall in 1998, that follows his first experiences of working on Haydn's music with the ensemble. It includes substantial rehearsal footage, his comments on the piece (Symphony No. 88, nicknamed The Bagpipe), and interviews with some of the orchestra's principal players. It will undoubtedly be compulsory viewing for aspiring conductors, but it also makes fascinating watching for anyone who has ever gained pleasure from listening to an orchestra perform. Dohnányi's rehearsal technique is laid bare: his phenomenal attention to the smallest details of phrasing and articulation, his rather severe manner lightened by the occasional pleasantry and his uncanny precision in the matter of wind tuning. (It is fascinating to note that when he joins in with a melody, he hardly ever sings in tune himself.) The changes he creates are startling: in the famous "bagpipe" sequence he transforms the sound from a commonplace into something startling and ear-bending simply by shading the strings down and foregrounding the bassoons. His general comments on the art of conducting and its foundation in human trust are also engrossing. All told this is serious, informative and thought-provoking--and highly recommended. On the DVD: Christoph von Dohnányi in Rehearsal comes equipped with subtitles in French, German and Spanish. Picture is standard 4:3 and sound basic PCM stereo. The disc also contains trailers for three other Arthaus DVDs. --Warwick Thomson
Hans Neuenfels' unconventional production of Johann Strauss' opera with new dialogue: Marc Minkowski is the musical director.
World famous tenor Christoph Pr�gardien continues his series of recordings for Challenge Classics of Schubert song-cycles, with what many consider to be the composer's greatest work in the genre 'Winterreise'. As with previous critically acclaimed releases in the series the pianist is Michael Gees. This DVD release features video of a performance of the work as well as the documentary 'Winterreise, Der dritte Weg' (Winterreise, the third way), which presents interviews with Pr�gardien and Gee...
Germany released, PAL/Region 2 DVD: LANGUAGES: German ( Dolby Digital Stereo ), English ( Subtitles ), German ( Subtitles ), SPECIAL FEATURES: Biographies, Interactive Menu, Scene Access, Trailer(s), SYNOPSIS: Austria 2000: At the general election, Jörg Haider's FPÖ had met with widespread approval - and for the first time since WW2 a party of the extreme right joined the government. Never slow to react, infamous German director Christoph Schlingensief soon retaliated with an extraordinary form of protest. As a tangible satire on xenophobia, Big Brother madness and new nationalism Schlingensief decided to stage an interactive concentration camp - right at the heart of Vienna's picturesque tourist centre. And Austria just freaked - soon there were thousands of screaming people on site and almost a million connected worldwide via the Internet. Knife attacks. Punch-ups. Political intrigues. An incredibly heated week that captured the European drift to the right in real time. A hardcore route to democracy. ...Foreigners out! Schlingensiefs Container ( Ausländer raus! - Schlingensiefs Container )
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Following their sensational 2006 Salzburg Don Giovanni, director Martin Kusej and conductor Nikolaus Harnoncourt, working with a superb young cast, have returned to Mozart and created one of the most talked-about opera productions in recent years.Wolfgang Amadeus Mozart - Die Zauberflote.
Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale. Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds. Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson
CMJ 712904; CMAJOR ENTERTAINMENT; Classica Lirica
From the moment Jamie Foxx throws off a filthy, tattered blanket to reveal a richly muscled back crisscrossed with long scars, it's obvious that Django Unchained will be both true to its exploitation roots but also clear-eyed about the misery that's being exploited. Django (Foxx), a slave set free in the years before the Civil War, joins with a German dentist-turned-bounty hunter (the marvelous Christoph Waltz, Inglourious Basterds), who has promised to help Django rescue his wife (Kerry Washington), who's still enslaved to a gleeful and grandiose plantation owner (Leonardo DiCaprio, plainly relishing the opportunity to play an out-and-out villain). What follows is a wild and woolly ride, crammed with all the pleasures one expects from a revenge fantasy written and directed by Quentin Tarantino. Plot-wise, some things happen a little too easily (for example, Django instantly becomes a master gunslinger), but the moral perspective is not glib. For all its lurid violence and jazzy dialogue, this is a still-rare movie that paints slavery for what it was: a brutal, dehumanizing practice that allowed a privileged few to profit from the suffering of many, a practice guaranteed by the gun and the whip. Think of it as the antidote to Gone with the Wind. Tarantino is more heartfelt in Django Unchained than in any of his previous movies--without sacrificing any of the pell-mell action, tension, and delicious language that made Reservoir Dogs, Kill Bill, and Pulp Fiction so very enjoyable. --Bret Fetzer
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