Shostakovich, Dmitri

Bernstein in Rehearsal & Performance: Shostakovich Symphony No. 1 [DVD Video]

With a recording made by the Schleswig-Holstein Musik Festival Orchester in 1988, Medici Arts celebrate Leonard Bernstein's (1918-1990) recorded legacy in their series of DVDs by this outstanding musical personality. The DVD brings together three of the constants of Leonard Bernstein's protean career: his involvement with education projects, his complex relationship with the music of Dmitri Shostakovich (1906-1975) and his desire to leave a filmed testament to his work. In 1987, Bernstein had established the Orchestra Academy of the Schleswig-Holstein Music Festival at Salzau Castle, a teaching and learning centre for young musicians, where he taught for several summers. He ensured that there would be cameras present in 1988, as he explored the subversive nature, exposed nerve endings and unseemly fervour of great art - and Shostakovich in particular. Bernstein begins his rehearsals by explaining his interpretation of the score of Shostakovich's first Symphony written between 1924 and 1925 when the composer was 19 years old. Leonard Bernstein had a particular gift for providing young people with an inspirational and enthusiastic introduction to music. And few others could immerse themselves in Shostakovich's world in so incomparable a manner. These recordings bring together three of "Lenny's" great passions in an altogether unique way!

Shostakovich - Katerina Izmailova

Shostakovich - Cheryomushki (Cherry Town)

Shostakovich Against Stalin

The power of art to defy and even transcend politics and oppression is the theme of Shostakovich Against Stalin: The War Symphonies, director Larry Weinstein's documentary about Russian composer Dmitri Shostakovich and the six symphonies he composed while his homeland suffered under the brutal dictatorship of Josef Stalin. Born in 1906, Shostakovich gained considerable prominence after the unveiling of his first symphony in 1926, by which time Lenin was dead, the USSR had been founded, and Stalin had assumed power as General Secretary of the Communist Party. Thereafter, the composer was subject to the whims of the dictator. An early opera, "Lady Macbeth of Mtsensk" (a depiction of "the justified murder of a tryant"), led to his being banned; his Symphony No. 7, the "Leningrad Symphony," composed as Hitler invaded Russia in 1941, was virtually appropriated by Stalin as great symbol of resistance (which it was--although Shostakovich intended it as a rebuke to all forms of socialism, including Stalin's), but the tables were turned again with Symphony No. 8, which was regarded as "counter-revolutionary." Through it all, the composer's work (generous extracts of which can be heard among the DVD bonus features) revealed how he really felt about life under Stalin, whose regime was responsible for the deaths of tens of millions of Russians. Much of Symphonies No. 4-8 consists of music that's harsh and aggressive, nervous and tragic; even No. 9, written to commemorate the Allied triumph in World War II and seemingly a light, joyous ode to victory, was in fact filled with musical sarcasm, a favorite mode of expression for Shostakovich. A combination of photos, vintage file footage (some of it featuring the composer himself), newer interviews with family, friends, and musicologists, and more, Shostakovich Against Stalin is a moving tribute to a great artist's will. --Sam Graham

Shostakovich - Lady Macbeth of Mtsensk

Shostakovich's Lady Macbeth of Mtsensk, a lurid tale of sex, murder, and corruption, premiered in 1934 and was a success until Stalin saw it two years later, resulting in a Pravda review that viciously condemned it. It was later replaced by an expurgated version, now called Katerina Ismailova after the work's principal character. The original version has now reclaimed its place on international stages. The heroine is the daughter-in-law of Boris, a greedy, lecherous merchant, and the frustrated wife of his impotent son. Katerina poisons Boris and when her husband returns she and her lover, Sergei, kill him too, burying him in the cellar. The body is discovered during their wedding party. Haunted by guilt, Katerina confesses and the newlyweds are consigned to Siberia. When Sergei takes up with another woman, Katerina pushes her into the river and then jumps in herself.

Director Martin Kusej keeps the narrative moving inexorably to its fatal ending while indulging in broad satirical portraits of the symbols of society's power to crush the individual. Katerina is a tragic heroine trapped in a cage-like structure that serves as the merchant's house, her bedroom (bare but with a collection of shoes that would satisfy Imelda Marcos), and later the prison transport where she meets her end. Some of the satire is broad--the policemen are out of a Gilbert & Sullivan operetta. And there's abundant acreage of human flesh on display, along with a near-rape and enough consensual sex to warrant an "X" rating. But it all fits a tale where the orchestra is often in porno territory, as in the famous trombone glissandos so prominent in Katerina and Sergei's first coupling. Kusej's only serious flaw is at the end, where he has Katerina lynched by her fellow-prisoners though the text clearly has her committing suicide by drowning.

This production has the advantage of one of the world's great orchestras, the Royal Concertgebouw, and its conductor, Mariss Jansons. They do everything brilliantly, whether it's a yearning string passage or a coarse depiction of on-stage brutality. As Katerina, Eva-Marie Westbrook is compelling, singing well and acting with convincing authority. Christopher Ventris' Sergei looks, acts, and sings like a burly seducer should. Boris, the dirty old man, is Vladimir Vaneev, whose ample bass and acting present a fully-rounded figure that goes beyond the part's stage villain aspects. Video director Thomas Grimm makes it all lucid on disc, the cameras rarely venturing away from what must be seen. It all adds up to a powerful performance of a powerful opera. --Dan Davis

Shostakovich - Bolt

Testimony - Tony Palmer's Story of Shostakovich / Ben Kingsley

Testimony is one of those comparatively rare events nowadays - a real piece of cinema. Tony Palmer's prowess as an editor, his knack of juxtaposing image and music - something which has remained his forte since he first caused a stir back in the Sixties with Buddhist monks burning to The Beatles - has a field day in Testimony. Most importantly for a movie about a composer, there is always the feeling that Palmer understands the music. For a start he puts to rest the hoary old cliché that the private Shostakovich is only to be found in his chamber music - try listening to the Seventh, Eighth, Ninth and Fourteenth symphonies - but he also brings vividly alive musical details (like the composer's use of unison scoring) in colour sequences showing the orchestra, as in the climax of the Fifth..... a truly remarkable film. Starring Ben Kingsley.

Bernstein in Japan: Schumann Symphony No. 1/Shostakovich Symphony No. 5

BERNSTEIN IN JAPAN: Schumann • Symphony No.1. Shostakovich • Symphony No. 5 Felix Mendelssohn conducted the premiere performance of Robert Schumann's First or Spring Symphony in 1841, six weeks after the work's completion, and the composer won acclaim as a symphonist on his first try. Dimitri Shostakovich had been a darling of the Soviet regime but in 1936 began to slide into official disfavor. His Fifth Symphony reinstated him in official good graces, but some listeners hear in its triumphal conclusion an undertone of bitter irony.

Shostakovich - Lady Macbeth of Mtsensk / Secunde, Ventris, Kotcherga, Vas, Clark, Nesterenko, Capelle, Anissimov, Barcelona Opera

Dmitry Shostakovich's Lady Macbeth of Mtsensk is unquestionably one of the greatest operas of the 20th century. This new production, filmed at the Gran Teatre del Liceu in Barcelona, is part of the new "EMI Classics Opera on DVD" series, which presents first-class productions from the great opera houses of the world. Featured in this production are Nadine Secude (Katerina Ismailova), Christopher Ventris (Sergey), and Anatoli Kotxerga (Boris Ismailov), conducted by Alexander Anissimov with the Symphony Orchestra and Chorus of the Gran Teatre del Liceu. Lady Macbeth of Mtsensk received its premiere at the Maly Theatre in Leningrad in 1934. The libretto, written by Shostakovich himself and Alexander Preys, is based on Nicolay Leskov's novella of 1865.

Shostakovich: Jazz Suites Nos. 1 & 2 [DVD Audio]