Dutch National Opera / Netherlands Philharmonic Orchestra / Marc Albrecht

Der Schatzgräber

Price: € 22.95
Format: SACD hybrid
Label: Challenge Classics
UPC: 0608917259124
Catnr: CC 72591
Release date: 15 October 2013
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Label
Challenge Classics
UPC
0608917259124
Catalogue number
CC 72591
Release date
15 October 2013

""The jury praised the artistic addition and the technical quality of the recordings""

NRC Handelsblad, 27-10-2014
Album
Artist(s)
Composer(s)
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About the album

Franz Schreker (1878-1934, austrian composer) was born in Monaco and grew up during travels across half of Europe and, after the early death of his father, the family moved to Vienna (1888) where in 1892, with the help of a scholarship, Schreker entered the Vienna Conservatory. Starting with violin studies, with Sigismund Bachrich and Arnold Rosé, he moved into the composition class of Robert Fuchs, graduating as a composer in 1900.

Schreker is well known for his operas and worte the libretto and composed his opera "Der Schatzgräber" after the great success of "Der ferne Klang" (1912) and "Die Gezeichneten" (1918). "Der Schatzgräber", questioning the value of materialism versus love, was to prove particularly powerful in post-War Europe. After the Frankfurt premiere in January 1920, productions popped up in major cities across the continent and Schreker became one of the most performed composers of his generation. While his biggest competition Richard Strauss and Hugo von Hofmannsthal had pursued a similar path in the overtly Wagnerian "Die Frau ohne Schatten" – which opened in Vienna on 10 October 1919 – their ‘last Romantic opera’ lacked Schreker’s allegorical punch. Strauss retreated further into Gemütlichkeit, while Schreker continued to wrestle with the dilemma of being an artist in the modern world.

Synopsis
The opera is set in legendary medieval times. The queen has lost her jewels, and with them her beauty and fertility. The fool knows about Elis, a wandering minstrel whose magic lute points out all hidden treasures to him. The king promises the fool that he will be allowed to choose a wife as a reward, if Ellis can find the jewels.

Els, daughter of the innkeeper, has to marry a brutal but rich young nobleman she despises. She therefore sends him away to find the queen's jewels, and has him murdered by Albi, her servant. The minstrel Elis presents Els with an ornament he has found in the woods. Els falls in love with the young minstrel, but then the body of the dead nobleman is found in the woods; the bailiff, who wants Els for himself, arrests Elis on suspicion of murder.

Elis is to be hanged. Els seeks the advice of the fool, who promises to help. The king's messenger stops the execution at the last moment, so Elis can go in search of the ornament. To avoid being exposed, Els orders Albi to steal the minstrel's magic lute.
During a night of love, Els shows herself to Elis in the full beauty of the jewels. She hands over the jewellery to him, on condition that he will never ask her about the provenance, and will always trust her.

Elis has returned the jewels to the queen. During a celebration, the bailiff intervenes and announces that Albi has confessed to the murder. Els is denounced as the instigator of the murder, and the bailiff demands her immediate execution. But the fool reminds the king of his promise: he chooses Els as his wife and thus saves her from being executed.

One year later, Els is dying. Only the fool has remained with her. He fetches the minstrel, who sings his most beautiful ballad for Els. She dies in the minstrel's arms.

Moderne interpretatie van een beroemde maar vergeten opera uit de vroege 20e eeuw
Dit album bevat een opname van de opera Der Schatzgräber van de Oostenrijkse componist Franz Schreker, uitgevoerd door de Nederlandse Opera en het Nederlands Filharmonisch Orkest.

Schreker is bekend van zijn opera’s, die de situatie aan de het begin van de 20e eeuw weerspiegelen. Schreker werd tijdens zijn leven succesvol door de vele uitvoeringen van zijn opera’s, zoals Der Ferne Klang (1912), Die Gezeichneten (1918) en Der Schatzgräber (1920). Hij was een van de bekendste componisten van zijn tijd. Na de Tweede Wereldoorlog werd zijn werk echter vergeten.

Schreker begon met het componeren van Der Schatzgräber in 1915, midden in de Eerste Wereldoorlog. De opera onderzoekt de waarde van materialisme tegenover de liefde, en sloot goed aan bij de situatie na de Eerste Wereldoorlog. Na de première in Frankfurt in 1920 werd het werk uitgevoerd in grote steden door heel Europa.
Live-Mitschnitt einer gelungenen Aufführung von Franz Schrekers "Die Schatzgräber" mit der Nederlandse Opera.

Im September 2012 wurde am Amsterdamer Musiektheater Franz Schrekers Oper "Die Schatzgräber" neu inszeniert. Die ambitionierte Aufführung unter dem Intendanten Pierre Audi wurde ein großer Erfolg. Dazu schrieb Joachim Lange im Online Musik Magazin:
„Marc Albrecht, diesmal am Pult des Nederlands Philharmonisch Orkest, lässt die pulsierende, Fin de Siècle-parfümierte Orchester-Klangpracht immer wieder aus der Weite des Amsterdamer Grabens aufsteigen, krönt sie mit funkelnden Bläsern und berauschenden Tutti. Wenn er sie zurücknimmt, nur um dann erneut die pure Opulenz aufleuchten zu lassen, werden die gut ausgesuchten Stimmen (vor allem die frei sopranglitzernde, manchmal deutsch, meist vokaleuropäisch klingende von Manuela Uhl als Els) zum Teil eines Klangfeuerwerkes, dessen Sog zwar ohne narrative Strenge, aber nicht ohne Pathos auskommt.“
Seconda registrazione assoluta di Der Schatzgräber – la prima, su Capriccio, risale al 1989.

Assai noto per la sua produzione operistica, Schreker redasse il libretto e compose la musica di Der Schatzgräber [Il cercatore di tesori] dopo il grande successo di Der ferne Klang [Il suono lontano] (1912) e Die Gezeichneten [I predestinati] (1918). Indagando il valore del materialismo rispetto all’Amore, Der Schatzgräber si rivelerà un’opera particolarmente sentita nell’Europa postbellica. Dopo il debutto a Francoforte, nel gennaio 1920, le rappresentazioni proliferarono nelle maggiori metropoli europee e Schreker divenne uno dei più importanti compositori della sua generazione. Anche se già i colleghi Richard Strauss e Hugo von Hofmannsthal avevano perseguito una strada simile nell’opera scopertamente wagneriana Die Frau ohne Schatten [La donna senz’ombra] – andata in scena a Vienna il 10 ottobre 1919 –, la loro ‘ultima opera romantica’ non aveva la forza allegorica di Schreker. Strauss si ritirò ulteriormente nella Gemütlichkeit [comodità], mentre Schreker continuerà a lottare con il dilemma di essere un artista della modernità.

Artist(s)

De Nederlandse Opera
De Nederlandse Opera (DNO) is the Netherlands’ largest opera company and is based in the Amsterdam Music Theatre. DNO has grown into one of Europe’s most prominent and progressive opera companies under the leadership of artistic director Pierre Audi and managing director Truze Lodder. The Koor van De Nederlandse Opera contributes significantly to this success.

DNO produces music theatre productions at the highest international level, with a clear focus on artistic quality, diversity and innovation. Examples of DNO’s audacious programming include the first Dutch staging of Wagner’s Der Ring des Nibelungen and the operas of Claudio Monteverdi. DNO typically realises eleven opera productions each season. In order to reach a wider audience, most productions are broadcast live on radio and several productions per year are televised. DNO also regularly organizes supplemental activities at other venues and via new media.

Marc Albrecht, chief conductor of De Nederlandse Opera and the Netherlands Philharmonic Orchestra, is highly regarded for his interpretations of works by Wagner and Richard Strauss, as well as contemporary works.

He has been a guest conductor with the Berlin Philharmonic, the Munich Philharmonic, the Royal Concertgebouw Orchestra, the City of Birmingham Orchestra, the Chamber Orchestra of Europe and the orchestras of Rome (Santa Cecilia), Dresden and Lyons. He has led operas including Der fliegende Holländer (Bayreuther Festspiele, 2003-2006), Die Bacchantinnen (Salzburger Festspiele, 2005) and From the House of the Dead (Opéra national de Paris, 2005). From 2001 to 2004 he was principal guest conductor at the Deutsche Oper Berlin, where his engagements included a highly acclaimed performance of Messiaen’s Saint François d’Assise. He was artistic director and chief conductor of the Orchestre Philharmonique de Strasbourg from 2006 to 2011. He also enjoys a close association with the Semperoper Dresden, where he led the productions of Die Frau ohne Schatten and La damnation de Faust in 2007. Recent conducting engagements include The Bassarids (Bayerische Staatsoper München), Der fliegende Holländer (ROH Covent Garden), Der Prinz von Homburg (Theater an der Wien), Lulu with the Wiener Philharmoniker (Salzburg), Elektra, Orest and The Legend of the Invisible City of Kitezh and the Maiden Fevronia (DNO) and his debut at La Scala with Die Frau ohne Schatten.

The Belgian bass Tijl Faveyts (Der König) studied at the Brussels Conservatoire and at the Universität für Musik in Vienna. From 2005 to 2012 he was a member of the Theater Sankt Gallen, where his roles included Sarastro Die Zamberflöte, Doktor Wozzeck, Basilio Il barbiere di Siviglia, Raimondo Lucia di Lammermoor and Prince Gremin Yevgeny Onyegin. He has been appointed as a soloist of the Aalto-Theater in Essen as of the 2013-2014 season. He has also sung Don Alfonso Così fan tutte, Simone Gianni Schicchi, Zuniga Carmen, the title role in Don Pasquale, Eremit Der Freischütz, Masetto/ Il Commendatore Don Giovanni, and Collatinus The Rape of Lucretia. He has been a guest at the Flemish Opera, the Wiener Festwochen, the festival of Aix-en-Provence, La Monnaie Brussels, the Stuttgart Staatstheater, Opera Toronto and Israeli Opera, working with conductors such as Kazushi Ono, Fabio Luisi, Daniel Harding, Carlo Rizzi and Antonino Fogliani. Upcoming roles: Frank Die Fledermaus (Moscow), Sparafucile Rigoletto (Sankt Gallen) and Don Apostolo Lucrezia Borgia (La Monnaie Brussels).

The British tenor Alasdair Elliott (Der Schreiber/Der Kanzler) studied with, among others, Laura Sarti at the Guildhall School of Music. He has sung roles in many contemporary productions including Vova in Schnittke’s Life with an Idiot, The Servant in John Buller’s Bakxai, Gerry in MacMillan’s Tourist Variations and Festus in a concertante performance of Peter-Jan Wagemans’s Legende. His repertoire also includes Mime Der Ring des Nibelungen (Scottish Opera), Pong Turandot (Madrid, ROH Covent Garden, Nationale Reisopera), Monostatos Die Zauberflöte, Bardolfo Falstaff (Glyndebourne), Andres Wozzeck (ROH Covent Garden), Valzacchi Der Rosenkavalier (English National Opera, Scottish Opera) and Sellem The Rake’s Progress (Israel, Lille). The recording of Falstaff, in which he sang Dr. Cajus with the London Symphony Orchestra conducted by Sir Colin Davis, won a Grammy Award in 2005. Upcoming engagements are Andres (Tel Aviv), Don Curzio Le nozze di Figaro, Red Whiskers Billy Budd (Glyndebourne), Don Curzio and L’imperatore Altoum Turandot (ROH Covent Garden).

The German baritone André Morsch (Der Herold/Der Graf) studied at the Feldkirch conservatoire in Austria, at the Conservatorium van Amsterdam with Margreet Honig and at the Dutch National Opera Academy in The Hague. He won the Prix Bernac (Académie Ravel, Saint-Jean-de-Luz) and the Internationaler Wettbewerb für Liedkunst of the Hugo Wolf Akademie in Stuttgart. He made recent appearances as Cadmus Cadmus et Hermione (Opéra Comique Paris), Fritz Die tote Stadt (Nancy), Dandini La Cenerentola (Nationale Reisopera), Harlekin Ariadne auf Naxos (Oper Leipzig), Stephano Der Sturm and Sid La fanciulla del West (Saturday Matinee series). His operatic repertoire also includes the roles of De Brétigny Manon, Ping Turandot, Simanov Wet Snow (world première), Moralès Carmen and Boris Moscow, Cheryomushki. His concert repertoire encompasses Mendelssohn’s Elijah, Haydn’s The Creation, both of Bach’s passions and his Christmas Oratorio, Frank Martin’s Golgotha, Beethoven’s Ninth Symphony, Mozart’s Requiem, Händel’s Alexander’s Feast, Belshazzar and Messiah. During the 2012-2013 season Andre Morsch’s engagements include title role Le nozze di Figaro, Leporello Don Giovanni, Papageno Die Zauberflöte, Harlekin Ariadne auf Naxos and Cithéron Platée (Stuttgart).

The Belgian bass Kurt Gysen (Der Schultheiss/Der Magister) studied at the Lemmens Institute in Leuven and the Maastricht Academy of Music. He was a member of the opera studio of the Hamburgische Staatsoper, where he was awarded the Dr. Wilhelm Oberdörfe Preis for Best Singer of the Year, singing roles such as Superintendent Budd Albert Herring, Ariodate Serse, Colline La bohème, Alidoro La Cenerentola and Pharnaces Der König Kandaules. His repertoire also includes the roles Don Fernando Fidelio (Antwerp, Lyons), Fafner Siegfried (Lyons), Sarastro The Magic Flute, Il Commendatore Don Giovanni (Antwerp), Pistola Falstaff (Antwerp, Ghent), Konrad Nachtigall Die Meistersinger von Nürnberg, Narumov The Queen of Spades, Zweiter Gralsritter Parsifal (Barcelona), Somnus Semele (Brussels), Geronte di Ravoir Manon Lescaut (Bonn), Sacerdote di Belo Nabucco (La Monnaie Brussels) and Le Médecin/Le Berger Pelléas et Mélisande (Barcelona), Le Magicien Tchélio L’amour des trois oranges (DNO), Angelotti Tosca (Strasbourg), Monterone Rigoletto (La Monnaie Brussels, Strasbourg), Hunding Die Walküre (Parma, Modena) and König Marke Tristan und Isolde (Bonn).

The tenor Graham Clark (Der Narr) made his debut at the Scottish Opera in 1975. From 1978 to 1985 he was a member of the English National Opera and he made subsequent UK guest appearances at ROH Covent Garden, Opera North, Glyndebourne, NI Opera Belfast and Welsh National Opera. Graham Clark has sung in over 385 Wagner performances, including more than 275 appearances in Der Ring des Nibelungen. He has been invited to perform at all the major American and European opera houses and was a guest at the Metropolitan Opera New York throughout 15 seasons (1985-2010) and 122 times at the Bayreuther Festspiele (1981-2004). His numerous awards include the Outstanding Individual Achievement in Opera prize and the Laurence Olivier Award for his portrayal of Mephistopheles Doktor Faust, while the University of Loughborough conferred upon him an honorary doctorate of literature. He also sang in Die Meistersinger von Nürnberg (1986), Der Ring des Nibelungen, The Rake’s Progress and The Makropulos Case at De Nederlandse Opera.

The German baritone Kay Stiefermann (Der Vogt) studied with Kurt Moll in Cologne and took masterclasses with Montserrat Caballé and Hans Hotter. He was an ensemble member of the Hamburg State Opera from 1997 to 2001. In recent years he has mainly sung German repertoire such as Amfortas Parsifal, Kurwenal Tristan und Isolde, Gyges König Kandaules, Mandryka Arabella and Don Pizarro Fidelio. He has made guest appearances at the State Opera Berlin, Komische Oper Berlin, the Volksoper Wien, and the opera houses of Hannover, Düsseldorf and Darmstadt, as well as at the Ruhrtriennale and the Lincoln Center Festival New York. Recently he sang Amfortas (Teatro Regio di Torino), Marcello in a new production of La bohème, Simone Eine florentinische Tragödie (Wuppertaler Bühnen) and Gyges in the Teatro Massimo Palermo. Kay Stiefermann has worked with conductors such as Daniel Barenboim, Bertrand de Billy, Ulf Schirmer, Hartmut Haenchen, Kirill Petrenko, Kent Nagano and Valery Gergiev. Upcoming role: Danilo Die lustige Witwe (Wiener Volksoper).


Mattijs van de Woerd (Der Junker) studied at the Rotterdam and Amsterdam conservatoires. He was awarded the Vriendenkrans, the Concertgebouw Prize and first prize in the Wigmore Hall International Song Competition in London. Mattijs van de Woerd has performed with the Nationale Reisopera, La Monnaie Brussels, Opéra de Monte-Carlo, Netherlands Bach Society, Deutsches Symphonie-Orchester Berlin, NHK Symphony Orchestra Tokyo and the Orchestra of the Eighteenth Century, collaborating with conductors such as Jaap van Zweden, Herbert Blomstedt, Ed Spanjaard, Daniel Reuss, Tan Dun and Reinbert de Leeuw. On the operatic stage he has sung roles including Papageno The Magic Flute, title role Don Giovanni, Guglielmo Così fan tutte, Sid Albert Herring, Le Gendarme Les mamelles de Tirésias, Adario Les Indes galantes, Jonathan Siren Song and Pausole Les aventures du Roi Pausole. As a song recitalist he recently toured China with the pianist Shuann Chai. Mattijs van de Woerd is a member of the light music collective Frommermann.

The American tenor Raymond Very (Elis) has made guest appearances at the Metropolitan Opera New York, San Francisco Opera, ROH Covent Garden, the Bavarian State Opera Munich, Vienna State Opera, the Maggio Musicale Fiorentino, Salzburg Festival and elsewhere. In 2011 he made his debut in Düsseldorf as Captain Vere in Billy Budd and returned to the Salzburg Festival as Albert Gregor in The Makropulos Case. His repertoire includes Tamino Die Zamberflöte, Rodolfo La bohème, Il Duca di Mantova Rigoletto, Des Grieux Manon, Matteo Arabella, Faust La damnation de Faust, Don José Carmen, Stolzing Die Meistersinger von Nürnberg, Laca and Števa Jenůfa, Lensky Yevgeny Onyegin, Tom Rakewell The Rake’s Progress, Boris Kát’a Kabanová, Alwa Lulu, Andres Wozzeck and Hans The Bartered Bride. Upcoming engagements are title role Der Zwerg (Düsseldorf), Il carceriere/Il grande inquisitore Il prigioniero (Lyons) and the title role in Otello (Copenhagen).

The British bass-baritone Andrew Greenan (Der Wirt) studied at the Royal Northern College of Music and made his operatic debut in Die glückliche Hand (Teatro alla Scala di Milano). From 1992 to 1997 he was a soloist with the English National Opera. Andrew Greenan’s repertoire includes such roles as Heinrich Lohengrin (Metropolitan Opera New York), Swallow Peter Grimes, Pietro Simon Boccanegra, Crespel Les contes d’Hoffmann, Hans Schwarz Die Meistersinger von Nürnberg (ROH Covent Garden) and Biterolf Tannhäuser (La Monnaie Brussels). Recently he sang Klingsor Parsifal (Geneva), Ochs Der Rosenkavalier (Cape Town, San Diego), Vodník Rusalka (Nancy), Arnolphe in Liebermann’s Die Schule der Frauen (Bordeaux), Titurel Parsifal (English National Opera), Monterone Rigoletto (Grange Park Opera), Bonze Madama Butterfly (Opera North), 1. Nazarener Salome (concertante performance, Amsterdam Concertgebouw), Il Re Aida (Royal Albert Hall) and 1. Nazarener (ROH Covent Garden). Upcoming engagements: Marti A Village Romeo and Juliet (Wexford Festival Opera) and Ein Nachtwächter Die Meistersinger von Nürnberg (Seattle).

The German soprano Manuela Uhl (Els) studied in Salzburg, Zurich and Freiburg, and is specialised in the late Romantic German repertoire. From 2006 to 2011 she was a member of the Deutsche Oper Berlin, where she sang title roles Salome, Die Liebe der Danae, Die Kaiserin Die Frau ohne Schatten, Chrysothemis Elektra, Senta Der fliegende Holländer, Elisabeth Tannhäuser and Prinzessin/Gertraut in Zemlinsky’s Traumgörge. She has worked with conductors such as Christian Thielemann, Antonio Pappano, Kent Nagano, Gustavo Dudamel, Semyon Bychkov and Lorin Maazel and has been a guest at the major German opera houses and in Madrid (Marietta Die tote Stadt), Palermo, Copenhagen, Tokyo, Los Angeles, Beijing, Caracas and at the Festspiele Baden-Baden. She has collaborated on recordings of works by Schönberg, Mahler, Zemlinsky and Waltershausen, as well as taking part in the world première of Franz Schreker’s Flammen (Kiel). Upcoming roles: Die Kaiserin (Buenos Aires), Irene Rienzi (Rome), title role Salome (Cagliari), Elsa Lohengrin (Deutsche Staatsoper Berlin), Senta (Naples) and Senta SehnSuchtMEER oder Vom Fliegenden Holländer staged by Claus Guth (world première, Düsseldorf).

The Canadian tenor Gordon Gietz (Albi) began his career in the Calgary Opera Chorus and made his operatic debut as Rodolfo in La bohème (Opéra de Montréal). He has made guest appearances at opera houses including ROH Covent Garden, Teatro alla Scala di Milano, Teatro Real Madrid, and has also performed in South-East Asia and Australia. His repertoire includes the roles Alfred Die Fledermaus under Seiji Ozawa (Japanese tour), Yonas in Kaija Saariaho’s Adriana Mater (Barbican Centre), Il Duca di Mantova Rigoletto (China, Vietnam), Bénédict Béatrice et Bénédict (Lincoln Center), Tamino Die Zamberflöte (Japan), Roméo Roméo et Juliette (West Australian Opera, South Australian Opera), Števa Jenůfa (Teatro Real Madrid), title role The Nose (Metropolitan Opera New York), Steuermann Der fliegende Holländer (Canadian Opera Company), Don José Carmen (Lille, Ghent), Gonsalve L’heure espagnole (Edinburgh Festival) and Vana Kudrjaš Kát’a Kabanová (La Monnaie Brussels). Recently he sang Narraboth Salome (La Monnaie Brussels), Governor Candide (Portland) and Don José Carmen (Flemish Opera).

Alan Woodbridge studied at the Royal College of Music in London and was a member of the British Youth Opera, English National Opera and Opera North. Currently he is choir conductor at Opéra de Lyon. He has conducted productions including La bohème, La fille du régiment, A Midsummer Night’s Dream, Curlew River, Noye’s Fludde and Let’s Make an Opera. He regularly gives concerts with the choir and orchestra of Opéra de Lyon, including recent performances of Maurice Duruflé’s Requiem, Arvo Pärt’s Te Deum and Bach cantatas. In 2002 he won a Grammy Award for his contribution to the production of Doktor Faust under the conductor Kent Nagano; he conducted the choir and also played the organ. Productions including The Rake’s Progress, La sonnambula, Les contes d’Hoffmann and Lohengrin have been recorded on CD. Alan Woodbridge has also collaborated with the choir of Radio France. In the upcoming seasons he will conduct Britten’s War Requiem in Japan and Curlew River (Lyons, Sydney).

The Netherlands Philharmonic Orchestra (NedPhO) is among the best orchestras in the country. The NedPhO and the associated Netherlands Chamber Orchestra (NKO) are the regular accompanying partners of De Nederlandse Opera (DNO) in the Muziektheater. Alongside this, both orchestras provide versatile concert programs in the Amsterdam Concertgebouw and are welcome guests in other Dutch concert halls and in halls and festivals abroad. Typical of the NedPhO | NKO are their inviting programming and welcoming presentation. With their enthusiasm and passion for the music, the musicians provide a special listening experience. With the extensive NedPho GO! education and outreach program, NedPhO | NKO make classical music accessible for everyone.
Under its former chief conductor Hartmut Haenchen, NedPhO had great success with the performance of the complete Der Ring des Nibelungen (DNO, also on CD). Over the years, the orchestra has performed all the great operas by Wagner and Richard Strauss. The successful performance of Die Frau ohne Schatten led to the appointment of Marc Albrecht as chief conductor of DNO and NedPhO | NKO. In 2011 and 2012 Albrecht conducted the operas Orest and Der Schatzgräber with the NedPhO and once again received praising reviews. Next to the opera productions with DNO, Albrecht will regularly appear in the coming season with the Netherlands Philharmonic Orchestra in the Amsterdam Concertgebouw.

The Chorus of De Nederlandse Opera currently has 60 members. The chorus performs both mainstream repertoire and works of contemporary composers, and has collaborated on a number of world premières. The chorus of DNO gained international acclaim in Amsterdam and Salzburg for its role in Schönberg’s Moses und Aron conducted by Pierre Boulez. The Friends of De Nederlandse Opera awarded the chorus with the 1996 Prix d’Amis in recognition of this achievement. The DNO productions The Bassarids, Lady Macbeth of Mtsensk, Castor et Pollux, Ercole amante, Saint François d’Assise, Boris Godunov and Carmen were significant milestones in past seasons. In 2008 the chorus performed the concertante version of Saint François d’Assise at the BBC Proms (Royal Albert Hall). Lately the chorus has given outstanding performances in La Juive, Les Troyens, Turandot, Les vêpres siciliennes, Platée, Legende, Yevgeny Onyegin, Iphigénie en Aulide/Iphigénie en Tauride, Don Carlo and Parsifal. It received plaudits both at home and abroad for its impressive performance in The Legend of the Invisible City of Kitezh and the Maiden Fevronia and most recently in Guillaume Tell (prepared by Eberhard Friedrich). The chorus ended its association with artistic director Martin Wright in the 2011-2012 season and has been working with various guest conductors during the 2012-2013 season.

Composer(s)

Press

"The jury praised the artistic addition and the technical quality of the recordings"
NRC Handelsblad, 27-10-2014

The recorded sound is remarkably fine and Marc Albrecht conducts a vibrant, vividly-played account of the score.
Opera, 01-5-2014

Musically excellent on all levels, this production is flawless also in the presentation, with a smart introduction, beautiful color photos and the entire libretto.
Pizzicato, 11-4-2014

The Netherlands Philharmonic Orchestra make the most of the brief passages of purely orchestral writing and the practised hand of Marc Albrecht ensures as strong of sense of forward movign as this kind of harmonic idiom permits. 
Gramophone, 05-3-2014

a dreamteam in sensualism and temperament
Rondo, 01-3-2014

Performance ***** ​Recording ***** The main plaudits must go to Marc Albrecht and the Netherlands Philharmonic.
BBC Music Magazine, 01-3-2014

Der Schatzgräber finds its preliminary climax in this impressive DNO recording and exceeds the Capriccio recording from 1989
Luister, 03-2-2014

The live-recording of this hit from 1920 is impressive, because Marc Albrecht's conducting is giving Schreker's musical language of heated appealing-harmonic and pseudo-archaic-late-romanticism enough room and is sensual despite its structual clarity.
hifi&records, 01-2-2014

"If you are a fan of opera on record from any period this is a treat, but if you love your music-dramas exciting, moving and Romantic with a big-boned ‘R’ then this is one you will want to keep close to your SACD sound reproduction unit for a long time to come"
www.musicweb-international.com, 23-1-2014

Albrecht conducts with clarity and impreccable taste.
Financial Times, 04-1-2014

subtle conducting
Das Opernglas, 01-1-2014

There's lightning and glisten, glow and die-aways, cutting and nestleing, it's a pleasure and you ask yourself seriously, why this composition is so seldom heard.  
Opernwelt, 01-1-2014

(...) this is one of those operas and recordings which "has it all", from drama and sublime beauty of the music to the glorious performance and sumptuous recording.
Music Web International, 01-1-2014

"A true jewel is the realized sound of this recording by producer Lodewijk Collette, which is recorded excellent by Challenge on CD. The simple but well-prepared presentation (with a Dutch explanation) is an aesthetic pleasure"
www.opusklassiek.nl, 03-11-2013

"One year ago, Der Schatzgräber from Franz Schreker at the Dutch Opera was musically a hit"
www.operamagazine.nl, 23-10-2013

Play album
Disc #1
01.
Der Schatzgräber, Vorspiel: Was sagst du dazu?
05:03
02.
Der Schatzgräber, Vorspiel: So hört, Herr König
04:13
03.
Der Schatzgräber, Erster Aufzug: Lass mich!
03:28
04.
Der Schatzgräber, Erster Aufzug: Ah! Ah!
02:03
05.
Der Schatzgräber, Erster Aufzug: Soll ich?
01:35
06.
Der Schatzgräber, Erster Aufzug: Mein Kind, Els?
02:52
07.
Der Schatzgräber, Erster Aufzug: Halloh, halloh!
04:27
08.
Der Schatzgräber, Erster Aufzug: Schön’ Abend
01:32
09.
Der Schatzgräber, Erster Aufzug: So hört meinen Sang
05:30
10.
Der Schatzgräber, Erster Aufzug: Kommt, kommt!
04:46
11.
Der Schatzgräber, Erster Aufzug: Els! Els!
02:36
12.
Der Schatzgräber, Erster Aufzug: Das werdet Ihr nicht tun!
02:25
13.
Der Schatzgräber, Zweiter Aufzug: Ziemlich langsam
02:01
14.
Der Schatzgräber, Zweiter Aufzug: Ein ödes Nest!
08:00
15.
Der Schatzgräber, Zweiter Aufzug: Tibi soli peccavi
01:56
16.
Der Schatzgräber, Zweiter Aufzug: Elis! - Mutter!
01:53
17.
Der Schatzgräber, Zweiter Aufzug: Genug! Macht ein Ende!
01:14
18.
Der Schatzgräber, Zweiter Aufzug: Wie ich lebte, so lasst mich sterben
03:23
19.
Der Schatzgräber, Zweiter Aufzug: Er ist von Sinnen!
01:29
20.
Der Schatzgräber, Zweiter Aufzug: Lasst ab von dem
05:14
21.
Der Schatzgräber, Zweiter Aufzug: Er kommt, er kommt morgen
02:05
22.
Der Schatzgräber, Zweiter Aufzug: Els! Els!
03:57

Disc #2
01.
Der Schatzgräber, Dritter Aufzug: Klein war ich noch
03:57
02.
Der Schatzgräber, Dritter Aufzug: Els! - Elis, endlich
07:41
03.
Der Schatzgräber, Dritter Aufzug: Rubato - Ziemlich langsam
01:15
04.
Der Schatzgräber, Dritter Aufzug: Geheimnisvoll kündet die Nacht sich an
03:15
05.
Der Schatzgräber, Dritter Aufzug: Kein Grauen, Freund!
02:53
06.
Der Schatzgräber, Dritter Aufzug: Ich bin kein Schemen
02:52
07.
Der Schatzgräber, Dritter Aufzug: In sanfter ruhiger Bewegung - Mehr und mehr gesteigert
03:50
08.
Der Schatzgräber, Dritter Aufzug: Du sollst mich nie fragen
01:11
09.
Der Schatzgräber, Dritter Aufzug: In fortwährender Steigerung
05:51
10.
Der Schatzgräber, Dritter Aufzug: Was soll das?
05:17
11.
Der Schatzgräber, Vierter Aufzug: Allegro con spirito
01:04
12.
Der Schatzgräber, Vierter Aufzug: Nun, Narr, du hast es gelöst!
05:43
13.
Der Schatzgräber, Vierter Aufzug: Wenn Majestät geruh’n zu erlauben
02:55
14.
Der Schatzgräber, Vierter Aufzug: Am Ilsenstein in uralter Zeit
06:19
15.
Der Schatzgräber, Vierter Aufzug: Wie seid Ihr töricht
01:24
16.
Der Schatzgräber, Vierter Aufzug: Halt, o König!
02:58
17.
Der Schatzgräber, Vierter Aufzug: Ah! Hört auf!
01:00
18.
Der Schatzgräber, Vierter Aufzug: Ha, ha! Herr König
02:46
19.
Der Schatzgräber, Vierter Aufzug: Dank, Dank, Herr König
02:18
20.
Der Schatzgräber, Vierter Aufzug: Komm, komm, mein Bräutchen
01:29
21.
Der Schatzgräber, Nachspiel: Sehr getragen
01:10
22.
Der Schatzgräber, Nachspiel: Dank, dass Ihr kamt!
02:53
23.
Der Schatzgräber, Nachspiel: Els! - Wer ist da?
04:05
24.
Der Schatzgräber, Nachspiel: Du legst dein Köpfchen jetzt sanft zur Seit’
04:01
25.
Der Schatzgräber, Nachspiel: Amen, so sei’s!
01:13
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