This is a 1996 all-star-cast version from Paris of the original French version of Verdi's epic five-act opera, Don Carlos. First produced in 1867, only Wagner would write musical drama on a grander scale, and due to the three-and-a-half-hour running time most subsequent productions have made substantial cuts. This is therefore a rare opportunity to witness Verdi's tragedy in its entirety.

In the 1990s, the Finnish soprano Karita Mattila established herself as one of the world's leading operatic sopranos. Coming to early attention as a prize-winning singer adept at the more lyric roles in the repertory, she developed the qualities of a dramatic soprano as well, with an especially warm and grand voice. She is a tall, blond, and striking woman with excellent stage presence and acting skills.

The German stage director Jürgen Flimm – and his design team of Robert Israel and Florence von Gerkan – have set the opera in the second half of the 20th century and have costumed the action decidedly on the American side of the Atlantic Ocean. Such an approach follows the line of Flimm’s other contemporary opera successes – for example his current Bayreuth Ring (premiered in 2000) or his 2001 Otello at the Berlin Staatsoper. Modernising the period does not become updating for its own sake. Rather, the actions and behaviour of the characters cunningly align contemporary manners with the existing prescriptions of a “period” libretto.

Ondine's Essential Highlights of Karita Mattila brings together two previous releases, Karita Mattila Live in Helsinki from 2001 and Sibelius: Songs from 1996. Karita Mattila Live in Helsinki begins with riotous opening applause that continues through the orchestral introduction to "Dich teure Halle" from Tannhäuser, greeting Mattila like a rock star, and she performs with the passionate abandon and almost tangible audience rapport characteristic of rock stars. The intensity of her performance is palpable and she is fully invested in this material, holding nothing back. Besides the Wagner, Mattila brings characters from Dvorák, Verdi, and Puccini operas to life with a searing focus. Her powerful, radiant voice in the service of such an intelligent and heartfelt commitment to the music communicates viscerally with her audience.

On July 16, 1999, the 10th anniversary of the death of Herbert von Karajan, the Berlin Philharmonic paid tribute to their late maestro, playing within the confines of the imposing Salzburg Cathedral in von Karajans hometown of Salzburg. Among other works, the orchestra performed Mozart's Requiem in D minor, KV 626, featuring soprano Karita Mattila, contralto Sara Mingardo, tenor Michael Schade and bass baritone Bryn Terfel as soloists. Soprano Rachel Harnisch appeared as soloist on the two complementing arias Betrachte dies mein Herz und frage mich and Laudate Dominum.

Wagner’s enchanting Nürnberg has perhaps never looked as marvelous as in this production by Otto Schenk, with sets designed by Günther Schneider-Siemssen. James Levine’s conducting is as authoritative as it is affectionate, and the orchestra, the chorus, and the all-star cast which could not be equaled anywhere else in the world—respond with a riveting performance. James Morris is a wise, avuncular Hans Sachs; Ben Heppner’s beautifully sung Walther is a perfect match for Karita Mattila’s radiant Eva; and René Pape and Thomas Allen turn in stellar performances.

What sort of voice did Pauline Strauss have? She was a professional singer when she first met Richard Strauss and he seems have been inspired by her voice, writing a considerable number of songs for her. Before she retired from stage she had sung Elisabeth (Tannhäuser), Agathe (Die Freischutz), Leonore (Fidelio) and Donna Anna which implies a voice of some size. But elsewhere she is described as having a voice which was neither large nor beautiful. It should be admitted that the majority of songs which Strauss wrote for her were lieder, with just piano accompaniment.

In February 2001 the Berliner Philharmoniker and Claudio Abbado were guests at the Accademia Nazionale di Santa Cecilia in Rome with all Beethoven symphonies. Their success was overwhelming with standing ovations after each performance. “Abbado, a Furtwängler admirer in principle, seems ever more Italian, his tauter lyricism allied to a sense of forward movement influenced, we are told, by period practice. The surprise is not the Mediterranean luminosity and scrupulous attention to instrumental detail - one expects nothing less from this source - but the animating sense of line. The Seventh Symphony… knows precisely where it's going and why… The sense of joy present throughout is overwhelming by the close.” - Gramophone Magazine.