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| Disc: 1 | |||
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| 1. Beginning - "Für den Winter" (Green, Leontes, Polixenes) - Heinz Zednik, Dale Duesing, Anthony Rolfe Johnson, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 2. Zu kalt, zu kalt (Hermione, Leontes, Gree, Polixenes) - Susan Chilcott, Dale Duesing, Heinz Zednik, Anthony Rolfe Johnson, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 3. Heiss, zu heiss (Leontes, Green) - Dale Duesing, Heinz Zednik, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 4. Was macht der König (Polixenes, Leontes, Hermione) - Anthony Rolfe Johnson, Dale Duesing, Susan Chilcott, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 5. Camillo - Mein Herr (Leontes, Camillo) - Dale Duesing, Franz-Josef Selig, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 6. Dein Spross ist scheu (Polixenes, Camillo) - Anthony Rolfe Johnson, Franz-Josef Selig, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 7. Die Königin ist schon ganz rund (Hofdamen, Hermione) - Ismini Giannakis, Laurence Misonne, Djamilia Kamal Babaeva, Susan Chilcott, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 8. Eine Spinne im Becher (Leontes, Hofdamen, Hermione) - Dale Duesing, Ismini Giannakis, Laurence Misonne, Djamilia Kamal Babaeva, Susan Chilcott, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 9. Hoheit, Hoheit bitte (Gefolgsmänner, Antigonus, Leontes) - Juha Kotilainen, Dale Duesing, Orchestre Symphonique de la Monnaie, Antonio Pappano, Choeur De La Monnaie, Renato Balsadonna | |||
| 10. Scene 2 - "Mein armer Bub" (Leontes, Antigonus, Paulina, Gefolgsmänenr) - Dale Duesing, Juha Kotilainen, Cornelia Kallisch, Orchestre Symphonique de la Monnaie, Antonio Pappano, Choeur De La Monnaie, Renato Balsadonna | |||
See all 11 tracks on this disc
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| Disc: 2 | |||
| 1. Ich bin die Herrin Zeit (Die Zeit, Polixenes, Camillo) - Heinz Zednik, Anthony Rolfe Johnson, Franz-Josef Selig, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 2. Ich träumte jede Nacht (Camillo, Florizel) - Franz-Josef Selig, Kris Dane, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 3. Would you flee (Florizel) - Kris Dane, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 4. Today in our land (Taschendiebe, Böhm.Soldat, Böhm.Mädchen) - Lorenzo Caròla, Juha Kotilainen, Gerard Lavalle, Laurence Misonne, Djamilia Kamal Babaeva, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 5. How beautiful she dances (Polixenes, Camillo, Jazz-Band) - Anthony Rolfe Johnson, Franz-Josef Selig, Aka Moon, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 6. Welcome (Taschendieb, Böhm.Mädchen, Polixenes, Florizel, Böhm.Soldat) - Lorenzo Caròla, Juha Kotilainen, Laurence Misonne, Djamilia Kamal Babaeva, Anthony Rolfe Johnson, Kris Dane, Gerard Lavalle, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 7. Your divorce (Polixenes) - Anthony Rolfe Johnson, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 8. Why look at me like that (Florizel, Camillo) - Franz-Josef Selig, Kris Dane, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 9. Beginnig - "Ich denke weiter und weiter" (Leontes, Paulina, Green) - Dale Duesing, Cornelia Kallisch, Heinz Zednik, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
| 10. König, jetzt ist genug (Hofdamen, Hofherren) - Ismini Giannakis, Laurence Misonne, Djamilia Kamal Babaeva, Lorenzo Caròla, Jacques Does, Orchestre Symphonique de la Monnaie, Antonio Pappano | |||
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See all 15 tracks on this disc
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In Wintermärchen, though, the music is even more breathless and eclectic: scenes tumble over each other at top speed, the vocal lines veer between Berg and Sondheim, and the orchestra alludes to a vast historical spectrum of styles, with a prominent role for the accordion. The big jolt occurs between the second and third acts, when the action moves from Sicily to Bohemia and forward by 16 years; the text switches from German to English, and an improvising jazz-rock trio, Aka Moon, is introduced to signal a new world. But it all seems too schematic and contrived, and even though the final act returns to the world of the opening, it cannot measure up to the wonderful epiphany of Shakespeare's play.
Performance *****
Sound ****
© BBC Music Magazine 2001
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