James King

In 1920s Germany, Erich Korngold's work was considered “degenerate” and banned. Eventually, in 1934, he left for Hollywood. There, he made a name for himself as a film composer and only rarely wrote great works for the stage. Many of his quite successful operas, composed between 1913 and 1927, stopped being performed after World War II. Among these was his perhaps most significant work, Die tote Stadt (“The Dead City”), which was performed again for the first time after a long hiatus in 1955 in Munich. Further productions followed. Nevertheless, Götz Friedrich's version of 1983 for the Deutsche Oper Berlin was only the fifth new production of the opera after 1945.

The Otto Schenk production of Richard Strauss's "Elektra", filmed live at the Metropolitan Opera in January, 1994. Hildegard Behrens stars as Elektra, with Deborah Voigt as Chrysothemis, Brigitte Fassbaender as Klytämnestra, Donald McIntyre as Orest, and James King as Aegisth. James Levine conducts.

Jessye Norman is a regal Ariadne, the mythological Greek heroine in this opera-within-an-opera, opposite the passionate Bacchus of the great James King. Kathleen Battle delivers the coloratura fireworks of Zerbinetta, the leader of a commedia dell’arte troupe that finds itself stranded on Ariadne’s island. Tatiana Troyanos and Franz Ferdinand Nentwig star as the young Composer and the Music Master in the opera’s prologue. James Levine brings out all the color and charm of Strauss’s brilliant chamber-sized score with its equal amounts of pathos and humor. Bodo Igesz’s production features sets by esteemed designer Oliver Messel.

Recorded at the Vienna State Opera house in 1989, this staging of Richard Strauss and Hugo von Hofmannsthal’s Elektra is one of the glories of live opera on film, deserving of eternal availability. The DVD picture has great clarity, despite the darkness of Hans Schavernoch’s set design. Other than the cliché of a huge statue head, toppled on its side, the set manages to be suitably representative of a decaying palace as well as an imposing, theatrical space, dominated by the mammoth body of the statue from which the head apparently dropped, draped with the ropes that seem to have enabled the decapitation. Sooner or later most of the characters cling to and twist around those ropes, an apt stage metaphor for the remorseless repercussions from the murder of Agammenon by his unfaithful wife Klytämnestra and her paramour, Aegisthus. Reinhard Heinrich’s costumes capture a distant era while sustaining a creepily modern look — part Goth, part homeless, part Spa-wear.

Beethoven's opera Fidelio, conducted by Karl Böhm, featuring Gwyneth Jones as Leonore and James King as Florestan

In this documentary portrait prepared for the anniversary of Ludwig Van Beethoven's 200th birthday, Leonard Bernstein illustrates his analysis with excerpts from his performances of Beethoven's Piano Concerto No. 1 in C Major and the Ode to Joy from the Ninth Symphony.

The production by Deutsche Oper Berlin achieves a beautiful balance between the stage drama and the music. It proves that there are still singers who can perform Verdi's melodies at the highest level and that it is also possible to bring them together into an ensemble. The production fulfills all one's expectations of the modern city of Berlin in terms of stylishness and performance.

Daphne, Op. 82, is an opera in one act by Richard Strauss, subtitled "Bucolic Tragedy in One Act". The German libretto was by Joseph Gregor. The opera is based loosely on the mythological figure Daphne from Ovid's Metamorphoses and includes elements taken from The Bacchae by Euripides.