The original 1805 version of Beethoven's only opera is a high-adrenaline experience in the hands of the Belgian conductor and his period-instrument band, with Marlis Petersen in the title-role and Maximilian Schmitt as her imprisoned husband. From Leonore (1805) to Fidelio (1814) there were three successive versions of Beethoven’s opera, only the last of which has been in the repertory since the 19th Century. Going against tradition, René Jacobs has chosen to revive the earliest version, reworking the librettos and the spoken dialogue: a genuine tour de force, this still unknown Leonore forms an incomparable musical and dramatic structure requiring exemplary mastery on the part of both orchestra and singers. This landmark recording proves its case in every respect.

"Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art." This was the response of the critic in the London Times to the wildly successful premiere of Felix Mendelssohn's Elias in 1846. Hans-Christoph Rademann began his tenure as Principal Conductor of the RIAS Chamber Choir with this groundbreaking oratorio. After eight productive and successful years, his final concert in July 2015 also featured the work.

This is exceptional. There are certainly many different valid ways to perform the Missa solemnis, but it's hard to imagine they will surpass this outstanding version…The Royal Concertgebouw is on absolutely top form…As for the soloists, it is hard to recall a Solemnis quartet who blend so well while retaining their mesmeric individuality. (BBC Music Magazine)

With the belief that “No opera loses so much as Die Zauberflöte if one strips it of its drama and that means, above all, the spoken dialogue,” René Jacobs’ agenda in Die Zauberflöte is to rehabilitate the reputation of Schikaneder’s libretto. At the heart of his reassesment is the idea that Schikaneder and Mozart’s Masonic message is deeper and more carefully presented than we have thought. He suggests that seemingly silly or inconsistent aspects of the story are put there as intentional false paths as the audience, not only the prince and the bird catcher, undergoes its own trials of initiation. The opera’s symbolism and structure are explained in convincing detail in an essay in the booklet by the Egyptologist and Mozart researcher Jan Assman.

With this production of La Traviata, director Peter Konwitschny achieved a resounding success and Marlis Petersen made a sensational debut in the title role. The first ever production of La Traviata by Peter Konwitschny of Graz Opera is a highly-focused, intelligent reading of the music that was widely acclaimed by audiences. With a reduced stage set and daring cuts in the score, the production concentrates on the tragic story of the courtesan Violetta. Soprano Marlis Petersen (2010 „Singer of the Year“ in Germany) is superb in the title role.