Camouflage Dresden

Sir Colin Davis celebrated his 80th birthday on 25 September 2007 and this set of late Mozart symphonies was released to mark that important event in the career of one of the great Mozart conductors of the past fifty years.
It was during the early 1950s when Davis started conducting Mozart operas with the Chelsea Opera Group that attention was first drawn to his genius as a Mozart conductor. In 1960 he conducted Die Zauberflöte at Glynedebourne (replacing an indisposed Beecham); during his tenure as Music Director at the Royal Opera House, Covent Garden (he succeeded Solti in 1971) his Mozart performances drew huge critical acclaim.

Offenbach's Les contes d'Hoffmann is among those operas with most textual problems, since the composer did not live to its premiere, leaving an incomplete score. The traditional text, bringing in extra material, much of it unauthentic, and leaving out alot, was only established in the 20th century. This Dresden recording sessions were held (June 1987-June 1989) borrowed much from Michael Kaye's 1991 Schott Edition.

Through 80 pages and more than 180 profiles, this book examines the history of colors and camouflage used by the Waffen SS on their vehicles. From a BMW sidecar 75 prior to the invasion of Poland to the King Tiger 501 s.SS.Pz.Abt used by LAH Peiper in the Ardennes, this book covers a wide variety of vehicles, colors, and camouflage used by this dark branch of the Wehrmacht. It also provides useful information about the units, fronts, and different equipment levels of this unit. With this much information, modelers will find both inspiration and useful information to deal with their next model.

An operatic dream came true in May 2016, when two singers made their role debuts as Lohengrin and Elsa at the Dresden State Opera.
Previously at home in French and Italian lyric tenor roles, Piotr Beczala was expanding his repertory in a direction that many opera fans had long wanted him to explore, while Anna Netrebko – previously hailed as the “queen of bel canto” – was undertaking her first Wagnerian role. It was also her first foray into the lyric-dramatic repertory.

Axel Köhler's production of "Der Freischütz" at the Dresden State Opera was described by Die Presse as 'a minor miracle in Dresden'. In the words of the Salzburger Nachrichten, Köhler 'scored a bullseye' with his sombre and satanic interpretation of Weber's Romantic opera about love, temptation, souls sold to the Devil, obsession and faith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of 'mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening'.