National Theatre

This Edition presents the “Magnificent Seven” and the “encore” in optimum technical quality. In the mid-Fifties of the last century, with the Cold War freezing relations between East and West, the English record label Decca decided to record a series of Russian operas with the Belgrade National Opera. Belgrade in the Yugoslavia of those days under Josip Tito was more open to “the West” than the Warsaw Pact countries gathered under the wing of the Soviet Union. The deal had been struck by former Decca manager and successful promoter of east European folklore in the USA, record executive Gerald Severn.

This Edition presents the “Magnificent Seven” and the “encore” in optimum technical quality. In the mid-Fifties of the last century, with the Cold War freezing relations between East and West, the English record label Decca decided to record a series of Russian operas with the Belgrade National Opera. Belgrade in the Yugoslavia of those days under Josip Tito was more open to “the West” than the Warsaw Pact countries gathered under the wing of the Soviet Union. The deal had been struck by former Decca manager and successful promoter of east European folklore in the USA, record executive Gerald Severn. Thanks to his excellent contacts, Decca director Arthur Haddy eventually obtained a visa and travelled to Belgrade to find a suitable recording venue, which turned out to be the cinema in the House of Culture in the city centre.

Stephen Sondheim’s legendary musical is staged for the first time at the The National Theatre’s production of Follies will return for another run next year, director Dominic Cooke has said, as he also confirmed that a cast recording will be released.

The international success of Faust after its premiere in 1859 completely overshadowed all of Gounod’s subsequent operas. He had known Goethe’s masterpiece for two decades and brought to the text his gifts for memorable melody and rich orchestration. Added to this, the plot of Faust’s ageing and the heroine Marguerite’s redemption, offered the opportunity for the most spectacular stage effects. Heard here in its 1864 London version with an additional air and without spoken dialogue or ballet, Faust represents 19th-century French opera at its peak.