The best Hermann Prey’s movies
We present our ranking of the best Hermann Prey’s movies. Do you love cinema? Or are you looking for a movie of your favorite actor to watch tonight? Surely you have some to see or that you did not know yet about Hermann Prey.
Wunderland
Gustl Bayrhammer takes audiences big and small on a musical journey to “Wonderland”. There he meets various characters from comic books, fairy tales and legends.
Die Fledermaus
8.7/10
Most opera houses ring in the New Year with Johann Strauss Jr.'s most popular operetta--the festiveness of which is appropriate for the occasion--and this December 31, 1983, Covent Garden performance follows suit. An exceptional cast--led by Hermann Prey and Kiri Te Kanawa as the couple whose marriage survives the comic indiscretions of three long acts--obviously has as much fun as the audience. Plácido Domingo leads the Orchestra of the Royal Opera House through its paces with panache. Prince Orlofsky's Act II party is always a splendid opportunity to pull out all the stops with surprise "guests," and this performance makes the most of its chance: entering the proceedings to sing one of his tailor-made chansons, "She," is French crooner Charles Aznavour, who is followed by dancers Merle Park and Wayne Eagling, their delightful pas de deux flashily choreographed by Sir Frederick Ashton.
The Marriage of Figaro
8.3/10
Mozart's Marriage of Figaro is a comedy whose dark undertones explore the blurred boundaries between dying feudalism and emerging Enlightenment. Herman Prey's Figaro is admirably sung in a firm baritone and aptly characterized. So too, is his antagonist, Dietrich Fischer-Dieskau as the Count perpetually frustrated by the scheming wiles of Figaro and Susanna, here the perky Mirella Freni, who sings and acts like a dream. The Countess is creamy-voiced Kiri Te Kanawa, and the Cherubino, Maria Ewing, looks just like the horny, teenaged page she's supposed to be. The all-star leads are complemented by worthy supporting singers, the Vienna Philharmonic at the top of its form, and the experienced Mozartian, Karl Böhm conducting a stylishly fleet performance.
Bach: Mass in B Minor
Karl Richter leads Gundula Janowitz and Hermann Prey in Bach’s monumental B minor Mass The work was filmed in the splendid Baroque abbey church of Diessen in Bavaria, which dates from Bach's time. Messe in h-moll Mass in B minor BWV 232 Gundula Janowitz · Hertha Töpper Horst R. Laubenthal · Hermann Prey Münchener Bach-Chor Münchener Bach-Orchester Karl Richter Directed by Arne Arnbom
Hänsel und Gretel
7.6/10
Engelbert Humperdinck's beloved musical fairy tale HÄNSEL UND GRETEL is brought to life by Sir Georg Solti and an illustrious cast - all part of a shimmering production that continues to enchant audiences of all ages.
Wagner: Die Meistersinger von Nürnberg
Richard Wagner's grandson, Wolfgang Wagner, staged and directed this performance of the legendary composer's most human of musical dramas at the 1984 Bayreuth Festival. Horst Stein directs the Bayreuth Festival Chorus and Orchestra and an all-star cast that includes Hermann Prey (as Beckmesser), Bernd Weikl (as Sachs), Siegfried Jerusalem (as Walter), Graham Clark (as David) and MariAnne Haggander (as Eva).
Così fan tutte
8.2/10
Wiener Philharmoniker and Wiener Philharmonia Chor Conducted by Karl Böhm Directed by Vaclav Kaslik
A Christmas Celebration: Send Round the Song
7.8/10
Tony Randall and some children, filmed in Connecticut, provide the framework of the history of some of the carols sung by opera stars.
Il Barbiere di Siviglia
8.2/10
Count Almaviva is in love with Rosina. However, she is currently staying with Dr. Bartolo – who desires to marry her. By using a series of disguises, Almaviva manages to pass letters to Rosina and serenade her with his beautiful voice. Dr. Bartolo does his best to stop Almaviva but is constantly thwarted. In the end, Count Almaviva marries Rosina and Dr. Bartolo comes to terms with his defeat.
Mahler - Symphonies Nos. 7 & 8
Leonard Bernstein made these recordings during his wonderfully productive collaboration with the Wiener Philharmoniker in the mid-1970s when he was at the peak of his career. Humphrey Burton's direction is, as always, very fine, giving the viewer/listener both the larger picture and highlighting individual soloists, players or groups of musicians and, of course, the maestro. The video and audio tracks show their age, but are quite acceptable even for today's standards. Bernstein's Seventh is everything one could desire: dark and spooky, highly sensual, but also structurally strong and assertive where needed. Bernstein's reading does not gloss over breakdowns in tonality and the foreshadowing of later musical developments.
