Getting into his grandfather's pottery workship at night, a little boy finds an unusually large vase. Fascinated, the child feels the still-warm material, which - whether by a miracle ot the hand of a magician, who knows? - at once changes into a magnificent piece of Chinese porcelain. Presently, from behind the great blue-enamelled trees, there appears a fisherman in his sampan... That's how the story of "The Nightingale", told all in music, begins, as the waking dream of a child in the land of Chinese art - and of mobile phones and webcams.

Live from ROH 2009, TV relay 1/12/2009.

At first glance, the title of Shostakovich’s opera seems to speak for itself: Katherina, neglected and unhappy in her marriage, commits the most heinous crime just like the Shakespearian Lady Macbeth. But Nikolai Leskov’s short novel, which portrays Katherina as a monster, was only the starting point for Shostakovich to elicit understanding for an oppressed woman whose pursuit for self-determination is suppressed by society. Through combining satiric, grotesque and tragic elements in his music, Shostakovich succeeds in striking the balance between repulsion at Katherina’s immoral acts and sympathy for her. Violence, eroticism and the paralysing boredom of Russian society in the 19th century are the founding elements of this composition. The choir and orchestra of the Maggio Musicale Fiorentino conducted by James Conlon accompany tremendous soloists such as Jeanne-Michèle Charbonnet, Vladimir Vaneev and Vsevolod Grivnov in the original language in this live recording.