Description

In Jonathan Miller's brilliant interpretation of Verdi's opera, the story of Rigoletto unfolds in New York's mob-controlled Little Italy in the 1950's.Rigoletto, a clowning bartender, moves about in a world of criminals, thieves, and murderers - a world he keeps his beloved daughter, Gilda, well away from.

During a party to celebrate the Feat of San Gennaro, Rigoletto makes one joke too many, angering Don Monterone, who puts his curse on him.

And so, a fatal chain of events are set in motion as Gilda meets the philandering Duke and teh story moves toward its tragic conclusion. ... Read more

Reviews (3)

Verdi in da English?
This opera is extremely well-done, but if you're a purist, it's hard to appreciate the arias in English -- not exactly shower music! They've got such a wonderful idea here, and it's well-executed, why, oh why, didn't they perform it in the Italian that we've grown to love for 150 years? I don't speak Italian, but I know most of the Verdi and Puccini arias, as do most opera fans. But this video is good entertainment, nevertheless, and worth the [money].

MASTERPIECE !
This production, by director Elijah Moshinsky for English National Opera, cries out for issue on DVD. It is, quite simply, the best updating and most relevant story-telling one can ever envisage this opera receiving. The entire opera is reset in Mafia-ridden Little Italy in New York, and the consistency and truthfulness to the original intent of the opera is astonishing. This is no updating for updating's sake. It is the work of a master director totally attuned to Verdi's drama. I've played this video often to my children, from about the age of 10 and up, and it is just a riveting introduction to great music and drama. The video is wearing out though -- SO PLEASE, NOW REMASTER FOR DVD! Joseph Losey's feature film presentation of Don Giovanni is also crying out for issue on DVD -- filmed treatment of operas at this quality are rare.

Truly phenomenal production
This ENO production, directed by Jonathan Miller, is updated and set in New York's Little Italy. The singing is of uniformly high quality but John Rawnsley's performance in the title role is one of the best performances of anyone on film in opera. His rendition of Rigoletto's big aria is absolutely riveting. The English translation works well despite the problem of repeated text common to opera of this period. No detail is overlooked in the updating of the story--that's why the update works so well. I cannot praise this performance enough. ... Read more

Amazon.com

This full-blooded 1982 performance of Puccini's most-loved operademonstrates just how much drive and powerful emotion can make up for a certain lack of subtlety. Ileana Cotrubas's Mimi is entirely moving in both joy and death, while never quite feeling as thoroughly frail as some of her quieterrivals; stronger tenor voices than Neil Shicoff's have recorded the role, andyet he has a romantic passion and a dignity that many of his rivals lack.Underrated singer Gwynne Howell is especially moving in Colline's farewell to his cloak--one of those perfect little showcase sections Puccini sometimes givesto minor parts. Marilyn Zschau's Musetta is broad and comic and yet somehowincludes the audience in the glorious joke that her sexuality is for her; whenThomas Allen sings, to her famous waltz theme, of youth that is not yet dead,his ardor transcends realism. Conductor Lamberto Gardelli knew this score in his bones--the production bounces along from comedy to tears to eroticism to tragedy, and neither cast nor orchestra misses a single one of Puccini'swonderful touches of emotional exploitation. --Roz Kaveney, Amazon.co.uk ... Read more

Reviews (2)

Excellent performance and beautiful singing.
This video is so enjoyable and excellent to watch and to listen, while giving credit to the beautiful music of Puccini. The colors and the sound are very good, and the singers are so brilliant, it emphasized the tragic story of the poor but happy Bohemians. I have seen Neil Shicoff in other operas, but in this video he is singing in his top condition, acting the character Rodolfo so beautifully and naturally,with such perfection and brilliance, that we can feel the sad and tragic situation of Rodolfo's fate as Poet. Also Illeana Cotrubas, who acts as the little poor seamstress Mimi sings with such excellence,which move our hearts by the tragic situation of Mimi who was suffering from a deathly illness. The other singers gave also their excellent contribution, including Marilyn Zschau, acting as the character of Musetta. In short this video give us such pleasant enjoyment. Only one minor imperfection, as it has no English subtitles, which makes the video difficult to be understandable. There is an English explanation in the booklet that comes in the package, but it is bothering to read it while what we want is only to watch and listen to the beautiful music, not bothered by reading the verses in English.

Marvelous!
This is an extremely well-sung and beautifully (and believably) acted Boheme. While the singers are not household names (this is a London Covent Garden Royal Opera House production), they give dazzling performances, and what's more, their youthful attractiveness and exhuberance permeate the opera, considered by most experts to be Puccini's finest and most melodic.

I will grant that certain more famous singers may be able to sing a particular role better, but for overall quality, this is hard to beat.

The first thing you'll want to do after watching this production is rewind it and watch it again -- and that's what I did! ... Read more

Amazon.com

This is as good a video of the traditional Tales of Hoffmann aswe are ever likely to see. It alters the material Offenbach left when hedied, but it is the Hoffmann that audiences have loved fordecades in a brilliant all-star production. Plácido Domingo is vocallyresplendent and theatrically convincing as the poet Hoffmann enduringone amorous disappointment after another. He is supported by a large,expert, international cast, alert to the opera's wit, horror, and pathos.

Particularly outstanding are Luciana Serra, vocally flawless and visuallymechanical as the singing robot Olympia; Ileana Cotrubas as Antonia,who sings herself to death; Claire Powell as Hoffmann's partnerNiklausse; and all four of the deep-voiced villains. This productiondeparts from Offenbach's evident intentions particularly in the Venetianact, which it places second rather than last and pads out with materialOffenbach never included. These additions, however, include some ofthe best-loved material in the opera.--Joe McLellan ... Read more

Reviews (8)

An exelent production
This is probably the best Hoffman on Video. Domingo is at his peak here, the best Hoffman I've ever heard singing the best I've heard him sing the role. Particularily good are the Ballad of Klinzach and "Amis! L'amour tendre", which is acted excellently by Domingo and features some really great buisness from Anges Balsta, Domingo and the chorus.

The conducting of Pretre is speedy, and most of the time it works, but, in some places (like the Baracolle, sung beautifully) it seems the singes can hardly keep up.

The production values are nothing short of increadable. the late John Schliesinger shows himself to be a capable operatic director, with several nice touches to the production, such as Lindorf appearing at the end of each act, mocking Hoffman and laughing. I would have prefered to see the roles acted by one man, but the seperate apperances of Lindorf do just as well. The begining of the Venice act is very impressive, with the gondolas floating ominously and the writhing orgy taking place on the banks of the cannal. The designs of Maria Bjornson and Willum Dudley utilize the three-story stage excellently, and give each setting a different feel: The tavern a place of grity reality, Paris a zany Victorian invetors lab, Venice a C.B. DeMille nightmare, and Munic the feeling of a derilict, clostrophobic mansion from hell.

The singing, other than Domingo is almost uniformally good. Luciana Serra, as Olympia is fine acting-wise and her voice is pleasent enough, but I don't like her phrasing. Balsta's Guiletta is increadeble, a real stand out. She looks terrific, too. Ileana Cortubas' Antonia sings well enough, but could act the part better, but you warm up to her eventually.

As the Villians, Robert Llyod (asways reliable) is a memerable Lindorf, though he speaks rather than sings Stella's letter and takes his aria much to fast. Sir Geraint Evans is amazing as Coppelius, both zany and extreamly creepy. Seigmund Nimsgern is extreamly hypotic as Dappertutto, and gives the best vocal performance out of the four villians. Nicolai Ghiuselev's Miracle is the production's biggest letdown, as he is overpowered in his two trios easily and acts rather woodenly.

Claire Powell is an excellent and masculine Nicklausse, and makes a ravishing transformation into the muse, where her sdialouge is not as good. In smaller roles, Robert Tear is a memerable Spalanzani and Gwynne Howell is an excellent and touching Crespel. Bernard Dikerson is very funny as Frantz, giving the best acting performance (if not vocal) of "Jour et Nuite" I've heard yet. Paul Crook is execellent as Conchinelle, but not as Andres. Chorus and Orchestral work are both excellent.

This is a production I would highly recomend under any circumstances.

kultur shock
This is a total DVD disaster fom Kultur. I have tried two copies of this wonderful performance and both had a miserable soundtrack and opera is sound. Volume swells and fades throughout the performance destroying a terrific production. Would love to know what Placido Domingo thinks of it. Dr. Mirakle must have been the sound mixer.

Wonderful except the production
I prefer my operas grand and colorful. This production was grand but in monochromatic colors. OK but I have seen so many better interpretations of this opera in color.

The music is wonderful. I loved all the principals. I am glad I bought this version. I have the one from Lyons France and it is awfull. I do not know of any other DVD of the Tales of Hoffmann.

Not DVD Quality
The content was good but the Video quality was very poor. I was watching on my Sanyo HD PLV-60 projector. It looks like the master tape was a VHS or 3/4" tape. The original show was taped in 1981 by the British. Those people are perfectionists. The only explanation for the poor quality must be 2nd and 3rd generation of tape or a bad transfer from PAL to NTSC TV.

You should not watch this DVD on a big screen.

I Loved It!
This is a great, great performance. Domingo's Covent Garden Hoffmann is supreme, but this is no one-star show: there is a first-rate supporting cast as well (including the veteran bass-baritone Sir Geraint Evans as Coppelius -- I believe these were his last Covent Garden performances -- the always-outstanding Robert Lloyd as Lindorf, and the touching Ileana Cotrubas as Antonia). Every fan of HOFFMANN and/or Domingo should watch this video! ... Read more

Amazon.com

This 1983 Royal Opera Covent Garden production looks right and Plácido Domingo sounds right. So do the chorusand orchestra, though they could have been subtler here and there. Silvano Carroli makes a superbly villainous sheriff. Carol Neblett looks good and acts reasonablywell as Minnie, the amiable barmaid and surrogate mother to a camp full of lonely minors. Unfortunately, her voice is not quite competitive with that of Mara Zampieri,who shared the La Scala production with Domingo nine years later.

Those who prefer this Fanciulla will probably be attracted by Domingo's youthfulvitality, but the whole production is quite attractive if one makes allowance forNeblett's tonal shortcomings. The music has color and subtlety, and the storywill bring nostalgia attacks to anyone who spent childhood Saturday afternoonsnibbling popcorn and watching horsemen in 10-gallon hats galloping across thescreen.--Joe McLellan ... Read more

Reviews (5)

Carol Neblett looks Horrible but Sings Beautifully
I wouldn't reccommend this as a first La Fanciulla del West(looks of the Minnie wise) but singing wise I would. Carol Neblett sings beautifully but she looks so horrible that I can't bare to see a Minnie who looks even worse than she. There are more beautiful looking Minnies, perhaps one of them is in the La Scala video. But Neblett's voice is excellent. Placido Domingo is a good-looking Dick Johnson/Ramerrez and also sings really well. Juan Pons doesn't look anything like someone who would play Jack Rance, he looks more like The Flying Dutchman, but his voice is excellent. In my opinion, the lookwise flaws are for Carol Neblett and Juan Pons, otherwise, good-looking. I have no complaints about Nello Santi's conducting, though. The director should've hired Kiri Te Kanawa or Renata Tebaldi to play Minnie and either Sherrill Milnes or Giuseppe Taddei for Jack Rance instead of Juan Pons. For a first reccommendation, get the La Scala set, and tell me if you see a beautiful looking Minnie or a more normal looking Jack Rance, because I've never saw that filmed version of the opera. I care about the looks too besides the voice, and when or if I become a director I'll hire someone who's more like Kiri Te Kanawa to play thwe role of Minnie. Jack rance shouldn't have long hair at all.

Domingo is Terrific and production A-OK.
The best video of this opera is the Met's but this is a good second one for your collection. I can't stand the soprano in the La Scala version and as much as I like Domingo, I can't listen to that version at all. I recommend this and have it on VHS as well as laser. It's not at the level of the Met's production with Milnes and Daniels, however. That's the best on video. Worth owning!

I'm In The Minority Here
Overall I loved this performance, especially the performances of Domingo and Neblett. Yes, she may have been overtaxed in the role at times, but for me the chemistry between the two of them was wonderful. He with a soft edged machismo and she as the tough woman in the wild west but with an obvious feminine side. I found both the characters very believable. Carolli was acceptable but not great. Wish it had been Milnes as in the recording on the DGG CD. The production values are good but the age of this recording shows. It definitely does not have the sharpness of more modern recordings. I've not seen the La Scala DVD mentioned here but I've heard it on CD and while Domingo is as good as always, I find Zampieri's voice just plain ugly.

An Interesting Second La Fanciulla
If you only want to own one DVD of La Fanciulla, then the La Scala production is clearly the one to buy. If nothing else, its cinematography is vastly superior to this Covent Garden production, and its sound recording is better, too. But for those of us who can't get too much Puccini, this production makes for an interesting exercise in compare and contrast.

The two productions are similar in terms of the stature of the principal singers, the orchestra and chorus (which is very important in La Fanciulla), and the sets and costumes. This Royal Opera production is, as far as I can tell, the only DVD opera that features Carol Neblett. It's of interest, therefore, if only to see her portray Minnie, one of her signature roles. Also interesting are some of the decisions the director made in this production. It is played with very broad gestures -- Silvano Carroli, for example, plays Jack Rance as a swaggering Snidely Whiplash. He and Neblett wrestle several times as he attempts to impose his affections on her and she resists. Juan Pons and Mara Zampieri are restrained by comparison at La Scala. Placido Domingo plays Johnson/Ramirez in both productions, so you can see how his interpretation changes over time and in response to the different direction. He too has toned it down a bit in the later production.

Somewhat amusingly, this production is at times politically incorrect, as in Act 1 when it repeatedly has Indians stealing whiskey when the white man turns his back. And Gwynne Howell turns up as Jake Wallace wearing blackface! I guess that's what you get when you have a British opera company in 1983 interpreting how an Italian composer in 1910 portrayed California in the 1850's.

Great Visuals, Abysmal Singing
The Girl of the Golden West is almost funny in its use of a Western (as in USA) as an operatic vehicle. The real strength of this production is that looks like a western and the men and Minnie, the important female, look like characters from a western. The sets are excellent. The acting was also good. However with the exception of the male lead, Ramirez (alias Dick Johnson), played by Placido Domingo, the singing is extremely wobbly and, in the case of Minnie, the singing was so inaccurate that I could not even imagine what the musical intent was.
La Fanciulla. . . is a good opera that anyone could enjoy. You should not buy this version when an musically excellent La Scala production is available on both DVD and VHS. ... Read more

Album Description

Glyndebourne Festival Opera production of Rossini’s classic opera. Starring Robert Dean, Max-René Cosotti, John Rawnsley, and Maria Ewing. London Philharmonic Orchestra conducted by Sylvain Cambreling. ... Read more

Reviews (1)

Pretty good video
Here are my complaints about the singing in this video: John Rawnsley, the Barber, occasionally does a bit of yelling, and Maria Ewing, the Rosina, just isn't that great of a singer, in my opinion - her voice sounds a bit broken and the high notes have an unpleasant tone, however her acting is so great that you tend not to notice. The Count aspirates a little much, and occasionally has a little trouble with getting every single note out without slurring, (but it's a hard part, right?), however he also does some exquisitely elegant singing in the first act.

The video all-around is a very good presentation of Rossini's great work. The directing and the acting are so good, you find yourself giggling all the way through. ... Read more

Amazon.com

All the ingredients for Rossini's prime comedy are present and expertly mixed in this 1987 Glyndebourne Festival Opera production: a Figaro (John Rawnsley) extroverted, ingenious, energetic, and vocally resplendent; a Rosina (Maria Ewing) fresh and sweet but steel-sinewed in her determination to have her own way; a Count Almaviva (Max-Rene Cosotti) who has not only thevocal lightness and agility his bel canto music requires, but a fine sense of humor and the ability to perform a good drunk scene. Ferruccio Furlanetto and Claudio Desderi are equally adept in their supporting buffo roles.

This production is a joy to the eye as well as the ear. Everybody looks right for his or her part; the costumes are elegant and evocative of the story's time and place; the scenery, indoors and out, will evoke Seville for anyone who has seen that unique city. It is all brought together and given point and perspective by Sylvain Cambreling's idiomatic conducting and John Cox's deft staging.--Joe McLellan ... Read more

Reviews (1)

Pretty good video
Here are my complaints about the singing in this video: John Rawnsley, the Barber, occasionally does a bit of yelling, and Maria Ewing, the Rosina, just isn't that great of a singer, in my opinion - her voice sounds a bit broken and the high notes have an unpleasant tone, however her acting is so great that you tend not to notice. The Count aspirates a little much, and occasionally has a little trouble with getting every single note out without slurring, (but it's a hard part, right?), however he also does some exquisitely elegant singing in the first act.

The video all-around is a very good presentation of Rossini's great work. The directing and the acting are so good, you find yourself giggling all the way through. ... Read more