Description

Puccini's bittersweet opera of high-spirited bohemians and the doomed love between Rodolfo, the idealistic poet and Mimi, the consumptive flower-maker, is a beautifully balanced series of tableaux depicting the infectious joie de vivre of youth and the tragic waste of disease and separation. The legendary and incomparable partnership of Mirella Freni and Luciano Pavarotti as the two lovers has been captured in this special live recording from stage of the San Francisco Opera. Brian Large has adapted Francesca Zambello's production for the video, further illuminating the fascinating interaction of Puccini's deeply human characters. Gino Quilico sings Marcello, the colorful and moody painter, whose tempestuous relationship with the flirtatious Musetta (sung by Sandra Pacetti), comically mirrors the more profound love of Rodolfo and Mimi. Nicolai Ghiaurov sings Colline. "Luciano Pavarotti and Mirella Freni turned in incandescent performances as Puccini's young lovers." --San Francisco Times ... Read more

Reviews (8)

Heartbreaking!
Anyone who has read my reviews knows that I am the biggest Freni fan imaginable. She does not disappoint me here. Yes, at this stage, her voice is a size too large for Mimi, more suitable for heavy verismo such as Tosca, Fedora and Manon Lescaut. The voice is far heavier than in her two previous studio recordings from the 60's and 70's. The vibrato is also a trifle wider than it was but all this is amply excused by her warmth and mature insight into the role. The tragedy of Mimi has never before been so heartfully portrayed. The emotions are stronger than before and by the end of the opera she totally hits her stride and a quarter of a century melts away. This is a must for all Freni fans.
Pavarotti, unfortunately, does not begin to match Freni's contribution. As many singers, such as Freni, experience a lowering of voice and a widening of vibrato, they become greater interpereters, greater artists. For Pavarotti, you don't find this. As his vocal resources diminish, so does his artistry. he sings faster than before, without as much inspiration. Still, he musters up some of the old magic and, in the end, provides a decent, if not splendid partner to Freni.
The rest of the cast is pretty darn good. The voice of Musetta may not be the most beautiful, but she provides much pleasure for this viewer. Quilico is a great Marcello! So is Ghiaurov as Colline, the one bass that can dominate an ensemble. The conducting doesn't set me on fire, but it's not bad.....serviceable. I love the staging and the sets.

Pavarotti and Freni pretending to be bohemians
One thing I find dissapointing in many Pavarotti opera productions is that everything seems to be adapted for Pavarotti instead of Pavarotti being adapted for the plot (or the music). Everyone knows who is the star, there is no Rodolfo in Paris having a romance with a ill-fated girl; it's just Pavarotti with a wig pretending he is still able to sing a good Rodolfo and some other singers trying not to distract us. Excellent Freni does awful singing in this production and her overacting ruins her singing many times.

A special thrill for fans of Mirella Freni
As someone fell in love with Mirella Freni as Susanna in The Marriage of Figaro and who heard of her pre-eminence as a Puccini interpreter, I have been quite satisfied with this DVD. Because I am not a particularly devoted or knowledgeable fan of Puccini, I cannot really compare the merits of this version of La Boheme as opposed to any other. Nevertheless, not being immune to Puccini's legendary ability to write music that goes directly to the heart, I am invariably transported into a painful but beautiful world every time I watch this DVD.

star-studded dull performance
Despite the vocal stars (and the previous effusive reviews), this performance is quite simply dull thanks to the leaden conducting. The camera work is annoying in its preference for closeups instead of taking a nice perspective and letting us focus on the overall action. Pavarotti is certainly better than he is today but still has the annoying habit of ending phrases with an "uh". The von Karajan film with Freni & Raimondi is much better (it should be on DVD soon) and the best of all is the Australian DVD. It doesn't rely on "names" just talent and is conducted with all the passion that this version misses.

Great!
Since we don't have an opera house in our city, I am thrilled to see any production of Puccini's operas. The music is so beautiful, it makes up for any other disapointments. If it weren't for the subtitles, I wouldn't know the story. I loved it. ... Read more

Reviews (2)

Spectacular Show and Splendid Art!
I have almost worn the tape out listening and relistening. This is truly a great show but it also is important art.

Brilliant! A well "executed" contemporary opera.
On December 19th, 1991, The Ghosts of Versailles premiered at the Metropolitan Opera in NYC. This opera was comissioned for the Met's Cententenary and was the first new work performed there in over a quarter of a century. See what you missed. Superbly conducted by James Levine, this opera features Theresa Stratas as the dead and depressed Marie Antoinette and has a hillarious cameo by Marilyn Horne as an arabian songstress whose voice is the purest in the land. The brilliant plot involves the characters of Beaumarchais's Figaro plays, led by the ghost of Beaumarchais himself. Will Beaumarchais' follies warm and win over the heart of a dead and depressed Marie Antoinette? Will Louis the XVI lose his wife to the dead playwright? I'm not telling so you'll have to get it and see. A great introduction for those not into opera (since it is sung in English), and enjoyable enough to make even the stiffest operaphille smile. ... Read more

Reviews (5)

Outstanding Visual Design
This is not my favorite Wagnerian opera by a long shot. But it is a must own, for the simple reason that these are absolutely the best set designs ever done. The Venusberg scene is dazzlingly Bosch-ish, the entry into Wartburg looks like it stepped out of an Italian Early Renaissance fresco. A must own.

The Most Important Thing You Need To Know About This DVD...
...is that there are voices heard mumbling throughout the second half...as if the sound engineers accidentally put a live microphone next to the snack bar in the lobby. I'm not kidding. The first few times you hear it, you'll think "Hmmm...that's strange." But after it's been going on for 20 minutes, then 30, you'll realize that you wasted your money.

I've noticed that, in general, sound engineers in orchestral music are SADLY lacking in comparision to pop music producers. I've become inured with these ridiculous flaws in my own Wagner collection, what with the frequent mysterious noises and sloppy edits in even the best renditions of his operas. Where's George Martin when we need him?!?

It's an incredible shame too, because the performances in this particular version are great.

From a Wagnerite
This was the most passionate opera I've ever seen. Also, it was my first. I wrote a thesis on Richard Wagner and studied the synopsis of the opera. It was up to the tee. Marton does and excellent job playing Elizabeth that the tears in her eyes led me to tear up also. The guy who played Wolfram looked as though he didn't fully study out his lines, because of the bewildering look on his face when the camera did a close up. Cassily was wonderful despite in Act I his hair was sticking out. The most famous Pilgrims' Chorus was good, but I would have wanted it to be slowed down and appreciated...maybe it was a difficult piece to sing that is why the orhcestra sped it up so they could get it done and over with. The Entry of the Guest scene was great. Overall, I strongly recommend this. Enjoy!

Performance riddled by poor singing
This isn't a good performance. Cassily just copes with the difficult title part. Marton doesn't really have the purity of voice for Elisabeth. Troyanos is over-streched as Venus and Weikl past his prime as Wolfram. With such poor singing, this dvd cannot be recommended.

very enjoyable production
This recording of the Paris version of Tannhauser was made from performances at the Met on November 22 and December 20, 1982. It features Richard Cassilly in the title role, Eva Marton as Elizabeth, Bernd Weikl as Wolfram von Eschenbach, John Macurdy as Hermann, Landgrave of Thringia, and Tatiana Troyanos as Venus, among many other performers. The sets are designed by Gunther Schneider-Siemssen. James Levine conducts. Taken as a whole, this is a successful performance, done in a very traditional manner. The costuming is outstanding, and the choral work deserves special recognition. Levine's tempi are brisk but not pushed hard and the whole opera runs for 185 minutes. The sound quality is excellent considering the medium and age of the recording itself. A brief synopsis but no libretto is submitted, which is reasonable considering the opera is also subtitled in English. In comparison to Solti's studio recording, the orchestral balance is not as forward or aggressive, and the singing is as fine. At medium price, this is definitely worth seeking out. Elegant packaging and presentation. Recommended. ... Read more

Reviews (12)

Abbado and Domingo Main Attractions In Vienna LOHENGRIN
This DVD of Lohengrin from Vienna in 1990 gives us a fine rendition of the opera, highlighted by several outstanding performances -- mainly that of the conductor and the tenor. Abbado's Vienna State Opera orchestra plays beautifully for him, showing off the string and brass sound that Solti's Ring made famous so many years ago. The tradition is still going strong. Though Abbado does not summon the seamless, silky sound of the Berlin Philharmonic under Von Karajan in his EMI recording, and occasionally a chorus voice sticks out, what you are hearing is a live performance and such flaws and lack of balance are to be expected. Mr. Domingo, on the other hand, gives a fully committed and vocally sumptuous performance in a role we are not used to hearing him sing. What a treat to hear almost no vocal strain, and no "Bayreuth Bark" -- a common pitfall, especially as the opera approaches the end of the evening. Cheryl Studer sings musically, if rather cooly -- which results in the beautiful ending of her duet with Vejzovic (as Ortrud) going for practically nothing. Emotionally the two women don't seem to "go for broke" as Marton and Rysanek would do. Vejzovic's best moments are at the end of the opera during her final ravings where many and Ortrud has come to grief. She is interesting to watch and her eyes in particular are riveting. Robert Lloyd is authoritative if somewhat woolly as King Henry. However, Hartmut Welker sings rather than snarls Telramund, earning him one of the largest ovations of the night. The sets by Rudolph and Reinhard Heinrich are traditional (for that we should be thankful) but not atmospheric or magical. The procession to the cathedral in Act II moves in stops and starts and Ortrud's interruption comes almost expectedly and not as a great suprise. Still, I highly recommend this video for your DVD collection. The MET LOHENGRIN, due for release within the next few months, has more to recommend it with regards to it's female leads: the previously mentioned Marton and Rysanek. However, Domingo is far superior to Peter Hofmann and his performance is a musthave for the great beauty of singing he brings to this role. The opera is spread over two discs: Acts I and II on the first and Act III on the third. Sound and video quality are superb, with 5.1 Surround or 2-channel stereo as your audio options. Thank you, Image Entertainment; keep releases like this coming!!

A wonderful event
This is a live performance recorded in Vienna. It is nothing short of a special event, as musically many of the singers are at high level.

But first, a minor caveat. This DVD does not feature subtitles, so you'll need to get your hands on a libretto to follow along (something rather easy for Wagner opera lovers).

Now back to the review. I thoroughly enjoyed Placido Domingo as Lohengrin: His voice is superb, and as another reviewer noted, he can also act. Cheryl Studer is a fine Elsa, and sings with great warmth. Hartmut Welker is a surprising Frederick: He sings with power and a sense of nobility. Of all the characters, the weakest singing is provided by Robert Lloyd as the king. Nonetheless, for a live performance, this is actually an appealing DVD.

The Vienna State Opera does a fine job. However, I am not necessarily an avid admirer of Claudio Abbado's conducting. Still, the music is so beautiful and the performance so captivating that this DVD deserves the highest rating.

What a great pleasure: !!Dunja Vejzovic is Ortrud!!!!
Never mind Placido Domingo and Cheryl Studer (who are both wonderful)listen to DUNJA VEJZOVIC. The main character in this opera (in my view) is Ortrud and Ms. Vejzovic is more than perfect; she is Ortrud. I saw Eva Marton (who is my favourite soprano) in the same role in Budapest last week but Ms. Vejzovic is second to none. Buy this DVD now and watch it over and over again as I do.

A Visual Disappointment
Domingo is a fine Lohengrin and the rest of the cast sing beautifully. They are also well complemented by Abbado and and the Vienna Philharmonic.

But an opera is more than its music: It is also a drama. Those of us who purchase a DVD also expect -- and deserve a convincing production. And, unfortunately, this Lohengrin is not worth seeing. The staging is stilted and confined. The camera work is boring. Even the poor king's costume lacks regality.

Domingo is wonderful
It is difficult to be a hero in Wagner's operas, to both sound and look the part. Domingo does that. It seesms to me his distinctly non-German voice sets him apart from the rest of the cast and adds to the White Knight ness of his character. Welker is a first rate "bad guy"; he seems to have a soul, and be much more than the usual two dimentional characters you encounter in this type of role. The sets are odinary and depressing. Thank God for the singers! ... Read more

Reviews (10)

Don Quixote - sheer technical excitement
The DVD version of Baryshnikov's 'Don Quixote' is a must-have for balletomanes, and even new ballet audiences. Not only does it involve the wonderful lyric side of the ballet, it also has sheer flair and virtuosity displayed in Baryshnikov & Harvey's dancing.

Cynthia Harvey is a wonderful Kitri, with her childish playfulness and flair for turns. Her characterisation is perfect and the execution of the choreography is mostly accurate. Important solos to note are: her entrance, her variation in Act One, and then her Dryad variation in Act Two. Her variation in the Grand Pas (Act Three) is a little bit tired and not always timed accurately. To a certain extent, it's the choreography to blame. The Ballerina benchmark of 32 fouettes is pulled off accurately in the finale (with Harvey rarely moving off the same point), however, Harvey does not gain much momentum and almost appears that she is dragging.

Baryshnikov, as always, is wonderful. He is a charismatic Basil, portrayed beautifully with his lyricism and virtuosity. His pirouettes and tour en'lairs are amazing, and he has added extra moves that are quasi-contemporary (which is good to see). His variations are always a delight to watch (particularly Act 3 Grand Pas). Baryshnikov set a benchmark for male dancers of his time, and although most male dancers can now pull off what he was able to do, it is all attributed back to him.

The choreography of the production is reasonably good, however, it is sometimes hyperactive and difficult to watch. The Corps are sometimes distracting with their facial expressions and constant talking. Baryshnikov's own virtuosity set the tempo for his choreography, and thus, some dancers might not have pulled it off as he had at first imagined. One disappointment was the Grand Pas de deux in Act Three. It was seldom stylish for the traditionalist, however, was still satisfying to watch.

Overall, it is a very nice ballet to have in the collection when all you want to watch is the athleticism of dancers. The choreography is good, the dancing is wonderful and the costumes/scenery is great! Buy it now!

Not very stylishly danced
Okay, you have Baryshnikov tossing off incredible solos, that's always worth it. But sometimes he seems a bit cutsey,hammy and glib onstage. Cynthia Harvey, a good but not great dancer, is okay in the "white" classical act, but just doesn't cut in the first act or the pas de deux. She has no attack, flair or character to her dancing, and it falls flat. Look at a dancer like Maya Plisetskaya perform the same material, and this looks like an amateur production. I do give cudos to Chery Yeager's Amour, which she dances with a great deal of charm. Santo Loquasto's sets and costumes lack the earthiness and moodiness that the ballet needs. As a result, his color ballet makes it look like a bon bon. Harvey's costumes make her get lost in the crowds. Furthermore, the orchestrations in this version sometimes sound like John Phillip Souza and give the production a cheezy sound. This production isn't bad, it just doesn't understand the core of Petipa and Gorsky's choreography. I totally disagree that Don Quixote is second rate ballet... the choreography is superb, but it has to be done with flair and flawlessly.

Great Dancing, Great Fun
This is my favorite ballet tape, and I look forward to having it on DVD. I don't even know where to start in my praise, so I'll begin with the smaller parts. Susan Jaffe and Cheryl Yeager as the dream Mercedes and Amor absolutely shine. It is no wonder Jaffe has become a superstar. Johan Renvall is adorable in the small part of the innkeeper's son and has a few incredible leaps. Frank Smith has become an excellent character dancer as the innkeeper, who is Kitri's father. It was good to see Robert LaFosse in a small role as well, as he had subsequently left American Ballet Theatre for the New York City Ballet. Unfortunately I do not remember the names of the soloists who dance Kitri's friends, but they are also quite lively. On a sad note, the late Peter Fonseca, who died too young, sparkles in the corps and in the gypsy camp scene. He would have been a major international star if he had lived, and I was fortunate to have seen him, Jaffe, Yeager, and Julie Kent with the Maryland Youth Ballet when they were in their teens. Patrick Bissell, also, is a very attractive Espada. He, too, died too young and is much missed.

In my opinion, Cynthia Harvey was a wonderful Kitri. Not only was her dancing outstanding, but her personality shone through the role of the kittenish innkeeper's daughter who was determined to win the man she loved, even though he was merely a poor barber, and also to keep the upper hand in their marriage. Baryshnikov exudes charm and demonstrates that he was, at that time, the world's greatest dancer.

However, for me the highlight of the ballet was Victor Barbee as the rejected suitor Gamache. There is no better actor in all of ballet and, although he wasn't the strongest dancer in the corps, he carries the role with panache and aplomb. He receives the last curtain call, and rightly so.

Although Minkus is not the greatest ballet composer, the score is easy to listen to. The costumes and settings are colorful and enjoyable. There are some unanswered questions, including where Kitri changed her clothes between act 1, when she runs off with Basil, and act 2, when they arrive at the gypsy camp, as she took nothing with her! And doesn't she notice that there is no blood on the knife Basil pretends to stab himself with? But they can be easily overlooked.

This is a really enjoyable ballet. I strongly advise buying it!

ABT-Golden Years
This is my absolute favorite version of this ballet. It is delightfully funny, beautifully costumed, and well cheorgraphed. Baryshnikov, Cynthia Harvey, Patrick Bissell, who could ask for anything more. I am completely sucked in by the beauty of such talented dancers.

A Highly Overrated Ballet
If there ever was a ballet deserving of being made fun of, surely this is it. Perhaps you have seen Olympic gold medalist figure skater Scott Hamilton's ballet parody routine; it is based off of the grand pas de deux from "Don Quixote." I get a big laugh out of Hamilton's piece, because in my opinion, "Don Quixote" is most overrated. The grand pas de deux, with all of its leaping, may make for a good excerpt piece on a ballet highlights video, but the complete ballet is a disappointment.

The book "Don Quixote" was completed by Spanish author Cervantes in 1615. The "World Book" provides this brief general overview of the novel: "Don Quixote is a simple-minded country gentleman who has read so many books of chivalry that he imagines himself a knight. He sets out to reform the world. He mistakes windmills for giants and flocks of sheep for armies. Sancho Panza, an ignorant country fellow, is his squire. Panza thinks only about eating and sleeping. Don Quixote thinks about ideals." Although many consider Cervantes' novel to be among the world's greatest, the characters of Don Quixote and Sancho Panza translate very, very poorly onto the ballet stage. They come across as a couple of buffoons that make the television character Ally McBeal look like a normally adjusted person. Cervantes novel is quite long, and the ballet is based on just one tiny part of it, called "Kitri's Wedding." Cervantes' novel also inspired a popular musical called "Man From La Mancha." Perhaps you have heard of the famous song "The Impossible Dream." The ballet gets some extra name recognition by riding along on the coattails of the famous book and musical, but don't be fooled--this is an overrated ballet.

World-renowned dancer and choreographer Rudolf Nureyev had this to say about Don Quixote's character: "At first, I hated him quite a lot. I didn't understand for a long time. I was on the side of the people. To me he was just a clown. And then I read the book! There is so much there, but in a ballet you can only skim the surface....It really is largely a lot of dances and great zest and comic spirit...and yet, everybody seems to think of this ballet as kind of foolish."(1)

The great Ballet Master George Balanchine had this to say about "Don Quixote" (with its original choreography by Maurius Petipa): "The Petipa ballet, with music by Minkus, was in the repertory of the Maryinsky when I was a boy (I danced in this production in 1916, when I was twelve), but it was not a serious work and not one of my favorites."(2) Some people might interpret the word "serious" as indicative of a comedy, but the meaning depends on which definition of "serious" you use. So, you need to understand the context of the quote. After making the statement, Balanchine then proceeds to tell about his production of "Don Quixote" for the New York City Ballet, where he threw out the music by Minkus, had a new score written by Nicolas Nabokov, rewrote the libretto (story). and then worked up his own new choreography. Therefore, here is what I believe that Balanchine meant by "not a serious work": namely, a work not appealing to the connoisseur.

This particular video is of some historical importance because it is a Mikhail Baryshnikov production. Basically, that means the choreography was reworked to showcase his talents, using the original music and libretto. Many of the lessor known dances have been edited out, and there are thirty minutes of cuts compared to the Kirov version. Out of the four versions of "Don Quixote" available on Amazon.com, the most popular (as of the date of this review) is the Kirov version. It also happens to be the best value. I personally rate the Kirov version one star higher because the Kirov is an overall superior ballet company compared to American Ballet Theatre, even with Baryshnikov dancing the part of Basilio. There is no doubt that Baryshnikov is a great dancer, but even he can't save this ballet--it is highly overrated! Instead, you may wish to consider the Kirov version, or find a ballet highlights film containing only the grand pas de deux.

Notes: (1) Laura Bell, "Show" (1971), quoted in George Balanchine and Francis Mason, "101 Stories of the Great Ballets" (1975; reprint, New York: Doubleday, an Anchor Book Edition, 1989), pp. 118-119. (2) Balanchine and Mason, p. 120. ... 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

Reviews (22)

Not perfect but quite moving
has always been my least favorite of the Ring operas, but the recent DVD release of this work on the Deutsche Grammophon label (073 011-9) has done much to change my mind. Recorded at the Metropolitan Opera in 1990, this production (long available on VHS) has James Levine conducting a high-powered cast (and nothing less than that will do for any Wagner opera) and using generally slower tempos than (say) Solti would use. "Walkure" does tend to move like a glacier throughout most of its nearly four hours, and Levine's leisurely approach does not help.

On the other hand, his Sieglinde (Jessye Norman) is in great vocal shape, as is her Siegmund (Gary Lakes), and Wotan (James Morris). Kurt Moll's Hunding is well acted and he still has that basso of old to give the character dignity and menace. If you can accept Lakes and Norman as twins (what would John Simon have to say here?), you still have to overlook their somewhat wooden acting. (and tell me if you agree that Norman's costume seems to come from another opera!) But Hildegard Behrens' Brunhilde makes us believe she is a vibrant teenager, although she has to strain to keep her voice from petering out during this difficult role. Christa Ludwig's brief appearance as Fricka tells us she is a bit past her glory days vocally, but still she creates a believable character.

It is interesting to note that Norman sits out Act III to take a final curtain call, but Lake and Moll do not. Otherwise engaged?

It is good to see an old-fashioned, non-concept, production of this work without Teutonic heroes in tuxedos or scenes acted in hypercubes. One does not really expect horses any more at the start of Act III, a sequence nevertheless done with excitement in this production. This version seems designed to tell the story without forcing 20th century interpretations on Wagner's Romanticism.

The two DVDs run at 241 minutes in the 4:3 screen ratio and have subtitles in English, French, Chinese, and (finally!) the original German, an idea that should be used for all operas on DVD.

An enjoyable performance
After having watched this video twice I couldn't resist an opportunity to offer some comments and observations. People are going to either love the individual singers or hate them. I feel that Gary Lakes as Siegmund was neither a good visual or vocal match for Jessye Norman as Sieglinde, but he acted very well. Kurt Moll as Hunding was for the most part convincing, but he spent too much time in Act I glaring at Siegmund, complete with a raised eyebrow, not unlike a 19th Century version of The Rock. Jessye Norman to most listeners would be the ideal Sieglinde, but on at least two occasions she held high notes (for presumably dramatic effect) longer than stipulated in the score. Her rendering in Act III of O hehrstes Wunder was breathtaking. Christa Ludwig as Fricka was excellent in Act II and it was gratifying to see this veteran mezzo in a live performance, and she deserved her very loud ovation. James Morris as Wotan was vocally good and dramatically perhaps better. Behrens' Brunnhilde lacked power but her voice was accurate. She was a good visual match for Morris. In the Farewell Scene during "Der Augend leuschtendes Paar (sp?)" when he is looking into her eyes, there was an overhead camera shot from the top of the stage which caught a distinctive glistening effect. It was quite touching. The overall stage production by Gunther Schneider-Siemssen was convincing in a traditional manner, and the fire effects at the end were impressive.

As for the conducting, although it was a bit of a slow reading at 4 hours and 4 minutes, I did not feel the tempo dragging in the same way that Reginald Goodall's live performance did. The end of Act I had plenty of adrenalin. The Met Orchestra, 101 musicians I believe, played very well and the VHS digital tape had surprisingly crisp and vivid detail. I think the singers were a bit swamped at times by the open orchestra pit, as opposed to the Bayreuth acoustics. For those who like Wagner played to the hilt in the big moments, this performance should be a very satisfying experience.

For those who may never have an opportunity to experience a live performance at the Met, this should make a very worthwhile investment.

Not at all enjoyable
This, I'm afraid, isn't good enough to convert people to Wagnerian drama. While the traditional staging has its merits (such that viewers readily understand the essence of the polot), both the stage direction and singing fall rather short of expectations, and such an impression cannot be rescued by the fine performance of the Met orchestra.

This is a performance that is better sampled through audio recording than via DVD.

Understandable and well sung
The traditional staging makes it much easier to understand Wagner's intentions for the opera than the Broulez version. Norman and Lakes are improbable twins, but they can sing. I have the Broulez version and much prefer this version. The Met staging isn't spectacular, but it doesn't get in the way either. The opera moves at a stately pace, but I'm not sure Wager is the man for you if you like short and perky operas.

The Met orchestra plays beautifully throughout.

Mediocre performance
The performance seen on this DVD set is of mediocre quality. The staging is naturalistic, but often tend to be rather rigid from a visual perspective. The orchestral performance is excellent, although I'd prefer a more animated approach by Levine. The singers are, frankly, a tad disappointing. Much that I like Norman and Lakes' singing, they don't look that convincing on the stage as the young lovers. For a DVD production, this is a significant drawback. Morris is a commanding Wotan, and one who sings with authority, even though he cannot rival some of the best interpreters of this great role. Ludwig is welcome as Fricka, even though she is already past her prime. Behrens's Brunnhilde is problematic - one moment she delivers Wagner's notes with a ringing tone; another moment her voice almost disintegrated under pressure. Her voice also doesn't have the heft for a warrior maiden. Never mind, this item is still worth getting. Just note those reservations. ... Read more

Reviews (16)

The Best Otello on DVD
There are so many wonderful facets to this version of Verdi's Otello, and once you see it there will be no doubt in your mind that it's easily the best production out.

First, the cast. Placido Domingo was THE Otello of the last thirty years or so, and he shows it here. He has the age and experience to be Otello, but his voice seems to not have gotten the memo---his high notes ring with clarity, and his low range is just as secure. Kiri Te Kanawa as Desdemona isn't the monumental Verdi role that you'll see in some of his other operas, but she holds her own and provides some intense moments with Domingo and complements him in their duets. Sergei Leiferkus (as you can see from the other reviews) is somewhat of an offbeat Iago, but by no means inferior to any of the other recordings on DVD. He has somewhat lyric qualities to his baritone, which most won't want to see in Iago, but his voice is at the same time clear, powerful, strong, and convincing as the villain. All three act superbly, especially Leiferkus, who although at first glance most wouldn't pick as their Iago of choice, has become mine after watching this production only twice. They blend well on stage, know when to recede and let the more important character shine, and carry the opera on their backs---all things difficult to find on the operatic stage.

Even the less often seen characters in this opera shine; namely Georg Solti, the ROH Orchestra, the production crew, and the transfering job. Solti generally keeps in stride and status quo with his tempi, and lets the principles guide him when he knows they are "feeling it." He lets himself be known, but doesn't force the issue. The sets are generally traditional, and the camera shots are never eerily unneccessary (i.e., some Bayreuthe productions). The best part is the tranfer from video to DVD, though---this could easily be the best musical recording of the opera as well if you wanted to simply close your eyes.

Solti, Domingo, Te Kanawa, Leiferkus, Covent Garden. Amazing acting, wonderful staging, wonderful sound and a quiet audience. What more could you ask for?

Too bad.... Iago is weak
I'm sorry but I can't give 5 stars. Iago is just too weak here. I loved Leiferkus in Onegin but I can't see him as Iago at all. His voice is too light. Since Domingo's voice is dark, they both sound tenors. Roderigo looks weird, too. He looks like a cheap comedian from some other opera. This made especially the first act very confusing.
Kiri Te Kanawa and Domingo are great. I liked Cassio, too. Good acting, and of course, great singing!
The last act is hair-rising. I loved it. Even the curtain calls and there is a big surprise; Princess Diana is in her royal box with Prince Charles! Even though they have nothing to do with Verdi's opera, their presence made this DVD even more worthwhile.
I still don't want to give 5 stars because of the weak Iago and weird complice Roderigo. Karajan's version has the best Iago. This Iago sings great with a very dark voice and he acts very well. It has also, for my taste, the greatest Desdemona by Mirella Freni. Pure and innocent. But... Jon Vicker's acting skill is a bit less than Domingo. His movement seems somehow "slow motion"!
You should get both versions of Otello to be satisfied thoroughly.

Brilliant Drama!!
This is one of the all-time desert island opera films. It catches some of the best recent singers in top form, and in an ingenious production. Obviously, people knew this performance was going to be something special, since you can see royalty in the boxes of the Covent Garden Opera House.

Placido Domingo has ruled Otello for about thirty years, and you couldn't ask for a better performance than he delivers here. He sings with the maturity only a man of his age could provide, but his voice sounds years younger than it really was. His acting and singing are positively Shakespearean.

Desdemona is not nearly so deep a role but it is certainly a beautiful one, and Kiri Te Kanawa gives us some ravishing tones. She and Domingo obviously work well together and they make a wonderful stage couple here.

Sergei Leiferkus is a controversial Iago here as elsewhere, but I've never had the slightest problem with him for these reasons: he's fabulously talented (listen to the perfectly executed runs in the drinking song), he makes his somewhat gritty voice sound appropriately villainous, and his acting is about ten times more nuanced than almost all other opera singers.

Sir Georg Solti leads a typically explosive and dramatic orchestral performance; his dynamism is perfectly suited to this opera, and he shapes the quiet and beautiful phrases well too.

All this takes place in the context of a very well-thought-out stage production, which is basically realistic but full of interesting touches which keep it from being at all mundane.

Performances of this caliber are extremely rare, and we are lucky to have this committed to video (and DVD: I hope to replace my VHS soon). If you love opera, do yourself a treat and get this movie!

a clear winner
Placido Domingo is rightly considered a reigning Otello of the late 20-th century. He has the voice, the looks, and the acting ability to bring the tormented warrior to life.
I have to recommend this full opera house version over the celebrated film version. The main reason for it is that the latter has several frustrating cuts, including the Willow song and Otello/Iago duet "Si per ciel".
The supporting cast is very impressive. Te Kanawa looks and sings an ideal Desdemona, even if she's not a mover and shaker in this role as Tebaldi in the past or Fleming currently. Speaking of Fleming, when will we finally see or hear the MET "Otello" with her, Domingo, and Morris, conducted by James Levine? It was broadcasted over the PBS, so I can't see why it can't be made commercially available.
The Russian baritone Sergei Leiferkus is an unusual Iago. His voice is light and "tenorial" so to speak. Thus, he sounds somewhat like Otello's darker alter ego, which is an interesting twist that makes a story more believable.
Solti, of course, provides a marvelous, brilliant sound, and the chorus work is very good. The picture quality is almost perfect.
Don't hesitate; this is an "Otello" to treasure.

the greatest Otello on DVD
This is, and by far, the best Otello available on DVD. It is far superior to Karajan's with Vickers in the tiltle role and mainly technically where the movie's picture rarely follows the sound.

Also, we have here a much better Iago (seguei Leiferkus) who is far superior to Glossop's Ugly Iago. Glossop is vulgar in both singing and acting. Leiferkus is far from being great. He overacts very often ("L'o vidi in man do Cassio" is desastrous)but is over all acceptable.

However, the main reason for owning this version is Domingo's Otello. Arguably, he is the Best. He has a weaker voice than Del Monaco (that is not necessarily bad) and he has a smaller voice than Vickers but he surpasses them both in the understanding of the role and in showing vocally Otello's power, rage and jealousy. And, very objectively he has a much more beautiful voice than both his "rivals".
Also remember that this is a DVD and we have to confess that No one acts as good as Domingo...

Solti's conducting is the other amazing feature and unlike Karajan there are no cut in the score.

Te Kanawa's Desdemona makes finally the perfect cake for this version... ... Read more

Amazon.com

Verdi's last opera (and only his second comedy) is one of the gloriesof the repertoire and one of history's finest operatic adaptations ofShakespearean material. It has fared well in video recordings, andthis sparkling production ranks with the best.

It is very much an ensemble performance, which is what the musicneeds and conductor Carlo Maria Giulini demands. But there are excellentindividual performances, singing and acting. Renato Bruson fitssmoothly into the title role of an aging, corpulent adventurer whotries to seduce two women simultaneously with the same lovenote. Lucia Valentini-Terrani is funny as the wily Mistress Quickly,Katia Ricciareli is sweet in voice and temperament as Alice Ford, Leo Nucci is her distraught husband. Barbara Hendricks andDalmacio Gonzales are an appealing couple as the young loversNanetta and Fenton.

The sets and costumes create a proper Elizabethan atmosphere,and Giulini's conducting has a fine balance of lightness anddiscipline. --Joe McLellan ... Read more

Reviews (1)

A fond and brilliant farewell from Verdi.
I've been an opera chorister for four years now, performing in seven operas, four of them by Verdi: Rigoletto, Aida, Macbeth, and Un Ballo in Maschera. Very romantic as well as tragic; who would have thought that Verdi would end his composing career with such a brilliant comedy! I listened to the recording first (it has the same cast as this video), and actually found myself laughing at the sophisticated wit of composer, conducter and singers alike. Note that the conducter overlooked the entire production (and I mean entire, from staging to whatever); and he was making a return after a long hiatus from opera! Renato Bruson is ideal as Falstaff: prideful, bumbling, and charming to boot. The lovely leading ladies sparkle with intelligence and womanly wiles, the men with suspicion (except for the lead tenor, amourous to the end). This filmed performance is also emotional in its value, as the late, gifted mezzo Lucia Valentini-Terrani glows as Dame Quickly. What also impresses me about this opera is that moments in the score do sound English! (This is, after all, an adaption of Shakespear's Merry Wives of Windsor.) A treat from beginning to end, for the eyes, ears, and spirit. As Falstaff says, "Va, vecchio John (Go on, old John)!" ... Read more

Reviews (23)

Brava Ladies, brava Metropoliten!!!
Let me start with what I like on this DVD. First of all this is magnificent production of Verdi's masterpiece in great traditions of Metropoliten Opera. Nothing is knew about it. One can see huge decorations, splendid, brilliant second act and of course amazing performance buy Met's chorus and orchestra. What is knew on this tape is two female performers, who now are very well known but in 1980 not much was known about them: Aprile Millo, Aida, she is really fantastic, I can say that I've never seen such a convincing performance of Aida from the times of Price and Caballe, she is the Aida of last two decades. What about Dolora Zaijick? This dramatic mezzo-soprano is totally outstanding, her singing is so great, so dramatic, full of passion, people can not stop shouting 'brava, brava' at the end of the judgement scene... really wonderfull, makes you cry. Her voice gives you impression of both Fiorenzza Cossotto and Elena Obraztsova, two in one. I think she is the best mezzo of modern opera.
The weakeness of this night is Domingo's singing, every time he sings, you want to hear more, his voice is so sweet, so passionate, but it won't make you cry. For me if performer doesn't make you cry, it means that something is not quite correct. Maybe that night Domingo's voice was not in the best condition.
In Total, I give to the performance 5 stars, and I should say that it is must have, I saw it on VHS too, but on DVD it is much better.

Classic Aida!
This is the best production with best cast I've seen either on video or in person. Granted, Price was the best Aida but the cast was not always up to her standard and not alot of good video of her available. Millo really shocked me! I certainly didn't expect her to sing or act this well. Thought she was truly exceptional! Domingo, Zajick, and Milnes were also spectacular. Delora owns her role and Domingo makes Pavarotti pale in comparison. The sets and costumes are the best I've seen both in person and on video. One strange thing, the colors on the costumes are so much brighter in person than on the LD or tape. I saw it at The Met with a really inferior cast except for Delora who was the only one who could sing and did she ever! The production still knocked me out! This is the best video of this opera and I highly recommend it! It's truly grand opera!

Muy interesante version.
Del Metropolitan de Nueva York nos llega esta version de 'Aida' filmada en 1989, con un reparto de gran calidad y una produccion visualmente muy atractiva.
En el papel titular, la soprano APRILLE MILLO hace una extraordinaria version vocal de la esclava etíope, a la altura de las mas grandes encarnaciones del papel. Su actuacion es recompensada por el publico con fuertes ovaciones tras cada una de sus arias, y con una ovacion final que la emociona profundamente. Una Aida maravillosa.
PLÁCIDO DOMINGO es un interprete muy inteligente, y, aunque esa noche no estaba todo lo bien que acostumbra en el registro agudo, sabe salvar los escollos de la parte de Radames por la zona alta con inteligencia, y en la central y baja ofrece, como siempre, una voz muy bella, acompañada de una gran entrega escenica.
Un lujo es tener a DOLORA ZAJICK para Amneris, ya que dota al personaje de un gran relieve, y vocalmente esta excepcional, demostrando esa gran artista que hay en ella.
SHERILL MILNES, pese a las ovaciones que recibe, ya era mayor aqui, y su voz ya no esta en su mejor momento, lo que desluce algo su prestacion como Amonasro.
PAATA BURDZULADZE como Ramfis y DIMITRI KARAVAKOS como el Rey de Egipto rinden a un gran nivel. Discreto el 'Mensajero' y bien la Sacerdotisa.
JAMES LEVINE sabe llevar con brio a los conjuntos estables del Met, consiguiendo de su lectura de la obra un gran resultado.
La produccion es visualmente imponente, tanto por la fastuosa escenografia como por la iluminacion y el movimiento de actores; aunque se le pueden reprochar algunos vestidos (especialmente los de Aida y Amneris, que no lucen nada a las dos divas) y lo inadecuado de la coreografia del segundo acto.
En resumen, una 'Aida' que dejara contento a todo aficcionado, ya que reune un reparto de calidad y una produccion vistosa. Para disfrutar viendo una opera poco mas se puede pedir que lo que aqui se da.

Get it
As others have said, the production and performances are top-notch. Aprile Millo is fantastic. What surprised me most though was how the crowd goes increasingly wild as the performance goes on. Truly electrifying.

"Aida" Exemplary of Metropolitan At Its Best
"Aida" is a magnificent opera that requires complete suspension of belief to be truly enjoyed. That said, this 1989 production has all of the elements that historically make the Metropolitan Opera one of the world's best. The sets and costumes are opulent, the staging is impressive and the dancers and chorus are essential in bringing what is essentially a series of musical tableaux to life. And the singing is pure Met. The Met is all about "La Voce" and Domingo, Millo, and Zajick are all voice. Aprile Millo is incredibly believable as Aida, bringing firey passion, sublime musicality and vocal inspiration to this difficult spinto role. Dolora Zajick is a formidable Amneris, who uses her strong mezzo voice and musical sensitivity to bring the essence of Pharoah's impassioned daughter into the hearts of the audience. Placido Domingo is simply himself. He sings with articulation, power and intensity, and that's just fine. There are a few "oops" that keep this DVD from being perfect such as awkward angles, subtitles covering up a performer now and then, and the overall static nature of the production. But it is still wonderful viewing, and a wonderful artifact of the Levine era Met. Decades from now it will serve as a tangible reminder of some of the great voices of the late 20thC. This DVD is a treasure. ... Read more

Reviews (14)

Possibly the greatest recital captured on film
Here we see the most controversial and greatest pianist of all time play live at a recital in moscow. What more could you ask for? His selections are almost perfect, spanning from early classicism to the late romantic period. Volodya Horowitz touches on Scarlattie's beautiful piano sonata minatures. As he plays them, jaw clenched, his hands roll quite shockingly so down the piano, ever so delicately. The Mozart is wonderful too, as he plays one of Mozart's famous sonatas. He manages in everyone of the classical compositions to play so unbroken and so legato that i wonder how he does it. His flat finger technique is also delightful to watch. As the program moves on he masterfully sings with the voice of the piano two of Scriabin's most popular etudes. The first is done very well and the second,... well lets just say he morphs suddenly into the devil himself. And if you listen ever so closely you may be able to hear a piano string pop and break at the first thunderous base note. I noticed this listening to an audio digitally remastered version. Following the scriabin is Liszt, the virtuoso, Chopin ,the poet of the piano, and Rachmanninoff, the king of the romantics. The movie also features one of Horowitz's most playfull encores Enticelles by mozkowski. As the program comes to an end Horowitz ends with perhaps the most popular work he is known for, Schumman's Trauemere. The camera focuses completely on the auidience at this point where we see a man remove his glasses and display a single tear that rolls down his cheek. The emotion is so apparrent in the auidence that it shows a person, who has never seen him play before, how truly a gift he is. His breathtaking speeds and rhythms and his flawless angelic touch create both the devil and the angel which join to form what he calls "electricity".

A DVD well worth getting
Well... let's see, I have a maximum of 1000 words. It would take much more than that if one person could ever accurately convey the quality of this DVD. Example: The playlist includes Chopin's Op. 53 Polonaise. This is a song of which I've heard many, many versions. Horowitz's performance of it was the best of all. The DVD goes from Classical (Scarlatti, Mozart) to Romantic (Scriabin, Rachmaninov, Chopin, Schubert, Schumann, Liszt) and has the song (I believe it was a favorite encore piece of his) "Etincelles" by Moszkowski. During the performance of Schumann's "Traumerei" (and I believe others have already mentioned this), people's eyes are watering, and you can see one man that has his eyes closed and a tear running down his cheek. I think someone already noted the simplicity of Horowitz's body movement... well, he's not flashy because he doesn't have to be. Any person that can play like he does has no good reason to be flashy. So, if you're reading this to try and decide whether or not to buy the DVD / VHS, here's my take: I like classical music, and I was in the same situation. I just finished watching it about twenty minutes ago, and I couldn't be happier that I bought it after all.

Another Must have!
In this DVD, viewers can have sight of Tsaichovsky's home and his piano with the Maestro playing a few phrases on it. We see what comes of Horowitz's niece left behind in Russia. We also see the actual weeping of the Russians, invoked by Horowitz's playing, lamanting their own sufferings and that of the fate of their motherland in the face of Communism...

I have watched this for a dozen times for a decade or two ( first on LP and than DVD ) and I still find it untiring or even inspiring... But as far as music or the ingenuity of the design of the repertoire is concerned, I believe Horowitz's "Concert in Vienna", filmed at about the same time, is even better. There Horowitz had this best Mozart to offer, with a lot of colours: definitely more than Mozart could have contemplated, a new dimension available only to the very previleged few. True, those who can play Chopoin can play Bach or even Mozart. Horowitz by this stage surely would be able to win back Lipatti's admiration.

A treasure that you will view on and on and .....
I have the VHS format of this magnificient recital. You will be hard pressed to see and hear better versions of Scarlatti and Mozart. In viewing this video you sense that there is something special in the air. The master returns to his homeland one last time and leaves a SUPERB recital for us to cherish.

I am not musically trained and therefore probably missed some of the intricate aspects of the recital. Even if you are one of those that occasionally dabbles in classical music, get this video. I found the audience interaction, yes coughing, quite genuine and moving. To see a great artist perform in his homeland and see the audience reactions, faces, and emotions, makes this a truly memorable performance.

Can you believe that I found this jewel perchance in the dollar bin at a video store in 1999? I am told this is now available in DVD. Excellent!

Masters unite!
After sixty years Horowitz finally returns to his homeland to give one of his most astonishing and emotionally inclined performances. He touches upon every nuance of classicism as well as romanticism. His angelic delicacy when he performs scarlatti and mozart are heavenly, yet he is not recognized enough for this soft poetic side of the baroque period. As his fingers tinkle and tumble on the sweet notes his hands turn to mush and lovingly stroke the notes, almost as if to say farewell to a love, his only love. Horowitz so often said that he had only one love, the piano. As he finishes the Mozart and Scarlatti he races into the virtuosos, Liszt, Chopin, Rachmanninoff, and Scriabin. No one, I say no one plays Scriabin's etude in D minor like Horowitz. If you are familiar with the work you may be dissappointed in the begining, i know i was. Very often i have heard a loud start to the piece but this time he plays it very gingerly. But dont be deterred for the demon begins to rage within. As his face turns furious the demon, devil, and angel unite into a thunderous middle section and absolutely brilliant ending that sends the piece into the air with a gasp and an explosion of musicality. I could go on forever about this performance. But i'll end it by saying BUY IT it is well worth the money. you wont be dissapointed by the GREATEST PIANIST WHO HAS EVER LIVED!!!! ... Read more

Reviews (10)

Norman, Troyanos and Berlioz are superb!
This is the only video version of Berlioz's masterpiece, and I think it's one of the best performances from the MET series. Levine holds everything together admirably. The chorus is a bit variable, but acceptable. Norman is wonderful, she was born to play Cassandra. She acts impressively and sings with ease and drama. Domingo as Aeneas sounds tired, his voice is too light for this demanding role. From the very start, it's obvious. I think Domingo is great in roles like Alfredo, Riccardo ("Ballo") or Hoffman, not in parts like this. Troyanos as Dido is a marvel, frail yet powerful, moving in the last scenes. And she is physically appealing. Allan Monk is very well cast as Corebus, his beautiful voice fits the part like a glove. Douglas Ahlstedt and Phillip Creech deserve mention. The others sing well too. Perhaps Claudia Catania is a bit shrill, but she performs professionally. The production is very effective, and all the singers move well (though Domingo is a bit uncomfortable even in acting). Video is very good, especially in the love duet. Sound and camera work are first-rate. But, above all, the opera is outstanding, perhaps the gratest French opera ever, superbly orchestrated, touchingly lyrical and powerfully dramatic.

A great opera and a great cast
Berlioz's LES TROYENS is a unique grand opera. It really deserves to be heard, but also seen. And with the extraordinary staging demands of this opera, now is the time for the major opera companies of the world to be staging this demanding and rewarding work.

The Metropolitan Opera decided to open its Centennial year with a revival of its 1976 (?) production. The sets are too dark and drab, leaving much to be desired. And the staging is stodgy.

But the music-making is first-rate. I concur with all the other reviewers that Jessye Norman is singularly magnificent as Cassandra. Having also heard an audio recording of her Dido (in a radio broadcast in which she sang Cassandra as well!!), I wish that this video/DVD could have captured Norman's Dido as well. Her rendition of this role is even more remarkable than her Cassandra. MET audiences gave her several-minute-long ovations when she sang Dido in the 83-84 season.

Having said that, Troyanos is still wonderful in this performance. Domingo is also top-notch. However, the role was generally too high for his voice and he had to transpose down entire chunks of the music. The rest of the cast is also great.

James Levine leads a rewarding performance, skilfully conveying the grand drama as well as the subtle details of the score.

I'm looking forward to a new production of this opera at the MET this season. However, the 1983 cast won't be matched for quite a while.

sheer excitement
I have seen this production at the Met in person twice, and it is a joy to own the DVD. Jessye Norman is perfection as Cassandra. The rest of the cast is superb as well. And Bravo's to the Met Chorus who is as much a star in this opera as any of the soloists.

The most beautiful french opera.
When Berlioz chose to compose his last opera after Virgil's Aeneid, one of his goals was to compete with Wagner's then growing project: the now widely famous "Ring des Nibelungen". What came out of it is, to me, some of the most powerful and beautiful music ever composed. The strength and beauty of expression in this opera feels equal, if not superior, to that of Verdi's Otello, Strauss' Elektra, or Wagner's greatest works, and feels deeper than either. As Gluck's greatest supporter, Berlioz was the only one who could continue the operatic tradition of French mythological "lyrical tradedy". But "Les Troyens" is much more than a "nostalgia attack"; it is the apotheosis of a tradition, as well as a worthy contender against Wagner's system (which Berlioz judged useless and nonsensical). And it contains many moments of such beauty, of Virgilian pathos, that even a life-long wagnerite can appreciate.

This can also be explained by Berlioz's tremendous personal involvement and thematical deepness. Its theme bears many similarities to Victor Hugo's "Les misérables"; except that in this case, the great force that drowns persons in misery is not society, but fate. Not "fate" as in "luck", but as the unstoppable advancement of humanity. Berlioz, in it, takes the side of all those peoples who have to suffer because of this "advancement". In the utter solitude he ended his life (his two wives and his only son being both dead, his music unpopular in Paris, and his best friend Liszt supporting Wagner), Berlioz had all the rights to feel as abandoned as his characters, and you feel it all throughout the work.

Regarding the performers, Jessye Norman, as Cassandra, proves very convincing when it comes to portraying the prophetess who is the only one to know of Troy's misfortune, without being able to prevent it. She truly becomes this wretched victim who knows what will happen to her collapsing world when she sings her aria "Malheureux roi", or her subsequent, not-so-love duet with her lover Coroebus. However, her French diction leaves a bit to be desired, which may get annoying though not a big hindrance. Still, don't worry about it if your first language is not french, you'll probably only notice her wonderfully lyrical voice.

The young Placido Domingo, as Aeneas, is also very believable as the young hero, son of Venus, who has an important mission to complete for the sake of his people. He looks both young and manly, and though he must lower the notes of a few of his interventions, his intense lyricism makes him very convincing, and allows some great musical moments. He gives an overall believable portrayal of the "pious Aeneas", burdened with his un-forfeitable mission, especially in his aria "Inutiles regrets", stunning in psychological insight; being given it is only then that you can see the man behind the hero. It is the only time where he is left to himself, and we finally fully see through him (for even when he chooses to live his love with Dido, his mission is unable to get off his mind. And Dido feels it, as it is shown in the beautiful love-duet "Nuit d'ivresse et d'extase").

Tatiana Troyanos, as Dido, seems almost born for the role (just look at her last name!). She is both noble and full of dignity as a queen, and incredibly heart-rending as a rebellious victim of her love. Some other reviewers have said they would have preferred to hear Norman, but Troyanos' acting talents are so perfect, and her depiction of Dido's despair and vain opposition so moving that I don't think Norman could have done better. And, giving two such different characters the same face is nonsense. Troyanos is completely believable, from beginning to end. From the start, Aeneas and Dido knew their love was not made to work. They knew it, but they chose to live their love as much as they could, in open rebellion against the order of things. All of this can be read upon her face, during the final scene.

The supporting cast gives, overall, a very good performance. Everyone does his/her best, and it is more than enough to breath life into Berlioz's wonderful score. Levine's conducting makes you feel both the nostalgia and distress of the whole work, and his orchestra envelops it in its epic aura.

The staging, rather simple and un-colorful, only partially goes with Berlioz's original idea. The worst thing about it is when the Trojan horse enters Troy at the end of the first act: we only see its head making a circle around the stage. Also, in the middle of the opera, where instead of seeing a mob of peoples receiving golden tools in association with their respective duty, you see three dancers receiving geometric figures. However, this thing about the big crowns another reviewer talked about is grossly exaggerated. Overall, I'd say it is a sufficiently effective and sober production (and a very good staging, if you compare it to what Salzburg made of "La damnation de Faust").

The sound on the one dvd is NTSC. The subtitles are only in English and the translation is merely functional. It's a bit of a problem if French is your first language (like me), since no one has a perfect diction. Having the libretto with you can come in handy. You can find it on the internet.

Overall, though it is not the definitive version, it is the best right now. And, believe me, it's worth your money. As far as I'm concerned, it gives you all you could ask for in an opera. The music is so heart-wrenching that it makes my other opera dvds (which go from "L'Orfeo" to "Le dialogue des Carmélites") almost pale in comparison. Seriously, if catharsis is your thing, if crying is your thing, buy this dvd now. It is a great gift to give yourself, or any opera fan that thinks French opera is mainly about "Carmen", "Faust" and "Pelleas et Mélisande".

Lots of high points, a few lows
I fell in love with the story of the Trojan War, even before I sold my soul to classical music. So naturally I was drawn to this production of "Les Troyens." And there are some astonishing moments here! Norman is wildly gripping in the part of Cassandra, totally dominating the stage and the first part of the opera. Domingo makes for a strong, masculine Aeneas, and although he had some doubts about singing the part, does a fine job with it. Troyanos is good, but not as blisteringly magnificent as Norman. I do have some problems with the staging, however. Right from the beginning, which should burst at the seems with wild excitement, we get the Trojans walking out, lining up, and declaiming that they are generally pleased the war is over. Um, couldn't they scurry, dance, hug...? The costumes seem to be of the historical epic type, but the er, "sets" are modernist symbolic. Is that the Trojan Horse they drag within the walls...? But don't get me wrong -- a solid production with some incredible singing, acting, and orchestral playing in a rich, fascinating opera that is too vast to be produced regularly. Very rewarding. ... Read more

Reviews (11)

An Enjoyable Performance, but there must be better
I agree with many of the reviews here. This is a great performance. I am a huge fan of Domingo, Freni, Bumbry, and Ghiaurov. However I think that this role was a step to big for Freni. Her performance is good, but the voice does not quite encompass the roles, and while I love her to death I would have preferred to see other ladies at the Met at the time of this recording performing the role; Millo, Tomowa-Sintow, or Studer, Millo being my first choice (although she wasnt on the main stage much during this time).

Another downfall of this DVD is the dark dark dark production. I know its not a happy story, but why is everyone wearing black, and why are the sets all back! Its to dreary!

I think that this production is the one to own righ now. I will also buy the Alagna/Mattila version when it becomes available on DVD, because their acting is so incredible.

I'm sure that sometime in the future we'll have another more appropriate version to come out. Until then this one does feature some great singing.

ALL- STAR MET DON CARLO NOT TO BE BEATEN
This video, originally released in 1984 on Laserdisc and scheduled for DVD release on Aug. 21, 2001 is a must-have for any serious opera collector. Where, today, could you find a cast of this calibre: Freni, Domingo, Bumbry, Quilico, Ghiaurov and Furlanetto, conducted by James Levine? The sets are austere yet atmospheric and the costumes are beautiful and of the correct period -- a quality rarely seen in today's opera houses. The performance from March 1983 finds all the singers in fine voice. Freni, Domingo (even with a crack or two), Ghiaurov and Furlanetto are not to be faulted. Miss Bumbry's tendency to sharp slightly and in some instances distance herself from the music (you can see the technical gears working) and Mr. Quilico's blustery manner are small flaws that once gotten used to, seem to fade into the background of this generally outstanding document. Mr. Levine'a authoritative, stylish and energetic conducting coaxes an exciting performance out of the Metropolitan Opera Orchestra and David Stivender's chorus. This is a live performance so sometimes a microphone may pick up a violin or a soprano or tenor chorister's voice a little too accurately, but again -- that is a small price to pay for this calibre of performance. This DVD is heartily recommended and will hold it's place for a long time to come as THE video DON CARLO to have. Also, the DVD quality of this performance is to be looked forward to because of the flawed pressings on the Pioneer Laserdics when they were originally released. Bravo, Pioneer for making this DON CARLO availabale, finally, on DVD!

I bow to the King!
Despite that this is an overall great Don Carlos performance, it is Nicolai Ghiaurov who really steals the show. The moment he appears on stage you realise this is no ordinary Filippo. From the grandest to the most moving scenes he was utterly convincing. Little can I say about his instrument. As a critic once put it, "when Ghiaurov raised his voice, the grass did not grow any more". But I would add that he could also scale it down and break your heart! Just listen to his big aria. Ghiaurov recently passed away and this DVD is a great tribute to this legend.

His Elisabetta is the radiant Mirella Freni. I too would have preferred a larger voice like Caballe's but Freni is nevertheless convincing as the sad Queen. She is particularly effective in the duets. The mature Domingo is seen and heard here in one of his greatest roles. The role of Don Carlos suits him like a glove. Expressiveness, vigour and commitment are only few of his virtues. Quilico's hollow and covered French baritone is unsuitable for Verdi. He also looks funny! However, I admit that he impressed me in Rodrigo's death scene.

Almost 20 years after her studio recording, Bumbry remains a fiery Eboli. Her singing gets better and better as the evening goes on. In O don fatale she is spine thrilling! Furlanetto makes a noble Inquisitor though his instrument pales in comparison to Ghiaurov's. Minor roles are well cast. Levine is here fortunately less grandiloquent than in his studio recording some years later.

Scenery and costumes are as grand as one could ask for and the entire performance wonderfully serves Verdi's most fascinating and imposing opera!

The greatest cast
This DVD of Don Carlo is not only one of the best Verdi telecasts from the Met, it is the best opera DVD available up to now (September, 2003). Placido Domingo is perfect in this heroic part and Mirella Freni will show you -- LIVE! -- what a great soprano at the age of 48 can do with an 11 minute aria at the finale, with perfect breathing, soft and clear pianisimos and sudden powerful high notes without the screeches heard from some myths of the past...
Baritone Louis Quilico is one of the greatest of the century with 25 straight seasons at the Met. Nicolai Ghuiarov is so at home as King Felipe that he should actually live at the Escorial Palace in Spain. And Bumbry, with her primeavel high Cs is very exciting. You can play this DVD over and over and learn something new about grand opera every single time.
Bravisimi!!!

A wonderful evening!
Everyone who had the opportunity to be in the Metropolitan Opera at the time of this performance was a very lucky person! Here we have a wonderful performance and excellent singers!

Placido Domingo is considered by many the best Don Carlo both on record and on stage! He is ideal for the role, his rich and exciting voice totally appropriate for the role. His acting ability is also great and his portrayal is sentimental and lyric, presenting us with a very tormented and deeply in love Infante.

Mirella Freni as Elisabetta is quite good. many have said that she is not as good as Montserrat Caballe and I must agree. Caballe was perfect in the role as she recorded it with Giulini in 1971 (and everyone who hasn't heard her must absolutely listen to that recording). Nonetheless, Freni is very good and with her absolutely stable voice carries out the role with conviction.
Nicolai Ghiaurov was the best Filippo ever and seing this performance will make you understand why! His dark voice suited the role perfectly and his acting abilities are beyond doubt! A great bravo!!!
Quilico sings well in the entirety of the performance but he wouldn't be my first-choice Rodrigo. Cappuccilli or Milnes would be better (I prefer the first one).
Bumbry gives us a fiery and absolutely jealous Eboli with both her solo pieces executed accurately!
Finally, Furlanetto (unrecognisable as the Grand Inquisitor) is absolutely convincing ad just perfect for the role.
Levine gives us the full 5-act version of the opera (including the prologue, something very rare!) and conducts with passion and appropriate tempi most of the time.

You must see this DVD!! It is an exciting experience. I also recommend the DVD with the French version of the opera with Alagna, Mattila, Hampson, van Dam and Meyer under Pappano. It is equally exciting and the singers are more persuasive and make a wonderful impression! ... Read more

Reviews (9)

10 stars
Without all the glitz and sparkle, before the hype! This is the greatest classical concert ever! As a tenor myself I couldn't be more thrilled to hear this gem. The three voices were marvelous.
Domingo here is in top voice. Some of his singing in this concert is the finest you will ever hear from him. He is in a dark and excitingly dramatic voice! Her give perhaps the best Pue De Ser Ever! At 50 his voice is as glorious as ever. he is in a great mood all night giving all of his sound and heart unconditionally to each song, to me he lead this concert along with his emotion packed performances that never seemed to diminish.
i have mixed feelings about Carreras. He is my favorite tenor of all time, but this is not the time to see him. It almost makes you cry to see what has happened to his glorious voice in this concert. His singing is fine, but hardly under control. His vibrato can get warbly and his eyebrow doubly so. This doesn't keep his from being number one in my heart. he gives passionalte renditoins of songs pouring everything his diminsihed voice had in it into each aria. This is one of the last times you can hear him sing some of his classics like Improviso. E la Solita storia and Improviso are both the highlights of his night, he will bring you to tears with these long Aria's. He loses control of his voice at the end of Improviso but te fact that he even sang it is impressive, it is my favorite. Carreras will please the listeners ear here but promise if you hear this concert that you will also invest in some