Reviews (5)

Mediocre production
I must first admit that Siegfried is my least favourite opera in the entire Ring cycle. Maybe it's because of this reason that I'm disappointed by what I see and hear on this DVD recording, as there's nothing which can make me like this opera more.

I have nothing really against the staging and direction. However, these come across as being rather perfunctory. At times, the singers are left with nothing much to do for a long period of time. Things are sometimes too static for the music, which are often much more lively than the stage action.

The singing is mediocre. I like James Morris's Wanderer. Siegfried Jerusalem, though musical and mostly accurate, is a little too slender in tone for the hero. I'm not impressed by the Brunnhilde of Hildegard Behrens. The other performers are adequate but no more. The Metropolitan Opera Orchestra under Levine gives a good though not transcendant performance.

Maybe I'm being a little too harsh. But I think this opera has much potential that has been unexplored by the performers and the director here.

A truly great production!
This was a very grand production of Seigfried. Master Levine does an incredible job as conductor and his interpretation of Wagner is grand. I do not think the production is dull. The lighting is a bit dark at time, but I think that James Morris is superb as the Wanderer. As expected a very good Metropolitan Opera performance. This completes the Ring Cycle for me.

NOT a dull production
I disagree strongly with the reviewer who complained that this production is "dull". It is rescued from dullness by Heinz Zednik, the genius who plays Mime, and by fantastic sets. Also, James Morris is at his peak as the Wanderer, totally convincing visually and vocally, and he's the only one I've heard so far who can sing the line: "Ha-ha, ha-ha, ha-ha-ha-ha, der witzigster bist du ..." with all the "ha"s correctly timed. Everyone else--especially Hans Hotter--consistantly screws up this line, even in studio recordings.

Ekkehard Wlaschiha hits a homer as Alberich. Superbly menacing as he threatens the Wanderer and a great bully when he fights with Mime over the treasure.

A dull production
This is a rather dull production. The singers are OK and whatever one thinks about Jerusalem, he's still a serviceable Siegfried. The other cast members are, however, mediocre and the direction is ordinary.

Great!
Although Jerusalem is not well-done, but none of the production from the MET is not GREAT,the scenery,well,was terrific and the last scene, I can only use the term "perfect" to describe that! ... Read more

Amazon.com

Another Verdi triumph from the archives of La Scala, this 1984 production of one of the master's early popular successes showcases José Carreras's truly glorious instrument, a tenor voice of loveliness and delicacy that, in its abbreviated prime, was one of the true operatic glories. He sounds superb as the hero, Oronte, and, as his paramour Giselda, Ghena Dimitrova nearly matches Carreras's ringingly beautiful tone: their wonderful Act 4 duet is almost too much of a good thing.

Gianandrea Gavazzeni conducts an exciting performance by the La Scala Orchestra, while the La Scala Chorus claims as its vocal peak the striking choral writing that begins Act 3. Gabrielle Lavia's staging, evocative and atmospheric without being cloyingly literal, probably looked better in the opera house, but it transfers effectively to the smaller screen. But this I Lombardi is a souvenir and reminder of José Carreras at his best. --Kevin Filipski ... Read more

Reviews (2)

why isn't this on DVD yet?
Early Verdi operas are making a slow comeback. While not as stunning musically or dramatically as his later works (La Forza, Otello), they are laden with memorable wonderful melodies "long long melodies," as Verdi himself put it while describing the works of Bellini. While heavily criticized by critics for the "um-pa-pa" beat employed more than generously, a lot of these melodies are actually very intricate and a careful listener can spot "Otello" in "Stiffelio" and "Falstaff" in "Un Giorno". In the 70s, conductor Lamberto Gardelli brought a lot of these works back to life, casting exciting then-new stars, such as Carreras, Ricciarelli, Sass, Domingo, Norman, and Wixell. Today, thanks to Fabio Luisi, we can hear more of these jams, most notably the overlooked "Jerusalem". But on video, these early operas are terribly neglected. Aside from a wonderful "Simon Boccanegra" with Milnes, I can only name a couple more notable releases that made their way to DVD.

This "I Lombardi" with Carreras and Dimitrova is currently the only version available on video, and it is in the VHS format. The recording, thus, has many faults. The image is sometimes blurry and the music sounds like a mono recording. But the voices are almost incredibly good. The young Carreras absolutely shines as Oronte, effectively managing heroic and dramatic aspects of the role that hints at Il Trovatore. His range extended to almost 2.5 octaves and there wasn't any noticeable break in passagio - a must for bel canto and early to mid- Verdi operas. Thanks to Hristo Brombardov two huge operatic stars of the late 20th century literally shook down the opera stages around the world - Ghena Dimitrova and Nicolai Ghiaurov. Dramatic soprano Ghena Dimitrova possessed possibly the largest soprano voice in opera history. This was not a voice that could be easily recorded, let alone matched on stage. Surprisingly, Carreras manages to do just that - the super-loud crescendos are perfectly matched by the two singers; it's actually quite amazing how a lyric tenor could do that. The perfect Giselda, both physically and vocally, though, would be Katia Ricciarelli, Carreras's long-time partner on both "I Lombardi" and "Jerusalem". While Dimitrova's huge voice is a wonder to admire, IMHO the role of Giselda requires more subtlety and more gentle acting than she is able to muster. Although Act 4 duet is indeed marvelous and melting in its beauty.

The supporting cast consists of singers I haven't heard of before, but they do a very good job, particularly Silvano Carroli as a character aptly named Pagano (don't you just love the names of some characters in Verdi's operas of this period? How about a "Luisa Miller" villain named Wurm?).
The costumes are somewhat strange and too elaborate. I would prefer more understated design of Oronte's garbs, especially considering Carreras's dashing good looks. The sets are actually very good, I was able to make out most of the detail despite the relatively dark and sometimes "smudged" picture.
I hope this video soon becomes available on DVD. Several things for the engineers to watch out besides the picture would be a) Dimitrova's voice overwhelming the chorus more than once and causing major sound disturbances, b) the subtitles appear and disappear somewhat randomly. Performance-wise this is an opera not to miss by any means. It's also the only one available, so don't hesitate and get it.

Amusing Early Verdi
I'm giving this title 4 stars because it's currently the only video available of this opera that I know of. Carreras is in dashing form, although his high notes generally tend to spread. Nevertheless, he makes a handsome Moorish prince--although, even he can't bring off the saccharine scene where he's supposed to be an angel in heaven singing to Giselda on earth. The other draw is Ghena Dimitrova. She performed this opera a year or so after her La Scala debut in Turandot. I thought she made a good try, but she seems miscast. And she's physically larger than Carreras, so the two of them together close up on video seem a bit much--but that over the top quality is what we all know and love opera for. If we wanted careful good taste, we'd go elsewhere. Vocally, Dimitrova dominates, of course. When she lets loose those gargantuan, bazooka high notes, everyone else is blown off the stage. She manages at quieter volumes, too. Some of the coloratura is uneasily navigated, and she's always had difficulty in the passaggio, especially at mezza voce. And her voice goes flat sometimes, most glaringly in her big mad scene that ends Act II, where one has the uncomfortable feeling that she's pulling off the stratospheric coloratura and strenuous tessitura by sheer force of will. But what a will! Her high range seems only capable of two effects: soft or very loud (and frequently stridently loud) but not much in between. When I first saw this video, I kept thinking how much better suited she was to roles with lots of unsubtle screaming like Turandot or Abigaille. Giselda is perhaps more difficult: the role demands loud moments, soft, introspective moments, agility, endless legato-spinning, plus she has a big mad scene. The role is basically all over the place but amusingly so. Dimitrova is perhaps not a natural choice for Giselda--she's more of an acquired taste, but considering her natural handicap, she acquits herself ably. Oh, yeah--there are a few other singers in the cast too, but none of them seem to make much of an impression--they seem almost an afterthought.

Verdi was obviously trying to reduplicate the success of Nabucco with this opera with its many scenes attempting to echo its predecessor's patriotic choruses and unsubtle political references. The story is, of course, ludicrous. But I must say that after many hearings this opera's roughhewn vitality and schizophrenic scene changes grew on me. Unlike Nabucco, it balances high decibel spectacle with intimate moments, although these generally tend toward the treacly. It's a very vigorous, thumpingly melodic kind of silliness that you either respond to or you don't. This is the kind of opera that people who don't like Italian opera generally point to to indicate their disgust. Their point is taken, but I still think they miss the boat. An opera like this doesn't appeal to one on an intellectual level; it's all visceral and heavy on the sensual appeal--vulgar, yes; boring, no. With two principals in the leads like Carreras and Dimitrova, it's definitely worth the investment, especially since it currently has no competition. ... Read more

Reviews (6)

Domingo and Raimondi on fire, Malfitano rather wet.
Buy this video for Domingo and Raimondi. They are fabulous! Catherine Malfitano, I thought, wasn't so great. She sang pretty well, but I've heard better Tosca's than she. My biggest complaint with her is her extremely exaggerated facial expressions. She seems to be going cross-eyed in "vissi d'arte". They are frequent, annoying and just serve to ruin the wonderful atmosphere that Domingo and Raimondi have created.
Aside from her, there is some very strange blue lighting at the end of act 2 that is supposed to be darkness, but only covers half the room, leaving the bottom half dark and blue and the upper half bright and sunny. But Domingo and Raimondi are very good.

If only this performance was available on DVD!
I love this performance of Tosca, one of my favorite operas. Outside of the odd material between acts (already noted in another review), this is an excellent presentation.

Alas, it's on VHS tape. If it was on DVD, it would be perfect. As it is, the tape quality isn't bad, but I'm spoiled by how much better DVDs look. Perhaps someday this performance will be licensed for DVD and I can buy it again!

Greatest opera in greatest scenery
I love this opera no matter what. It's probably the best thing after LISTENING to Callas,Bergonzi and - the Greatest of them all Tito Gobbi! - with the Academia di Santa Cecilia. But there's fenomenal advantage here - the authetic scenery of Rome, of places where the actual opera action TOOK PLACE! Fantastic! And the finale of the First Act ("Te Deum") is breathtaking. One little thing - Tosca might as well be a little bit younger and a litlle bit more beautiful, but - let's give a girl a credit: she can sing. Once Anton Chekhov cited an anecdote about the opera singers: "Listen, Nemov - you're a complete idiot!" "Yeah, but I got VOICE!"

Superb Version of Tosca
I saw this "live" when it was telivised around the world. I was living in Australia then and had to wake up at 4AM to watch the second act. Domingo was brilliant as well as Catherine Malifitano, but the real clincher was Ruggero Raimondi playing Scarpia, is there anyone more evil?

The scenary was majestic being in the actual places the Puccini wanted it, and at the correct time of day for each of the acts.

If you are an old fan of Opera or just starting to explore it, you cannot go wrong with this version, it is pure magic!

The Ultimate Tosca
This is the most perfect performance of Tosca I have ever seen. And it really is basically a live performance, as opposed to an opera movie. The scenery consists of the real locations where the opera took place, and the costumes are authentic and beautiful. But the best part of all is the performers. Catherine Malfitano, Placido Domingo, and Ruggero Raimondi are all not only wonderful singers but extremely good-looking people. As for their acting skills, Domingo is more than adequate, and Malfitano and Raimondi are outstanding. The only part of the film I didn't like was the helicopter noises between acts. The director apparently felt it was necessary to remind us of the present; I didn't agree with him. ... Read more

Reviews (7)

Beware of the staging
I will make no comment on the music and singing (see one of the excellent books on that). I review this only to warn you of the absurd staging that does its best to ruin this beautiful opera. The dances especially are almost comical due to the attempt to modernize what is already a timely and timeless work of art.

A Fine Performance of a Most Extraordinary Work
If you love powerful music, political intrigue, epic historical drama, and rich characterization, do not miss Mussorgsky's Khovanshchina. It is what Mussorgsky called a "nationalist people's musical drama," one fit for our age; it is only opera I know of that can give you insight into the tensions of our times: the turmoil of Afghanistan and Iraq. These are lands struggling with modernism, autocracy, religious fanaticism, feudal fiefdoms, and fears of the West. All this was true of Russia when Peter the Great was coming of age and when Prince Ivan Khovansky, in league and in rivalries with false westernizers (like Prince Golitizan) and the Old Believers, sought to create their putsch against the imperial power of the Romanovs.

The music is wonderful, providing melodic depth to every nuance of this psychosocial epic. It is more subtle and mature "Boris Godunov," but no less moving. Yet Khovanshchina does have its problems: Peter the Great, the central figure of the drama, is absent. Russian law forbade Mussorgsky from depicting members of the Romanov family on stage (so, too, the palace intrigues between Peter and his sister, Sophia, could not be shown). So, dramatically it lacks the tightness of Boris. Neither could Mussorgsky depict Patriarch Nikon, whose reforms so inflamed that Old Believers that, by the end of the opera, they immolate themselves. Mussorgsky died with Khovanshchina barely sketched, so musicologists still debate his point of view (I think Kirchner and the Vienna State got it wrong, but no matter).

The production is a fine one: well conducted by Claudio Abbado, beautifully sung, and often brilliantly acted (most especially by Ghiaurov as Ivan Khovansky and Zednik as the scribe). The dance of the Persian slaves is marvelously sensual, and the staging, while variable in quality is generally excellent - superb in Khovansky's rally and in the immolation scene. Technically, it is very well recorded, though in standard frame and just in stereo. Enjoy it now; don't just wait for a DTS version. At 173 minutes on 1 DVD you're certainly getting your money's worth.

Abbado brings great insight to Mussorgsky's masterpiece.
Tolstoy once said: "I like neither talented drunks nor drunken talents" thereby wittily dismissing Mussorgsky. Mussorgsky however cannot be pushed aside so easily ( even if Tolstoy was right; it took no less than three composers to finish the work,
left in a sorry unfinished state.)
Abbado, who is undisputably today's greatest interpreter of
Mussorgsky, chose, very wisely, the Shostakovich orchestration
who created a dark hued, sombre score that he handles masterfully.
In fact we go from the aethereal strings (The Prelude) to the
dark bases representing the brutal strenghth of the Khovanskys
and the ensuing conflicts. Distant trumpets create magical effects. This DVD sound is superb( and if I may say so, you are far better off with this than the exorbiantly priced CD set)
And to see it! The design is incredible. Sets are surrealistic
in a way, full of disturbing images suiting the mood of the moment. Screens sometimes close creating claustrophobic effects,
sometimes opening to infinite vistas. Sometimes we see ruined cities or pyramid of skulls, the latters seems like a constant theme reminding us of the concluding tragedy.
The principals... Nicolai Ghiarov, the world famous basso, acts
and sings with tremendous power, a multifaceted tragic character.
Paata Burchuladze, another marvelous basso, shines as Dosifey the
high priest. We must also mention Anatoly Kocherga in the role of Shaklovity the evil Boyar, thoroughly
frightening, but believable - his great aria in third act is
one to watch for. Ludmila Semtchuk as Marfa is beautifully acted
and sung, she is a real feast for the eye as well as the ear.
Last but not least, Heinz Zednik, the scribbler, ( of Bayreuth's Mime fame) here
he sings in Russian as if the role was created for him.
Note of caution: The music is difficult and requires repeated listenings. Watch it one act at a time as the opera is very long.
But I assure you, you will love this work as I came to love it, being a sceptic at first.
Do I need to sum up? Great musical and theatrical experience.
Opera at its best. Can't recommend it enough.

Good but not the best
I found this performance bizarre; the whole production seemed strange. It was not an avant-garde one, but done with a pretense for historical accuracy. Yet the costumes of the chorus suggested something totally different from 17century Moscow. Were they Polish or Ukrainian? Someone did not seem to do their homework.
I actually liked Marusin as Prince Golitzyn. I think he had squillo and also he acted quite well. Paata Burchuladze seems to always play the same role, no matter whether he is in this opera or in Don Giovanni. The singing is good, though. I must admit that only main roles that are either Russians or Bulgarian Ghiaurov, sing intelligibly, although Ghiaurov happenned to have a heavier accent that I would have thought. But for me as a native Russian speaker, the singing of the chorus and other's smaller roles were a real disappointment as I could not understand a word and had to resort to subtitles and it was a real distraction. I wonder if Italians have the same feeling when they listen to their opera performed by foreign singers...In any case, it's a satisfactory performance but I think the complexity of the work was not resolved here, and the beauty of this opera was not fully conveyed. It looked rather Wagnerian to me but it is not and I believe it had to be done with more respect to its Russion origin, or be totally devoid of place and time to become an avant-garde production.

Not the definitive production
Well sung and adequately conducted, this Khovanshchina suffers terribly from Alfred Kirchner's unfocussed and ultimately unsatisfying production, totally lacking in spiritual core. Much of the production does nothing to assist the viewer in appreciating or even understanding the admittedly complicated plot. The standard cuts are made, thankfully (chiefly affecting Act 2). Abbado conducts the Shostakovich orchestration (preferable to Rimsky-Korsakov's, perhaps) with a decidedly un-Russian flair, making for an interesting but unconvincing interpretation. Kirchner's production comes into focus only in the finale to Act 5 by Igor Stravinsky, rarely used in relation to the more common Shostakovich finale, itself based on Rimsky-Korsakov's original finale. (Ravel also wrote one, performed once in Monte-Carlo and never heard again.) The singers acquit themselves with varying degrees of success; the Vienna State Opera Orchestra plays well, not sounding very Russian; the Bratislava Opera Chorus is mediocre much of the time (granted, the stage direction they are given is for the most part horrendous). The English subtitles are good; this is an in-house performance (although not from the Vienna Staatsoper) from 1989, with some very annoying camera work. Total length 174 minutes, not 113 minutes as printed on the box. A decent rendition, if not profound. ... Read more

Reviews (7)

Bartoli not the greatest Cenerentola
I really love this video for the singing. As a matter of fact, I would recommend it over Bartoli's Decca cd recording because the best principal singers are the same, except in this video, you get Raul Giminez as the Prince, instead of William Matteuzzi on the cd, and although Giminez' voice is a bit lighter, it's a prettier voice, and his fioratura is much more smooth and lovely. I would definitely give 5 stars for the singing on this video, but the acting really bothered me. Bartoli is just not funny to me, plus she does alot of odd twitching and jerking that really disturbs me. Corbelli is great both vocally and as an actor. Giminez is fine. Dara gives me the same feeling as Bartoli - they act so silly and that I don't find them funny, and what's more, there is a serious message to this opera that doesn't come across because of the ridiculousness of some of the acting, and also because of the ridiculousness of the costumes of the two step sisters. The message is that 'goodness triumphs', which is the alternate title of this opera, and I personally feel this opera needs a handful of elegance and subtley (which is lacking in this video) to convey that message in a witty way. For watching, I personally prefer the much more elegant Salzburg video with Ann Murray, where the singing is fine, and only the appropriate characters act completely silly.

Great performances, flawed production
Though I have some reservations about the production, there are such great performances on this video that I have given it four stars and recommend it. For instance, you can enjoy the talents of Cecilia Bartoli, here making her American debut, who gives a spirited and vocally dazzling performance of the heroine. Then there is the dashing Rossinian tenor Raul Gimenez, who lends impeccable elegance and vocal polish to the role of Don Ramiro. I'm sorry for the cursory way that I've treated the two leads, but I would really like to concentrate on the two buffo roles of Don Magnifico and Dandini, played by Enzo Dara and Alessandro Corbelli. Dara is a veteran Italian basso buffo who, as another revewer pointed out, bears a striking resemblence to Ed Wynn. His voice was clearly past its prime at the time of this performance and is quite weak, though his stage manner is as funny as ever. He is very endearing, but I'm not sure he adequately emphasizes the character's menacing qualities. However, his rapid delivery of the patter in his third aria (while throwing cards) is unbelievable! As the prince-for-a-day valet Dandini, Corbelli shows why he has become famous in this role: his performance is both superbly sung and hilariously acted. Just watch his aria: this is clearly a great comedian as well as a great singer! Corbelli is a fine artist, no doubt about it. Finally, there is Michele Pertusi as Alidoro, who has a fine voice but is hampered by the production's stodgy conception of the role.

As for the physical production, I find it less apt than the recent Metropolitan Opera production (telecast on PBS but not yet available commercially). The Met production was true to the surreal, zany spirit of Rossini. This prettified Houston production looks like a cross between a Disney fantasy and a French Rococo painting. The result is that Rossini's urbane, witty, realistic comedy looks too much like what he didn't intend it to be - a fairy tale. It's a beautiful, magical production, mind you - but it isn't very Rossinian. The Met production is not flawless by any means, but it is more true to Rossini's world. Consider for example how the two versions stage the famous sextet: in the Met version the participants actually get tangled in a long piece of string (as the text says); in Houston they just sit there and sing.

But this production has so many wonderful performances going for it, that any opera lover should buy it. LA CENERENTOLA is a one-of-a-kind evening's entertainment, no matter what the sets and costumes and staging look like. But please look out for that Met production, which also has Bartoli, Corbelli, and Pertusi.

Beautiful!
This performance of LA CENERENTOLA was taped at Houston Grand Opera in 1995. The performances marked Cecilia Bartoli's American debut, and as Angelina she completely justified all the "hype" that surrounded her at that time. She sings beautifully and acts nicely, creating a put-upon yet spunky "Cinderella." Opposite Bartoli, Raul Gimenez gives a sincere and sensationally sung Prince Ramiro. His love duet with Bartoli in Act I ("Un soave non so che") is an oasis of calm in a witty Rossinian fairy tale. The supporting cast includes Enzo Dara (Don Magnifico), Alessandro Corbelli (Dandini), and Michele Pertusi (Alidoro, the "fairy godfather"). Corbelli's Dandini has since become famous (a British critic called it one of the finest operatic characterizations of our day), and here one can see why: it is subtle, humorous, and richly sung. (Corbelli was also Dandini in 1997 Metropolitan Opera performances, one of which was telecast in 1998. His Met portrayal was very different but every bit as masterful; it's too bad that telecast is not yet commercially available.) Dara, who sings the stepfather, Magnifico, looks like Ed Wynn (of MARY POPPINS and "I Love to Laugh" fame). Although Dara's acting is very funny, he is clearly past his vocal prime -- in fact, I think I'd rather hear Ed Wynn sing the role. Young bass Pertusi, however, provides plenty of vocal freshness in his lengthy, wonderful aria, "La del ciel." The production is one of the most beautiful I have ever seen of an opera; the sets and costumes look like fanciful children's book illustrations. This is a marvelous performance that one can watch again and again -- as I certainly have!

enchanting music in excellent performance.
I have seen other performances of this La Cenerentola, but this performance is the best.
The cheerful and melodious music of Rossini, although not as wellknown as Barbiere de Sevilla, is still so enchanting and beautiful, and comes out as magnificent by the excellent performance and singing of Cecilia Bartoli in her specific deep rich soprano voice which is matched by the clear soft tenor voice of Raul Gimenez and clear baritone Enzo Dara. The combination of singers made this opera buffa so magnificent and enchanting while the costume and background decor represent the comical and funny situation.
We are so enthralled watching and listening to this performance from the beginning to the end of the opera.

Dandy Do!
Quick and energetic, fun and fantastic. And all this in Texas?! ... Read more

Reviews (13)

Simone Alaimo (Dulcamara) steals the show
This DVD is a gem!

GREAT music by Donizetti; tunes that I'm continually humming to myself (because I can't sing) throughout the day. Wonderful singers: Roberto Alagna and Angela Gheorghiu in the starring roles, however the show is stolen by the performance of Simone Alaimo who does a superlative job as Doctorre Dulcamara. Talk about getting into a role: he holds absolutely nothing back....magnificent! Just see him in the duet "Quanto amore" with Angela Gheorghiu and you'll see what I mean. It'll leave you breathless.

As far as the overall production, I have seen a couple operas staged (on DVD) from the Opera National de Lyon and have not been disappointed in the results. They seem to have the knack of producing good audio and pleasing sets that are easy to look at and complement the people on stage.

Brian Large handles the video and editing so you know you're going to get great camera angles.

My only negative comments(and thus the loss of one star) about this otherwise wonderful production is that first, Roberto Alagna's voice came through my stereo system slightly tinny at times(maybe my system and/or the fact that I like my opera fairly loud) and second, that I could swear someone hits the wrong note at the very end of the opera.

All in all an enjoyable show that I've listened to many times and just never get tired of. Absolutely worth getting.

Donizetti at His Best
This is an exuberant production with a marvelous cast and sensitive musical direction. Filmed in a 16x9 format before a live audience, the opera is indeed a joy to behold. The pairing of the husband-and-wife team of Roberto Alagna and Angela Gheorghiu works beautifully throughout and the contributions of the other principals leaves nothing to be desired. The work has been updated into the 1920s and the results are satisfying although not quite so colourful as traditional presentations. The stage appears a little cramped and I would have liked to see more space for everyone to move around. Video direction by Brian Large is exemplary as usual. Picture quality throughout is excellent.
My one criticism concerns the audio tracks available on the DVD. Neither the Dolby Digital 5.1 nor the Dolby Stereo is entirely satisfactory because both produce a fairly narrow left-to-right soundstage with too much of the sound emanating from the middle. The absence of a good 2-channel PCM audio track is regrettable. The balance between voice and orchestra is fine however as is the overall quality of all the singers. For years Decca had a top-notch reputation for first-class sound in its recordings. On this occasion however, they fell somewhat short of the mark.
The inclusion of an excellent 52-minute documentary of the making of the video and CD is to be commended as is the comprehensive booklet.

A very lively l'Elisir
I'm a believer of live performances (local live performance is typically more enjoyable than Pavarotti/Levine/MET on plastic, so to speak) but enjoyed watching this as much as I would at the theater. Particularly overall acting to the last chorus girl is very engaging. I sometimes watch operas at home one act or scene at a time, but not this. I couldn't turn it off until the end. Beside the story itself and real-life newlyweds, that filming was an integral part of this production must be a factor as well to create such a compelling recording.

My favorite is Alagna. I know little about his other roles, but he is Nemorino incarnated in his singing and acting here. If you felt puzzled, like I did, by his "Una furtiva lagrima," watch the extra "Making of" ("Love Potion" from the menu) then watch/listen to the aria again (Act 2, track 22). Doesn't it sound and look whole a lot different? The CD (non-live) by the same cast contains two versions of the aria. Gheorghiu is lovely as ever. If I had to criticize, she could have worked on her facial expressions a wee bit here and there. As she comments herself, she is not a tragic heroine fated to die in the end this time. Alaimo (Dulcamara) is another critical element in this performance, commanding such a presence despite sweaty face. Scaltriti's caricatured army officer (Belcore) is not too silly nor wet and, I think, nicely complements the light-hearted atmosphere which is consistently palpable throughout the performance. I just wondered why his face was pulled to one side when singing...

Picture is very clear throughout, and the sound is good at least with my humble stereo system. There are technical issues (subtitles, unfriendly menu, etc.) and perhaps some other gripes, but, hey, do you want to simply enjoy a well-done opera at home? This is it.

Un gran 'Elissir'
Esta es una muy interesante version de "L' elissir d' amore" desde todos los puntos de vista. La actualizacion escenica es acertada (traspaso de la acción a la actualidad), y tiene realmente bastantes gags muy conseguidos.
En lo vocal, ANGELA GHEORGHIU descolla con una Adina esplendida en lo vocal y desenvuelta en lo escenico, como tambien ROBERTO ALAGNA construye un Nemorino de alto nivel vocal y escenicamente. Muy divertido y bien cantado el Dulcamara de SIMONE ALAIMO, aqui casado con una vieja 'Madame Dulcamara'. Como Belcore, ROBERTO SCALTRITTI ofrece una caracterizacion muy conseguida del rol, y vocalmente esta mas que correcto.
EVELINO PIDO dirige con soltura a una orquesta y coro que rinden a gran nivel.
La toma de video es muy buena, la de sonido suficiente, y el dvd se complementa con un interesante documental sobre el making-off de la ópera, que incluye ademas una version alternativa de la 'Furtiva lacrima', a cargo de Roberto Alagna.

Great production of a simple but very enjoyable opera!
This is by all means a very good production of a simple but very enjoyable opera. The cast is great. The singing is very good, but what makes this production special is that all the singers act very well and they also look their part. They look like they enjoyed themselves on stage and so does one watching them.

Please don't listen to the idiot who sais this is a poor production. You can see clearly that he has no idea of what he is saying when he sais it can't be good just because it is filmed in Lyon! He clearly has no idea of the great productions one can see nowadays all throughout Europe.

L'Elisir is a funny opera with lovable tunes and this production really achieves that. The sound quality is very good, even though it's true that the sound is a little narrow, with too much coming from the middle, specially in 5.1.

I sincerely recommend it! Great buy! ... Read more

Reviews (7)

Verdi's triumph over censorship
Giuseppe Verdi originally got this opera past the censors by disguising the liberal Swedish monarch Gustavus III, who really was shot in the back, as the fictional Riccardo, Governor of Boston. This Metropolitan Opera production follows Verdi's political change of scene, and is set in 18th century Boston on the eve of the American Revolution (one of the conspirators is a ringer for a youthful Tom Paine in glasses). This Elijah Moshinsky production is true to history in that the tenor is also shot in the back, so ignore the fact that our hero claps his hands to his massive chest before he tumbles to the ballroom floor.

Viva Verdi! Viva Pavarotti!

Like all great singers, Pavarotti possesses an instantly recognizable voice. His is an unusually large lyric tenor, and in this 1980 recording of Verdi's "Un Ballo in Maschera," he displays a youthful beauty of tone. His bright timbre and exuberant personality might seem more appropriate to the Duke of Mantua in "Rigoletto," rather than the conscientious Riccardo, governor of Boston. However, it is also a very special experience to hear Pavarotti sing Riccardo and he does much to lighten up this rather dark production. It is easy to understand why Kattia Ricciarelli as Amelia falls in love with him.

Pavarotti has a relatively lean stage presence in this production, without his famous handkerchief and tent-like costume, but it would still be too much to expect him to act out a subdued death scene at the masked ball. Lean physique or not, we can't conceive of lean acting from this exuberant tenor.

Katia Ricciarelli, who has also recorded a 'Ballo' with Placido Domingo, is in her prime in this recording, which takes place before the heavier Verdi soprano roles and 'Turandot' supposedly ruined her voice. Here, she possesses a sweet lyric soprano and a lovely stage presence that surely would have melted a heart less hard than her husband's, as she kneels before him and sings "Morrò, ma prima in grazia."

If only Amelia had stayed on stage and listened to Renato's dramatic and sorrowful "Eri tu," I'm convinced this operatic couple would have been tenderly reconciled.

Oh well, this is opera, not life. The late Louis Quilico was 55 in 1980 when this production was recorded. His baritone was not as smooth or beautiful as other baritones that the Met had in its stable at the time, but I think his portrayal as the ageing husband of Ricciarelli's young, beautiful, tempted-to-stray wife was very poignant. He would not have gotten such a tumultuous reception to his big aria, "Eri tu" if he had not convinced the audience of his rage and sorrow.

The American soprano Judith Blegen, who was a frequent duettist with Frederica von Stade, is one of the highlights of this recording. She sings a buoyant, brilliant Oscar, most especially in her teasing aria, "Saper vorreste" in reply to Renato's inquiry about Riccardo's disguise at the masked ball.

amateur video
the conductor is'nt James Levine but Patané ! and the videotechnic very poor without light and focus...The Berini voice is a murmur far away in the crowd

Outsanding production only hampered by poor visuals
The Met's 1980 production of Un Ballo in Maschera is set in colonial Boston on the eve of the Revolutionary War. This is the setting Verdi chose after the censor's refusal to allow the opera to take place in Sweden. It was to have been based on a historical event, the assassination of Sweden's King Gustav III. History or not, having a king assassinated at a masked ball on the operatic stage was simply too controversial in 1859, and Verdi was forced to change the setting to Boston and the king to a governor! Ballo would be an outstanding work no matter where it were placed, as it has an rivetting story filled with growing tension set to some of Verdi's most beautiful music. Pavarotti is at the peak of his illustrious career as the Governor of Boston, and for that reason alone this DVD will be of great interest to opera fans. That is not to say that Pavarotti outshines the rest of the cast, for it made up of a fine constellation of stars. Katia Ricciarelli is inspired and truly gets into her character, Amelia. Louis Quilico has what must be one of the great performances of his career, and Judith Blegen shines in the travesti role as Oscar. Bianca Berini as Ulraca is somewhat lackluster, as her performance lacks fire and menace. That aside, this is a great performance of Ballo, and it would be difficult to top it. It is therefore a great shame that the picture quality is so poor, especially in the numerous night scenes. In the more dimly lit scenes the picture is often grainy and blurred to the point of distraction. This truly great performance deserved much, much better treatment. The sound quality is average, but fortunately it fares much better than the overall picture quality. In short, this is a diamond performance that should have been one of the all-time great opera performances captured on DVD but for serious short-comings on the technical end.

A sparkling opera production filled with great music.
This is the best available video production of an opera which is packed with great music. The "Masked Ball" takes place in Boston and deals with politics, love, betrayal and intrigue. Luciano Pavarotti and Katia Ricciarelli are just wonderful on video. (If you are interested in the CD instead of the video, one of the best "Masked Balls" is the one with Pavarotti and Price, under Solti's baton.)

VERDI, UN BALLO IN MASCHERA
This performance is not by Jammy Lvine but a famous Itallian conductor GIUSEPPE PATANE,who supported the Krajan's Vienner State Opera Era with Mitropoulos in Itallian Operas. Patane was the greatest conductr of Itallian Opera in the last half of 20 th century.Unfortunately, the orchetra and the tenor was not excellent in this DVD.If you want to know how bright this opera is , you must choice the CD of an original hilights issued from DG conducted by PATANE. You must find this opera and this conductor. ... Read more

Reviews (16)

A Fabulous "Trovatore"
This is indeed a great version of "Il Trovatore." Everything is incredible. Luciano Pavarotti, though fairly old when he made this opera, he sang Manrico in a way only he is capable of. Eva Marton, unfortunately, was fairly old and looked very old as Leonora, however her astounding voice makes up for it. Her, "Di tale amor" is simply incredible!! Dolora Zajick makes a great Azucena, and her "Stride la vampa" makes the hair on the back of my neck stand up whenever I hear it- especially when she sings the great part where she hits a high G. As for Sherrill Milnes as the Count- he's always my favorite villain. He blows me over in many scenes. The costumes are extremely fancy and 15th century-like; very authentic. The sets are great, and the choruses are the strrongest I've ever heard. All in all, I would suggest this video, even if you are new to this opera, because (as it has subtitles) you will love it.

Oh, one more thing! Jeffrey Wells is a fabulous Ferrando, he has a very commanding tone and doesen't sound boring or weak like so many Ferrandos do.

A suprise!
This video of Il Trovatore was a suprise when I watched it the first time. The set was very dark, as it should be, but their costumes help to illuminate the singers. Now to the singers: Luciano Pavarotti was his usual self: a great singer, but a terrible actor. Eva Marton was a pretty bad singer, as I have heard from other reviewers, but I thought she was great. I have always been a fan of her voice, but I agree this is not her best performance. Dolora Zajick was one of the highlights of the opera. Her voice is at her best, bring the role of Azucena to life.To me, the clear star was Sherrill Milnes as Conte Di Luna. His rich baritone voice was almost at his best, and the audience agreed by throwing him flowers at the end. James Levine's excellent conducting brings the whole show together. Overall, this is a OK video, with some highlights and some flaws, but you should still see it.

moonlight serenade
Though this 1988 Metropolitan Opera performance is far from perfect, it still has a lot to offer the viewer/listener. One of the drawbacks is that Il Trovatore is a "night" opera, where all the drama seems to happen from dusk to dawn; this production takes it literally, and it is very dimly lit. It is saved by its beautiful silvery costumes, which reflect the minimal lighting, so at least you can see where the people are in the midst of the black stage.

The cast:
Luciano Pavarotti is in fine fettle, with a virile, powerful interpretation of the glorious "Ah ! si, ben mio coll'essere", and a bit better than usual acting performances.
Sherrill Milnes is vocally past his prime here, but is a great stage presence, and does an excellent, villainous Conte di Luna; aptly named, because the moonlight becomes him...he looks fabulous.
Eva Marton seems at first uncomfortable in the sweet young maiden part of Leonora, but does get better with every scene; she is really good in the last act, and I always like her singing.
Dolora Zajick's Azucena is superb. A truly magnificent voice, and does well as an actress too.
Jeffrey Wells is wonderful, and makes an effective and attractive Ferrando.
James Levine keeps it all together with enthusiasm, and the sound is terrific.

A lovely touch is the paper raining down on Pavarotti at the final curtain call from an appreciative audience, and there is much to appreciate in this performance of one of Verdi's most melodic, dramatic operas. Total running time is 133 minutes.

Promete pero no cumple
Cuando uno vee este Trovatore en una tienda y mira el cast, francamente muy bueno a primera vista, lo compra y espera una gran version, al menos en lo vocal de esta obra verdiana...
Al verlo llegan las decepciones una tras otra. Primero con una puesta en escena oscura, poco atractiva y aburrida, que cansa ya en el primer acto. Luego vienen las decepciones vocales: comenzando por la chillada Leonora de EVA MARTON, aqui francamente mal, continunado por un SHERRILL MILLNES que ya no puede con el papel de Conde de Luna, siguiendo con una DOLORA ZAJICK que se mueve solo en una discreta suficiencia, muy lejos de lo que se podria esperar de ella y terminando por un equipo de secundarios de lo mas discreto. Por si fuera poco, la direccion de JAMES LEVINE no aporta nada a la partitura, y solo LUCIANO PAVAROTTI como Manrico rinde realmente a la altura debida para este espectaculo.
En resumen, no se lo compren.

only one question: why?
I couldn't believe it; this looked so promising, and I was so shocked when I watched this. Only the bare minimum was delivered. Let me start off positively (which is rather hard to do here). let's see... sound quality was good. As for Levine and the orchestra - this is all you need to realize that it's the best orchestra in the U.S. (although in the 1983 Ernani, they are also fantastic). Dolora Zaijk is fabulous in this performance; her terror, her obession for revenge were brilliant here. Jeffery Wells is an excellent Ferrando, perhaps the best one I've ever heard. unfortunately, that's about it. these two singers are the only reasons I added an extra star.

entering the negatives now: Pavarotti sounds just like Pavarotti; flawless intonation and diction, and he still sounds much in his prime. but for heaven's sake, his acting (if you can call it acting) ! I've seen children express more sadness over fallen ice cream than Pavarotti does when his mother is captured! His eyes are dead frozen on the prompter (didn't he learn the part beforehand?), and it looks like he's going to trip and fall down the stairs any second. The terror on his face, and his immobility overshadow the beauty in his singing. This is terribly distracting, unless you just close your eyes and listen (or get the Decca recording with Sutherland, which was recorded in the peak of his career).

Eva Marton - oh, dear. 0 stars for her. She screams, barks, shouts... you get the picture. she also goes terribly flat on high notes, esp. at the end of her duet with Di Luna in Act 4. she looks hideous in her wig also.

Sherrill Milnes is the best actor, no doubt, but the vocal difficulties that occurred in the 80's are clearly visible here; strained, flat high notes, and some cracks. Sure, the audience goes crazy for him, but here, he is a complete shadow of his former self. what a shame.

also, Di Quella Pira is transposed down a half-step. If you want a Golden-Age high C, then get the Pavarotti/Sutherland recording I mentioned above.

as for the production - dark, dreadful, insipid, whatmore.

that's all (thank goodness!) . you're better off getting either the Pavarotti/Sutherland version, or just any of the dozen better versions that are available. It is easier that way. ... Read more

Amazon.com

Placido Domingo and Kiri Te Kanawa were in top form vocally when thisperformance was recorded in 1984; Sinopoli's conducting is energeticand stylistically distinctive, and the staging strikes the proper notes ofelegance in the early scenes and pathos in the tragic conclusion.Thisis not the only good video recordingof Puccini's first masterpiece, butit ranks with the best.

Manon Lescaut is the story of a beautiful young woman who goes astrayen route to a convent and drifts into life of self-indulgence, sexual exploitation,and crime, leading to her death as a convict, a story full of operatic situations.It inspired two operas in the standard repertoire, Puccini's and Massenet'searlier Manon. Puccini took a big risk going mano a mano with Massenet, but it worked; he did not eclipse Massenet, but this work gave his career a majorboost. This production shows why it has captivated so many audiences.--Joe McLellan ... Read more

Reviews (10)

Perfect Puccini!
I was so thrilled to see this 83 production of Manon Lescaut has been re-released. It's criminal that it hasn't been re-released before this!

This is my favourite production of Manon. Kiri Te Kanawa in the title role plays Manon to perfection, the confused girl in Act One, the mistress who's wealth has gone to her head in Act Two, and the pathetic, unhappy girl in Act Three and Four. Kiri goes through so many emotions in just two hours, and by the end you even feel sorry for this mislead, selfish girl. Her voice suits the part wonderfully. Domingo is a wonderful Des Griuex, his voice is like velvet, and his acting is faultless. And of course, there is the usual chemistry between these two superstars. Thomas Allen is the convincing Lescaut, and Geronte is like nails down a black board! Perfect production - BUY IT or you're missing out on the best production of Manon available!

Fantastic!
This video is absolutely wonderful! Placido Domingo is the all-round, brilliant Des Grieux, Thomas Allen is your perfect Lescaut - cheeky and fun. Kiri Te Kanawa is wonderful as Manon - despite a head cold, she sings beautifully, and she goes through all of Manon's emotions in the space of two hours! From a frightened young girl, to a proud aristocrat, to a pathetic, dying woman, all to utter perfection! It's the most incredible production. BUY IT!

I highly recommend this for Puccini and Manon lovers!
Manon Lescaut is one of the early works of Puccini and I feel that it's somehow neglected in comparison to Tosca, La Boheme and Turandot. Puccini's Manon is different from both Abbe Prevost's (author of the novel) and Massenet's Manon, she is more sensitive and passionate.

This DVD impressed me much, but I wasn't sure whether Te Kanawa was expedient for this role as she is grande lyric. However, her acting ability convinced me besides her flawless voice. Domingo is the best De Grieux I could think of.

Dame Kiri & Placido: 2 Outstanding Singing Actors!
To jump ahead, Act 4 of this opera lovers'opera is not to be believed!2 luminaires of the opera world combine to set the screen on fire! Such an idealistic beginning to have such a tragic end. This is an epic Manon Lescaut.Dame Kiri,a wonderful
countess in Strauss'Capriccio,wrenches all my emotions to the surface with her portrayal of Manon Lescaut.Placido is magnicent
as the spurned lover returned.This presentation is a 2 hour master class.The beautiful melodies continually flow.Thomas Allen is a wonderful Lescaut.The orchestra of the Royal Opera house under Giuseppe Sinopoli is flawless.Not unlike Jacqueline Dupre,Fitz Wunderlich& Arlene Auger,Giuseppe Sinopoli was a musical genius taken too early from us by death.His passion for his art is most evident in his conducting of the intermezzo.What
a wonderful production!Bravo!Bravo!Bravo!

Gran reprresentacion de esta bella opera
Esta version de 'Manon Lescaut' es sencillamente fantastica. La puesta en escena de GOTZ FRIEDERICH es visualmente muy atractiva, y teatralmente presenta momentos de gran interes dramatico. KIRI TE KANAWA es una protagonista de alto nivel, que consigue una gran version del rol pese a algunas pequeñas tiranteces en el acto III. PLACIDO DOMINGO es un Dex Grieux sencillamente perfecto, tanto en lo vocal como en lo escenico. largo duo de Manon y Des Grieux en el acto final esta resuelto de forma antologica por los dos interpretes. El amplisimo elenco de cantantes secundarios rinde a gran nivel, al igual que la orquesta y el coro del Covent Garden, todos bajo la direccion de un muy inspirado GIUSEPPE SINOPPOLI. En resumen, no duden en comprar esta extraordinaria version de esta bellisima opera. ... Read more

Reviews (9)

GIVING IT THEIR ALL
For a truly riveting operatic experience, you must see/hear this DVD! Eva Marton is at the very height of her operatic career giving vocally and dramatically everything she had (and that was a lot in the 1980's when this performance was taped). I don't feel that any other singer could give more than she does in this role. Cheryl Studer is awesome and also at the height of her powers. This performance proves that Cheryl should have stuck with the Germans and avoided, like the plague, Lucia and Violetta. What a career she could have had!! Fassbaender is down right scary playing a truly demented and crazed mother. All of the aforesaid singers are really into their roles giving performances of a lifetime.

The production, at the time, was controversial and was booed at this performance. Now it is simply exciting providing a memorable Elektra. After all, this ain't no fairy tale and this production does NOT treat it as one.

With Abbado directing the hell out of this score, this operatic performance will stick with you for the rest of your life. So if you want to see opera at its most exciting and at its very darkest buy this DVD.

Grotesque a la Strauss
This is the darkest operatic performance captured on video. Sure, there are other operas that can match the sensationalism of Elektra in terms of pure drama and spectacle. Yet no other opera conveys the bloodthirsty desires, fanatic vengefulness, esctatic embrace of death as compellingly as Strauss's masterpiece. No other opera can surpass Elektra's sheer ability to terrify especially in the music associated with Elektra and her mother. By far, these two are the darkest female characters in opera.
Cetainly Marton and Fassbaender offer compelling protrayals by expressing the terrying psychology of the two characters. Both are haunted by the murders of a loved one. Both are driven to kill by the same premonition of vengeful death: Elektra must wait for her brother, Orestes, because he is the one destined to bring about the murder of her mother and stepfather while Klymmenestra must sacrifice to end the dreams of her own murder by Orestes.
Marton sings this role with unending passion and more abandon than any other singer in recent memory. Her opening monologue is just astounding as she screams out the emotions that have consumed her soul: the love for her father and her need of vengeance to honor this love. Marton's grief, angst and desperation are world ending in sheer dramatic scale. One senses that the fulfillment of this vengence is her only reason to breath, eat, sleep and live.
Fassbaender's portrayal of the mother is no less thrilling. She is a woman slowly flayed by unending dreams of her own demise. Yet Fassbaender shows the aging queen defiantly refusing to surrender to this fate. It's like watching a wounded zebra desperately escaping the oncoming jaws of the lion that is Orestes.
For any fan of Strauss' Masterpiece, this is a must have.

A worthy contender
An excellent production by the Vienna State Opera. Comparisons with the Met production featuring Birgit Nilsson are inappropriate - like comparing apples and oranges - as the interpretations are not comparable. The Vienna version emphasizes the "black and bright" nature of the drama (Hofmannsthal's own phrase) with stark, almost monochromatic sets. Marton makes a very convincing Elektra and Fassbaender's Klytemnestra is truly ghoulish, though a little bit over the top and one-dimensional. Klytemnestra is a woman on the verge and the actress portraying her must keep this in mind - to be convincing, she must walk a fine line between madness and sanity without falling over the precipice, and this is where Mignon Dunn's performance, in the Met version, is superior, imbued with a regal and scrupulously delineated dementia that almost manages to win sympathy. It is in the central Klytemnestra scene that the Vienna version suffers. In the Met version, Elektra's numbingly cold indifference to her mother's suffering, as portrayed by Nilsson, chills the soul. In the Vienna version, the conflict between mother and daughter is never convincingly established - and this conflict is central to the drama: the mother's need to nurture and dominate collides head-on with the daughter's alienation and need to avenge a father and an older sister. These needs are irreconcilable and tragedy results. Nevertheless, Klyemnestra's entrance scene in this version, amidst the requisite flickering torches and with Strauss' pounding score, is a particularly effective piece of staging. The production captures the almost claustrophobic terror of Sophocles' drama brilliantly. Any competent performance of this opera should leave the viewer emotionally drained - and this production certainly had a cathartic effect on this listener. Almost a century after it was written, Strauss' score remains a shocker - a marvel of inspiration and compositional technique. Though I still prefer the Nilsson/Rysanek/Dunn version by the Met, I thoroughly enjoyed the Vienna production: if gritty realism and raw emotion are what you look for in opera, this production will certainly not disappoint.

Dark, manic, paranoid production -- loved it!
Despite what other reviewers have said, Eva Marton is, in this production, superior to Brigit N's Elektra done at the Met. In fact all the singers in the Vienna State Opera production throw themselves body and soul into their roles. The set / costume design is outstanding, dark and otherworldly but never distracting from the performances or Strauss' superior music. The one enormous set-piece is a 100-foot statue of the murdered Agamemnon, the huge head having fallen to the ground. Thus Agamemnon has an overpowering albeit mute presence throughout the show. Very effective I thought. Klytemnestra is simply odious. She looks like a grotesque parody of Tammy Faye Baker doing a "Mommy Dearest" Joan Collins impression, but with complete sincerity. That is Klytemnestra and her maid pictured on the DVD case by the way. Marton's Elektra is strong, insane, tear-streaked and oddly sympathetic.

greatness!!
One of the most intense performances ever. In (any!!) music category!!! look at Marton and Abbado at the end! Totally out of this world. The sets are nightmare stuff. No wonder there is some booing at the end. Those old folks at the audience probably couldn't watch it for it's a life shortening performance for people with weak hearts. Buy it!! ... Read more

Reviews (5)

Buy another version!
This is a very boring version of 'Macbeth'. Only Renato Bruson sings really well. Mara Zampieri is a good actress, but her voice wasn't in her best day. Neill Schicoff is really horrible here and James Morris isn't very well too.
Ronconi's production is really boring. There aren't anything in scene, only a real chair and some panels.
I don't like Sinoppoli very much.
In resume, don't spend your money with this, buy another version.

Una voz chillona
En español decimos "voz chillona" cuando el timbre es más agudo de lo necesario. Si hubiese recordado que la voz que no me dejaba llegar al final de la Fanciulla del West era la de esta misma cantante, no hubiese adquirido esta versión de Macbeth. Durante todo el tiempo no hago más que pensar cómo hubiese gozado escuchando a María Callas en un papel de tanta fuerza. Haré un esfuerzo nuevamente para degustar los intrigantes agudos de alguien que intriga tras el trono.

Screw thy courage to the sticking place!
This production from Berlin in 1987 finds conductor Sinopoli and team in good form. Sinopoli's conducting is very rhythmic and exciting overall, but tends to be somewhat rushed in places. The orchestra and chorus do a good job and one can hardly fault the ensemble work of all the performers involved.

The production is traditional (and also minimalist). Yes, true emotion is seldom touched on here, but I'd rather have this type of melodramatic approach than the kind of contrived production 'concept' to which one is so often subjected. The costumes are realistic to the period, but it is a very static production: note that as the aria begins the character usually takes centre stage! That being said, I have to mention that there is something very effective about dressing Macbeth and Lady M almost entirely in red: to indicate the innocent blood they will/have shed?

Renato Bruson as Macbeth sings the role very well, and one wonders if anyone can surpass this achievement. However, do not expect a dramatically compelling interpretation.

Mara Zampieri has a sinister enough voice for Lady M. She has a magnificent technique: good coloratura and an exceptional trill. For me her interpretation does not match Callas's Lady M, as Zampieri lacks two things: she is often out of tune on acuti and her interpretation is not very subtle. And nit-picking: she omits the top D-flat in the sleep-walking scene. Nonetheless, we can be grateful for her presence in the cast.

The supporting cast, which includes James Morris and Denis O'Neill, sing well, and I cannot think of better 'comprimarias' than those two.

"Macbeth", for me is not a very easy work, like "Trovatore", "Otello" or even "Don Carlos", to understand and love. But with "Macbeth" (specifically in Lady M's music) Verdi holds up a beacon of things to come from his gifted pen.

Probably the best available version
While not perfect, this is a very good production of Macbeth. Mara Zampieri is an almost perfect Lady Macbeth, although her overdone facial expressions, while understandable in a theatre setting can be somewhat offputting in closeup. Her singing, however, meets the demands of the role quite well. Verdi wanted a singing actress who could express villainy in her voice rather than just a beautiful voice, and Zampieri fills this role well. Renato Bruson is also a very believable Macbeth. James Morris as Banquo is somewhat wooden, but the main, really the only major, drawback is Sinopoli. His conducting is quite good, but he hogs too much of the screen. The camera focusses on him not only in the overture and preludes to the various acts, but also at times when the chorus is singing on stage. While obviously the conductor is important in every opera, it is the action on stage that one wants to see, not the conductor, especially a hyperactive one.

Zampieri's Lady Macbeth is greater than Callas'!
Zampieri's Lady Macbeth is greater than Callas'! Even Toscanini (who as a traditionalist wasn't one of Callas' fans) found her timbre suitable for Lady Macbeth and wanted to do it with her (she did not express interest in singing for him). This was one of callas' greatest interpretations - very strong on melodrama - and Zampieri is the first to surpass it! Zampieri's hypnotic, analytic, 100% pitch controlled singing/acting projects the cold-blooded murderess and the sense of horror. With conductor Sinopoli the concentration is intense and the singers really reflect on every note. I feel that those who refuse to accept that Zampieri is a great modern dramatic star are reactionaries. Why, oh why doesn't she record more? Is she related to the tenor Giuseppe Zampieri who was active in the 50's and 60's (he sang the Italian singer in the film version of Der Rosenkavalier for Karajan)? ... Read more

Reviews (3)

A wonderful production..a shame this is not available in DVD
This is an excellent video recording of a ravishing Metropolitan Opera production from 1982. All the major components of a great success are here. Fine conducting as ever from James Levine, the always excellent orchestra and chorus of the Met, stunning sets, costumes, lighting and production, and five defining performances from the lead singers. The bouquets really must go to the ladies, all three of them in their prime, singing marvellously well and looking quite delightful. The beautifully sung and exquisitly realised Ilia of Ileana Cotrubas is breathtakingly lovely. Every phrase seems suffused with meaning, every note with lyrical beauty. What an advantage to have a Trojan Princess of such physical grace and beauty when paired with the splendidly sung and incredibly handsome Idamante of Frederica von Stade. The two lovers duet with utter beauty and conviction providing a wonderful example of real Mozartian singing at its best. Hildegard Behrens completes the trio, an inspired piece of casting this. She looks and sounds quite (rightly) bonkers, and her awesome stage prescence, vocal power and dramatic intensity bring this lovelorn daughter of Agamemnon to intense and exciting life. John Alexander sings the hideously difficult part of Arbace with great skill and beauty and, surprisingly to me, Luciano Pavarotti sings the title role really very well. I had not considered him a natural Mozartian before, and I was charmed with his restrained and careful performance. I can't understand why this performance is not available on DVD as I gather this recording is one of the Met's biggest sellers. I live in hope.

This is not a good production.
It is possible that the orchestra and recording are good. On the other hand, there is little else to recommend this production except it's being the only available VHS version of a good Mozart opera. I found the sets distracting or annoying and the shifts in costume between prehistoric through 18th century equally so. This opera, unlike other Mozart operas, uses the chorus to produce some of the finest music in the opera and some of Mozart's best choral music. This production has a limp chorus from which you cannot even understand what the music is. The main female parts, Ilia (Ileana Cortrubas) and Elettra (Hildegard Behrens) are extremely poorly sung in a very wobbly style and with very inaccurate intonation. Idamante (Frederike von Stade) sings much more accurately but with a vibrato that is still wide enough to hide much of the vocal line. Idomeneo (Luciano Pavarotti) is sung well enough, but this is a peculiar unsympathetic role that doesn't take full advantage of Pavarotti's strengths. I've given my copy away and I recommend you wait for a better edition.

Mozart's first operatic miracle
Odd that this excellent release has not received a singlereview so far. Idomeneo is Mozart's first master opera, the first ofseven "operatic miracles" that he composed in the lastdecade of his life. His early contributions to the genre are alsoextraordinary works: Il Re Pastore, Mitridate, La Finta Giardinieraetc. But it is generally agreed that with Idomeneo he reached hismaturity as an opera composer. It is a powerful, dense, very dramaticwork with beautiful arias. And this is a very good rendition of thismasterwork. I liked the set and staging and the arias are beautifullysung. The opera is sung in the original Italian with Englishsubtitles and the synopsis provided comes in handy to understand theplot. I always thought that James Levine definitely understandsMozart: the arias and recitatives are never too fast, the way I thinkMozart should be played, which enhances the dramatic element and thebeauty of those arias of supreme inspiration. Ok, so I tried to fillthe gap.... ... Read more

Reviews (24)

Sets by David Hockney
If anyone has managed to find this listing, this is the Met production with the sets by David Hockney. Pamina is sung by Kathleen Battle and Sarastro by Kurt Moll. Other singers are Luciana Serra (the Queen of Night), Francisco Araiza(Pamino), Manfred Heim (Papageno), and Heinz Zednik (Monostratos); conducted by James Levine of course. The DVD has subtitles in German (hallelujah!), English, French, and Chinese, but no other extras. The singing sounds weak, but that may be because I'm used to other recordings in which the singers are over-miked. Otherwise, it's good performance of "The Magic Flute".

Simply Fantastic!
I have just watched this performance, and I have to say that this is simply fantastic. The characters that really stand out from the show are Manfred Hemm's Papageno and Luciana Serra's Queen of the Night.

Hemm delivers the best Papageno I have ever seen, with not only a great voice (solid baritone - lovely!) and also commendable comic acting. Serra blew me away the moment she sang her first aria "O zittre nicht mein lieber Sohn..." It is note-perfect and flawless. She sings those scales as if they are a piece of cake, and she hits the high F perfectly, even in "Der Holle Rache". She falters just a teeny weeny little bit in the latter, but perhaps I'm picky. I've been wanting to find the perfect recording of "Der Holle Rache", but I haven't been in luck yet. (the version sung in the movie "Amadeus" was pitch-perfect, but incomplete and not available in the soundtrack.) But understandably, the Queen of the Night is one of the most difficult opera parts to sing, and Serra already pulls it off remarkably well, delivering an overall brilliant and astounding performance. (I thought she looked beautiful as QOTN too.) Of course, besides these two, there's Kathleen Battle as Pamina, perfect as always, Francisco Araiza as Tamino and Kurt Moll as Sarastro to look out for.

I have to share 4 of my favourite scenes here. 2 belong to the Queen of the Night's 2 arias, 1 is the scene where Monostato's slaves and himself are under a spell from Papageno's Glockenspiel, and they really "totter" away harmlessly. That scene is absolutely hilarious, with them going "lalalala" and dancing away, exiting at stage right. The final one is the finale duet with Papageno and Papagena (Barbara Kilduff)in "Pa-pagena! Pa-Pageno!". Hemm's and Kilduff's voices blend very well together. I love that song.

Thumbs up to this beautifully recorded performance, conducted by James Levine. I highly recommend this recording. It is definitely worth the money, and worth rewatching again and again.

My favourite flute ever....
I am a long time magic flute lover, who has heard or owned most of the major recording out there. Recently I started buying Mozart opera DVD's as they were good to introduce friends to the operas. I first bought the recent Davis/Royal Opera version, but found it a very mixed bag, so I decided to go for this one since Kurt Moll was always my favorite Sarastro on record and he sings the part here (The Sarastro on Davis was very dissapointing).

The bad news is that Moll is not in quite as good voice as he was in either his Solti or Davis CD audio only performances. The good news is that he is still magnificent, and this is the best Zauberflote I have ever heard!

I never had much respect for James Levine as a conductor. Well that has changed. For reference, my favorite flute's ever were 1)Christie on Erato 2)Klemperer on EMI 3)Beecham on EMI. All had there problems, but Christie I found to be the overall best flute I knew including all cast, conducting, acting, and recording. And it has been replaced by a DVD flute!

What I loved about this performance:

First of all the conducting is very fine. It is very sharp and disciplined performance with precise singing (litte romantic sliding of notes) and there is, best of all, a wonderful sense of listening between all the singers and the orcherstra. It was obviously meticulously rehearsed for the 1991 Mozart celebrations. Mozart is the most difficult music to perform because you cannot get away with any emotional sloppiness, which means a luminous precision is always called for. This performance has this quality better than any other I know.

There are some weak bits in my opinion however. A few of the arias really drag their feet in a failed attempt for the conductor and singer to find the right inspiration. As much as I like Moll, I find his arias too slowly sung, as well as the Isis and Osiris chorale. Fortunately they still are very effective due to Moll's maginificent voice and the solemn nature of the music itself.

Also, occasionally things can be a bit brisk to let the music breathe properly. Overall however, I would give this flute the best marks for conducting.

The singing/acting also has no weak links and many outstanding aspects.

Ariaza's Tamino is merely good--at his best with the speaker, and worst in final union music with Pamina. After the first trial he slightly misses a key timing, which when sung perfectly (hear Blochwitz on Christie) is one of the most sublime moments in the score. Still, this is a good, solid Tamino--well acted, suitably noble if a bit too old. Overall:B-

The three ladies are some of the most delightful I've heard. The 2nd has a slightly grating tone, but their timing, harmoninzing, and accuracy puts them right at the top. A-

Papageno is solid if rather a bit overdone. Hemm has a lusty, solid bavarian baritone which suits the part in my opinion. It is not a radiantly beautiful voice (hear Keenlyside on Davis), but solid and powerful. Many papageno's have been more charming, but Hemm is still good, and very find in ensembles. B

Serra's Queen is up near my all time favorites: Popp on Klemperer, Dessay on Christie, Damrau on Davis. She rather lacks warmth however, which puts her slightly below these on the first aria. The 2nd is as good as anyone. A-

Battle's Pamina is my favorite ever. I feel it was this sort of voice Mozart had in mind for the part--a radiant soprano. Battle's interpretive insights have often left me cold before, but I find her Pamina just spot on. She plays it with a Tempest Miranda sort of innocence and wornder. I find this suits Pamina exactly. A+

Monostatos is also the best I have ever heard. Singers tend to make him rather bland for some reason, but this singer gives him oodles of dramatic force. A+

Boys are superb. Their trio with battle's Pamina is the finest I have known as well. One boy in particular has amazing power and accuracy. A

Sarastro is Moll not in his best voice, but it is still Moll. A

Choir. Big American heavy vibrato style. Not my cup of tea, but more importantly the choral pieces are sung with genuine Masonic fervor that makes them satisfying regardless. B

Speaker. Andreas Schmidt is as fine here as I have ever heard him. Wonderful warmth and force. A

This is getting too long! While there is much in this performance that I still can imagine better, in overall quality this is by some margin the best performance I have heard or seen of this opera. Certainly those who love particular parts more than others will find other performances superior (Tamino lovers for instance will always treasure Wunderlich/Bohm), but if you love every note of this opera as well as its Masonic themes, I would give this the top recommendation.

O, A+ english subtitles too. Video,sound and production are good, though not the best in my opinion. Overall the production has a sort of childish artistic style to it, which I thought was fine. But then Im mostly here for the music.

Musically the best flute ever....
I am a long time magic flute lover, who has heard or owned most of the major recording out there. Recently I started buying