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No, this is not the Broadwayhit, but the original Verdi masterpiece, staged and performed to a fare-thee-well by an extraordinary cast in this 1994 Royal Opera production. CherylStuder shows why she was one of America's leading sopranos in the late 1980s andearly '90s before bowing out because of overwork and strain. Her Aida istouching, proud, defiant--in short, the quintessential Verdi heroine. HerRadames, Dennis O'Neill, is only adequate, which puts both Aida and her rivalAmneris (Luciana d'Intino in a forceful portrayal) at odds over seeminglynothing. The Royal Opera Chorus performs Verdi's glorious choral momentsbrilliantly, and the Royal Opera House Orchestra, under Edward Downes, gives asolid, vigorous account of one of Verdi's most shimmering scores. ElijahMoshinsky's staging abounds in many clever touches, and the sets and costumesare evocative without being too elaborately overwhelming. --KevinFilipski ... Read more

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Gounod's version of Shakespeare's tragedy about two "star-crossedlovers" has never been considered a first-class opera, but as this 1994 RoyalOpera production movingly shows, with the right singers and conductor it can bea quite emotional experience. Tenor Roberto Alagna is all youthful ardor andaching romance as Romeo, while soprano Leontina Vaduva plays Juliet as a loverfrightfully aware of the doom the pair is moving toward. Among an ablesupporting cast, Francois Le Roux stands out as Mercutio. Nicolas Joel's stagingrarely strays from its focus on the lovers, and it even finds room for momentsof true invention and wit. Conducting the Orchestra of the Royal Opera House,Charles Mackerras again proves his worth as an estimable interpreter of thiskind of traditional French opera. --Kevin Filipski ... Read more

Reviews (7)

It Doesn't Get Better!
I've just ordered this DVD after watching it on PBS. I'm an opera tenor myself and not always enamored with Roberto Alagna. But he does an absolutely superb job here, and Vaduva matches and balances him perfectly. Their acting, right down to their dual deaths at the end, is natural and not contrived as many operas seem. I've heard, seen, and sung in many operas around the world, but it really doesn't get better than this!

Could Have Been Better...
Beautifully staged, packed with drama and emotions, this "Romeo et Juliette" gives the feeling of a modern Shakespearean production. The artistic design is simple and straightforward, and yet, serves the purpose quite well and permits more focusing on the characters. But for all of its elegance and charm, nothing is really extraordinary. I'm probably missing something here, as I experienced few of the wonders that others have expressed.
The singings are good, but not exciting, even for Roberto Alagna, whose singing here is not well formed compared to some of his other recordings. He has a nice voice in the middle register, but as it ascends, it becomes white and bit of insecure. Leontina Vaduva's singing in the role of Juliette is weak. For some reason, at times, it feels weary watching her singing and acting. Both Vaduva and Alagna's acting are somewhat stagy, loaded with vehemence, while what's really lacking is the emotional communication between them. I think that one thing they could do better is to look into each other's eyes more often. The doomed lovers' death scene in Act V is affecting, but doesn't reach the dramatic hilt I expected, but again, it could be just me.

"SINGING-ACTORS" WHO CAN REALLY SING!!!!
The reason to purchase this DVD of Romeo et Juliette by Gounod is the wonderful, expressive singing of Roberto Alagna and Leontina Vaduva. Not only do they sound great, they LOOK great and act their parts sincerely and movingly. The final scene of this opera with the two doomed and dying lovers desperately reaching out for one last unobtainable kiss could "make the stones weep" in this Covent Garden performance, taped in 1994. The production is somewhat sparse but traditional, with beautiful costumes and atmosphere. Supporting singers Francois Le Roux and Robert Lloyd do a fine job, but the focus of this performance is the two lovers and Alagna and Vaduva convince you with their voices and their demeanor that they are exactly that: young and in love. Two of the many vocal highlights are Alagna's aria, "Ah, leve-toi soleil" and the ensemble that ends Act Three. Anytime the two lovers are onstage, there is operatic magic (all too rare these days). Alagna combines French style with Italian bravura and Vaduva has a voice with sweetness and vulnerablity which seems to grow in size for the dramatic and often cut Poison Aria.
This DVD comes highly recommended to lovers of great singing which too often, in present times, is cast aside for singers who "look and act the part". What a treat to have both!!!!

Meltingly Lyrical - Beautifully Sung - Brilliantly Staged
Charles Gounod is frequently accused by critics of being "too pretty" or "too sentimental", yet his masterpiece, Faust, is one of the most performed operas in history. Romeo is close to Faust insofar as its lyrically melodic score is concerned and when well sung and staged, is a real treat to the eyes and ears. Having seen it onstage twice, I was prepared to be critical, but also to be captured by a good performance. This is a very good performance. Alagna has enough youthfulness at this stage in his career to be a believable Romeo, and he sings the role with magnificent vocal technique as well as near perfect French. (I stopped and replayed the second act aria, "Ah! Leve- toi soleil ..." so that my significant other could enjoy it.) In fact, one of the real pleasures of this disc is the French diction of all the performers. I had never seen or heard Leontina Vaduva (Juliette) before watching this disc, but she does a great job as the teenaged heroine. Vocally, her lyric, coloratura is ideal for the role and her opening aria, "je veux vivre..." is perfectly realized. She can act, too, as evidenced by all her interactions onstage, particularly, and not at all surprising, with Romeo. Particular mention should be made of Anna Maria Panzarella in the " trousers role" of Stephano, Romeo's page. She has a fine voice and great stage presence. Maestro Mackerras coducts with respect for the emotional nature of the score. The tape to disc transfer is near perfect, as is the recorded sound. As I have noted in other reviews, the DVD medium is next best to live theatre, because the viewer sees and hears the performance, and can experience the totality of the operatic experience. So, if you are looking to see what opera is all about, or introduce older children to the genre, this performance is hard to beat, because the music is consistantly lovely, and the onstage action is ongoing. And if you are, like me, a longtime opera fan, just buy this disc, and if you don't find it enjoyable, send me an e-mail challenge to this review. The domestic cultural scene, unfortunately, sees fewer opera performances, except in major cities like New York. The DVD medium, fortunately, lets good operatic performances come to our homes. Enjoy!!

First class all the way!
This was a stunner in the vhs format and the dvd version only enhances what is a classic theatrical experience. Alagna and Vaduva sing and act as if they were Romeo et Juliette. The tomb scene is utterly shattering. If this scene doesn't move you, you need a heart transplant. Mackerras brings to life this great Gounod score. Alagna and Vaduva sing with ardent glory and passion, beautiful in timber, strong and yet fragile at the same time. Sets are simple and very effective. Le Reux and Lloyd must be singled out also in what is a handpicked cast. I don't think this performance will ever be surpassed. The magazine "opera Now" considered it a "classic to be" in their very powerful review. Of the top ten dvd operas now available, this is humber 1/2. Beautiful music, superbly sung and acted. This belongs in every collection. ... Read more

Reviews (6)

disappointing production
although this DVD has very good performances by Domingo and Scotto it is flawed by very poor filming. Yes the set and costumes are lush, but it is so dark you can't see them. I bought this in spite of it being a Pioneer production, but I
will not make this mistake again.

Met puts best foot forward
The Metropolitan Opera went all out to make its production of this rarely performed work a success. The sets are beautiful and match the music perfectly. The conducting and playing could hardly be bettered. Scotto is nearly perfect in the title role (just a few years earlier she would have been absolutely perfect). Domingo was at his best as Paolo. Nevertheless, veteran baritone Cornell MacNeil nearly steals the show as the nasty, brutish Gianciotto. At this stage of his career, his voice was no longer beautiful, but it still had the range, power, and expressiveness to personify this evil character. The opera falls somewhat short of being an unqualified musical masterpiece, but it is a fascinating and dramatically effective work and has some stunning scenes, including the longest battle scene I have ever seen on stage in an opera theater (Die Walkure, Act III Scene 1 is shorter and the actual battle seems always to take place off stage). I recommend that you get this one. You won't be bored.

Francesca da Rimini at the Met (DVD)
Francesca da Rimini is a fascinating opera and in parts - the end of act 1, the second half of Act 3 - truly magical. It is not the sort of opera which would take kindly to a minimalist production or to updating, so - in this case - the lavish sets and costumes provided by the Met are entirely appropriate and highly effective (though I do wish the audience would refrain from applauding the scenery). The opera stands or falls by the casting of Francesca and Paolo and in this production it definitely stands. In 1984, Placido Domingo was a dashing and handsome Paolo acting with verve and on top vocal form. We perhaps too often take him for granted because he has been so good for so long. Francesca is supposed to be young and beautiful. Renata Scotto is neither, but for much of the time she makes you think that she is. Her acting is most certainly of the operatic variety, but it works. At this stage in her career, when she is called upon to deliver the highest notes her voice turns hard and wobbles - fortunately there are not that many of the highest notes in this part. The rest of the voice remains gorgeous and infinitely expressive. Levine and the Met orchestra play superbly.

A LITTLE-KNOWN WONDER
This opera doesn't find its way to the stage very much, but I fell in love with this video version and look forward to seeing it live somewhere. The first act sets the stage with a great Pre-Raphaelite look, as Francesca and Paolo meet and begin their doomed love. The music, highly melodic in the first and final acts, is charged with drama. In between, you have the brutal scenes of war, hate, violence--with Paolo's brothers, a nasty pair, contrasting nicely with the languid beauty of the two lovers' encounters. This is truly a case where the sets and costumes create a jewel-like setting for the sensual emotions displayed in Zandonai's music.

Beautifully pictured! Domingo and Scotto are fantastic!
Both Domingo and Scotto sang in great passion in this love tragedy. Their voices are without doubt, and everything else is just as beautiful as their singing, the acting, the stage, the picture, and the costumes.

The story is derived from Dante's Inferno. In the fifth canto of Inferno, Francesca, Dante's ancestor and Paolo, her brother-in-law were punished for their faulty love by drifting in wind to eternity. But their great and tragic love was brought to live by Riccardo Zandonai's Francesca da Rimini, opera in four scenes. ... Read more

Reviews (6)

it's delightful, it's delicious
This is a stupendous production, and the best I have seen of this comedic opera, with a superb cast and energetic pacing.
I'm not always thrilled with Pavarotti's acting ability, but here his Nemorino is marvelous, in what might be his most engaging performance on film; charming and tender, his "Una Furtiva Lagrima" is incredibly moving and full of beauty. Kathleen Battle is an exquisite Adina, youthful and capricious, and vocally stunning. Korliss Uecker is a lovely Giannetta, and Juan Pons excellent as Sergeant Belcore. Enzo Dara almost steals the show as a hilarious Doctor Dulcamara, with his chest full of bizarre medals. His comedic timing is right on target and his voice quite up to the demands of the role.

The sets by Beni Montresor are ingenious and effective, and the costumes are splendid, in colors that remind one of a spring garden. The camerawork is also good, and adds to the visual interest. From the orchestra pit, James Levine masterfully keeps it all together with sparkle and zest.
This 1991 live performance from the Metropolitan Opera is terrific theater, as well as a musical treat, and one to own and enjoy repeatedly.

Not as good...
My opinion differs from the previous ones in several important aspects. Pavarotti's voice is good. But it was not as good as I expected it to be and it was really poor when compared with the Decca recoding with Sutherland. Certainly, it has been a while since that recording...But still!...What a change in the quality of the voice! Anyway, that is a minor thing when you look at his ridiculous acting. I can't disagree more with previous reviewers on this issue. Pavarotti's acting made of this one of the worst performances I have ever seen of this Opera. Leaving aside his looks (he doesn't fit a young Nemorino), what really bothered me was his "robotic" moves, his unexisting body language, his "mono-expressive" facial gestures and his inability (or unwillingness) to properly interact with the rest of the cast in accordance to what should be happening on stage (sometimes he is just walking around,eating or with a mesmerized look in his face). Again, his singing was good but emotionally flat and with few traces of the great voice it was in the '70. Not good enough to make a great Nemorino. Unfortunately, this is an Opera production (not a massive concert) and a little more of effort in the acting should be expected(to better convey the deep emotions of the characters). Although the sound was not the best, one could appreciate the good performance of the Met Orchestra under the direction of Levine. Mrs. Battle singing was good (not as good as I have heard her before; i.e. Il Barbiere di Siviglia), although there were times in which i could not understand clearly what she was singing (some vowels also sounded a little flat, specially in the last duet with Nemorino). Mrs. Battle's acting was not great but certainly it was much better than Pavarotti's (although it annoyed me to see her singing sometimes to the auditorioum when she was supposed to be expressing feelings towards a character on stage). I also expected more from the Met's presentation. I considered it a little cartoonist and old. In sum, a video that has great selling power (Pavarotti, Battle, Dara, Pons, Levine, the Met productions, etc.) but does not satisfy. I consider that the production of L'elisir D'amore from the Opera de Lyon, with Alagna and Gheorghiu, is by far a much better perfomance and a better buy.

Magical, Charming, Extraordinary performace!
What a performace! I never was crazy about opera buffa, but this performace made me love "L'Elisir D'Amore" along with opera buffa in general. What a charming, fluent singing and acting. Let me start with Luciano Pavarotti: Nemorino is one of his favourite roles. This role suits his voice to perfection, it seems so easy. Because of this easyness he has plenty of time for acting, really great acting. I never thought that Pavarotti could be the great actor but this performance shows that he indeed is. Although this is comical opera, his singing makes you cry, he is especially great in duets with Belcore (II act), Adina and Dulcamara (I act). His high C at the end of the duet with Belcore is brilliant and easy.
Catherine Battle is brilliant too. She is so amazing, one thing I don't like about her is that she makes too much gestures with her hands, it is too vivid on the screen. But her singing is perfect. Juan Pons is magnificent, his 100 percent dramatic voice gives him somehow oportiunity to sing in opera buffa and sing on the highest level.
So, this VHS is must have, especially for Donizetti and Pavarotti fans. You will not regret it.

Famous name with magnificent performance
Yes, the famous name is Luciano Pavarotti who performed so excellently and brilliant in this opera, that convinced us of his superiority in this world. He performed with such glorious and natural folly that we are deeply moved to the fate yet be amused of this poor Nemorino who longed for the popular Belle of the village, Adina. Pavarotti was performing with such sincerity and in his top condition in this opera and his beautiful voice who is already wellknown to anybody also guaranteed the brilliant performance. His acting and singing is matched by the clear colloratura voice and perfect acting of Kathleen Battle, who personifies the fickle Adina. Her performance and also support by the performances of Juan Pons as Sargeant Belcore and Enzo Dara as Dr. Dulcamara resulted in the perfection of this opera. We also adore the beautiful background scenery and the colorful costumes, which is prepared so tasteful and with care. In short, this opera is so magnificent and enjoyable, that we will watch it over and over again.

Nothing Can Pop This Bel Canto Bubble!
O-MI-GAWD! My jaw is still on the floor after watching this amazing production of Donizetti's most frequently revived romantic comedy. The sets are rudimentary but the conductor and performers keep you too riveted to care! James Levine is not given enough credit as the Met's Artistic Director and Principal Conductor, but that would all change if all of his detractors sat down and watched this video. You can tell from the overture that this is going to be an effervescent and detailed performance. Bravo, Maestro Levine! The supporting players (Korliss Uecker as Giannetta, Enzo Dara as Dulcamara, and Juan Pons as Belcore) are all great but the true glory of this production is the teaming of Pavarotti and Battle, surely the two most coveted opera stars at the time this was filmed (1991). This video is truly a testament to the golden-voiced tenor: even when he is just going through the motions as he is here, he is heads and shoulders above his closest competitors. (His "Una furtiva lagrima" made the hairs on my arms stand on end!) Pavarotti has received a lot of flak for his alleged lack of acting skills but he turns in a wonderful performance that is, in turns, hilarious and heartrending. Once again Kathleen Battle astounds, this time as Adina. She completely inhabits the aristocrat, making a character that could be simple relatively complex. (Adina's ability for coyness and cruelty is schizophrenic and, under Ms. Battle's auspices, believable.) Her singing is, as usual, a delight to hear and only occasionally is her diction veiled in the cavernous Metropolitan. She dispenses with many interpolated high C's, D's, and one E in the second act. And they said this was a tenor show. HA! Buy this, you will NOT be sorry. ... Read more

Reviews (3)

I loved it!
I thought the production beautiful and the singing excellent. Kiri is a bit aloof as she is always but Wolfgang makes up for it. He is just scrumptous and the perfect leading man with some chemistry between them. All the parts have excellent casting and performances are very good to excellent. The conducting kept the pace very interesting. This is a keeper and I'm not a big Strauss fan! I highly recommend this to anyone who loves a good love story!

Very Beautiful
First rate cast, all singing supurbly. Beautiful production. Kiri is spectacular, Brendel is fine as a romantic lead. McIntyre is particularly fine as the father.

An Excellent DVD of an excellent performance
How lucky we are to have this gorgeous Metropolitan Opera production on such a high-quality DVD! If you missed the original 1995 telecast of this opera, you have yet to discover the joys of this production. Arabella is a comedy of manners set in 1860s Vienna. Arabella's parents have a fading fortune, so they can afford to marry off only one of their two daughters; the other, Zdenka, they dress as a boy and refer to as Zdenke. I won't give away the rest of the story; it's really worth it to let this magnificent performance unfold and find out what happens that way. The cast was the best that could possibly be assembled at the time, with Wolfgang Brendel, quite convincing as the young, hot-blooded Mandryka, in his debut of the role. Kiri Te Kanawa is a legendary Strauss singer, and though she is often criticized for poor interpretation, in this opera her subtle acting shines. For example, look at her reaction when she meets Mandryka, the man she had been crushing on witho!ut knowing who he was. Her singing is consistently beautiful and soft, and her stage presence is radiant, in spite of her fifty years at the time of this taping. Arabella is supposed to be about twenty years old, and Kiri truly exudes the youth of the character, yet manages to convey the maturity that colors her almost maternal relationship with her younger sister Zdenka. Helga Dernesch and Donald McIntyre are animated as Arabella's parents. Marie McLaughlin is a passionate Zdenka. We really feel for her throughout the opera, as she longs for femininity and love. A special bonus in this production is the now-stellar Nathalie Dessay as Die Fiakermilli. She flaunts her coloratura in Act II. Christinan Thielemann is a sensitive conductor, and the MET orchestra plays flawlessly. The DVD transfer is superb. Subtitles available in German (original language), French, English, and Chinese. (Special note: Renée Fleming will perform in this same production at the MET in November 2001. G!et your tickets!) ... Read more

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Arrigo Boito's treatment of the Faust legend has never been as popular as Gounod's, but Boito was an imaginative composer and a great librettist (he wrote the words for Verdi'sOtello and Falstaff, the two finest librettos in Italian opera). As the title suggests, his Mefistofele puts the spotlight on the diabolical villain of the story at least as much as its hapless hero. It is a role ideally suited to Samuel Ramey, requiring a rich, deep voice, a striking stage presence, and only elementary acting skills. He has taken it to most of the world's great opera houses with spectacular success, and it is good to have it in a first-class video recording.

The libretto stands out, among operatic treatments ofFaust, for its effort to capture the full, epic scope of Goethe's drama, including its moments of unearthly sublimity. The prologue and the conclusion are among opera's most memorable moments of choral grandeur, as this production makes clear. Elsewhere, Boito is witty, colorful, and, sometimes, philosophically dry. --Joe McLellan ... Read more

Reviews (9)

M E P H I S T O ...
Es una Opera Absolutamente Preciosa y Maravillosa! Y sobre todo desde el punto de vista metaphysiko y philosóphiko! Excelente! Un trabajo hermosísimo el de la Opera de San Francisco!

A Near-Perfect Production..Stellar Presentation !!!!
Seldom has an opera affected me so much; this presentation
has more than heart ! Don't pass it by while it's still available ! Nothing short of a revelation !

Sheer splendor
The 1989 performance of the San Francisco Opera's production of Boito's 'Mefistofele' could not have been more brilliant, more vibrant, more beautiful. It was captured well during the original performance and the transfer to DVD was superb. Having not seen the show performed live, I should state that I am at a bit of a loss in that department, but having seen enough operas live in my days and having recorded them as well, I can safely say that this particular DVD is well worth the money.

Ramey's performance is without question phenomenal. The supporting cast shines as well, but in contrast they are merely props to his indomitable presence on stage. He owns the role and he steals the show.

The staging, lighting, set design, choreography, and costuming are without a doubt some of the best opera has ever seen or will ever see. If ever a company could capture both the choirs and angels in heaven and the sin and vice on earth so perfectly, the SanFran Opera Co outperforms on all levels.

The sound quality on the DVD is excellent and the picture was great. Overall, any and all opera fans should add this one to their collection. For that matter, any and all stage/theater fans should pick this one up, as well. You will not be disappointed.

Boito resurgence in San Francisco. Lucky us!
Boito's opera is certainly the least successful of all the adaptations inspired by that cornerstone of Western literature,
Goethe's Faust. Poor Boito was hardly in the same league as Berlioz, Gounod or Liszt. Although it has great sense of theatre,
a very good libretto, it lacks good, hummable tunes the likes of
Gounod's Faust. It is an awkward, long winded work and had to be revised several times.
Boito tried too hard to include as much as possible of Goethe's
metaphysical play searching for the great unanswered questions like man's purpose on earth, his relation to God, Good and Evil, Heaven and Hell etc. It is hard to tell if Boito has
succeeded.
And yet, the opera survived, not the least due to this magnificent production, and came through with flying colours. There is much to admire here: a highly imaginative concept, some great singing and very sympathetic conducting by Maurizio Arena.
He seems in love with the score and it shows.
In the title role, Samuel Ramey dominates the performance, his voice is worthy follower of all the great singers of this role like Feodor Chaliapin and Boris Christoff. His acting is mesmerizing. Secondly, Gabriela Benackova, with a beatiful voice and wonderful characterization is truly impressive in the tragic role of Margherita. As Faust, Dennis O'Neill is somewhat less memorable, but with an attractive voice.
The opera, unfortunately, is not immediately appealing, but it gets better as it goes along. After a bit rocky first act, the second act quartet and subsequent love duet are already quite good, while the third act is very highly inspired.
Great highlights are the Prologue in Heaven with its bemasked Seraphim in a silver and blue Baroque theatre setting; the ingenious double choruses in Walpurgis Night (conducted here in a
tongue in cheek manner by our protagonist, Ramey); the very moving Prison scene where Benackova shines, and the Epilogue.
Outstanding, very enjoyable DVD. Highly recommendable.

Overwhelming
This is one of my two all time favorite operas on tape - the other being the imcomparable Abbado/Von Stade Cenerentola which is probably the finest opera video ever. Don't know what someone else mean by minimalist sets - they are completely over-the-top.

I can never watch it without wishing I could watch it with Boito just to see what he would make of the production - I think it brings out a lot of the wryness and irony that has been lost in most traditional stagings - most significantly, that God wins the wager by cheating!

I got to say a good word for O'Neil. I think he's great in this, and his voice really complements Ramey's. I managed to catch the opera live, after seeing it many times on the tape, with an inferior tenor, and the difference was notable. ... Read more

Reviews (5)

Wonderful production
This Adriana is great one. Mirella Freni is not in her absolute best voice, but she still gives a knock out performance of a very spinto role. I heard her on a MET broadcast a few years later and she was in even better voice. I love it, and she acts the role very well. Ok, Scotto and Olivero are better actresses, but Freni certainly is above them in the voice category. She receives an amazing ovation at the end!
Gavazzeni is wonderful as the La Scala conductor. Dvorsky is good, but not wonderful. He does some severe forcing on his high notes but at least he is ardent. Cossotto is dramatic, though time has not been too kind to her instrument.
I love it, though......but after repeated viewings, I STILL don't completely understand the story. It's a shame that Freni was not chosen by Decca to record the role. That went to Joan Sutherland, who was well past her best. I still enjoy it, but Mirella would have been so much the better. Damn you Decca!

A must for opera lover
In short, this is a must for all opera lover, especially if you love Mirella's singing ( The last great singer for verismo !!)

ADRIANA LECOUVREUR!
If you love not just OPERA, but REALLY OBSCURE OPERA, then you will enjoy this La Scala production of FRANCESCO CILEA's opera "ADRIANA LECOUVREUR." The story here is of the celebrated 18th century RIVALRY of the great actress Adriana Lecouvreur with the Princess of Bouillon for the LOVE of the Count of Saxony. However, the reason this opera is SELDOM PERFORMED is not because of the story, but rather because the lead SOPRANO has to really be at the heights of her power. Fortunately, La Scalla had MIRELLA FRENI at the height of her vocal maturity to sign the title role! Enjoy the SINGING of not only Freni but Peter Dvorsky, Fioneza Cossotto and Ivo Vinco!

For Freni Fans!
I bought this to remember seeing Freni perform this opera at The Met in person with a cast superior to this video. I loved her performance here, but was not impressed with the other cast members. This opera has one of the most beautiful arias in all of opera but the rest of the music is lovely but not as memorable. I admire Freni's technical strength and professionalism. She's never turned in anything but an impressive performance and this is no exception. If you love Freni, you'll love this video. If you aren't familiar with her, get her Butterfly instead. As with most La Scala productions, the quality of the recording and camera work is not as good as other venues, but acceptable. Probably the best video of this opera available.

The diva and the clafté
This is a document of a hysterical evening at La Scala. The atmosphere is charged, the singers thrive on the give-it-all-you've-got approach and the audiences goes wild rooting for its heroines. The attitude of the audience is part of the drama and they behave as if they came to cheer their local team. The boundaries between reality and the story are blurred on several levels. The drama has an element of a play within a play (within a play). The heroine is an admired actress, and the role is written as a showpiece for a great diva. The dramatic center of the action is her rivalry with a Princess, sung by the mezzo, over the attentions of the tenor. Acts II and III give the evening a flavor of an athletic competition between the mezzo and the soprano. Cossotto is my favorite mezzo in the Italian repertoire. She opens act II abruptly, singing-to-kill, oozing tormented vindictive maliciousness. The bitchiness is quite palpable, in the story and on stage. I saw Cossotto giving a master class in Israel, and she is quite a clafté. What she did to Callas at the Paris 65 Norma is now history. I don't like lyrical sopranos, and Freni is no exception, but this role is so physically and emotionally demanding that her efforts cannot leave anyone indifferent. Dvorsky produces appropriately heroic sounds worthy of Del Monaco (but with more feeling. This role however doesn't call for a display of his lyrical skills). Cilea is no Puccini. The emotions depicted are rather crude. Like the Cosi Fan Tutte from this source, the DVD has a poor VHS quality. It seems it was copied from a VHS, as you can't remove the subtitles and the picture is not well defined. ... Read more

Reviews (4)

Wonderful in every way!
I've got to say, I am a Meyerbeer fan, as well as a fan of Grand opera in general. When I listened to "Les Huguenots", it was for me a real revelation. Thus, I had high hopes for this opera, which is Meyerbeer's last work, his swan song. I was in no way disappointed, though this work has a very different feel to it than Les Huguenots. While Les Huguenots is a very somber story, with persecution, impossible love, religion, and martyrdom, L'Africaine is entirely a love story, and manages to be sometimes very intimistic, despite it's use of chorus and grandiose effects.

If I had to compare this work to any other work of the romantic era, I would compare it to Verdi's "Falstaff". Of course, both works have, esthetically, pretty much nothing in common (if this work is musically similar to a Verdian work, it is Aïda, for it uses similar orientalizing elements), it's only that L'Africaine seems to have a bit of Verdi's last opera's atmosphere. For both composers, throughout their lives, composed melodramatic love stories, more or less in the spirit of their time. While Verdi ends with a comedy where he makes fun of all his teary-eyed tragedies, Meyerbeer gives us a last tragedy, but seems to approach it more philosophically. As if, used to this atmosphere, he tries to find a moral to the ensemble of the operas he ever composed, giving the sentence it's period, the sundae it's cherry. He approaches the cast's misfortunes with a tender eye, instead of over-dramatizing, and gives the world a somewhat lighter work than his previous Grand operas, which doesn't stop him from giving a worthy rendition of the characters' feelings, and being pathetic when need be (especially at Selika's death scene). Aside from Don Pedro, who is all evil, and Ines, who is all good, all characters have good and bad points, and overall, the moral of this work is pretty much that love smiles on everyone, but only your luck decides wether it will make you happy or sad. This is pretty much the moral of all melodramas.

From a musical point of view, I have trouble finding the famous downsides other reviewers have pointed. Regarding the lyricism, it is maybe less direct than Verdi's, but equally expressiveand effective. The arias are more elegant, have a more french aesthetic. But it in no way means that his lyrical invention is inferior. As I said, this work is not as passionate as Les Huguenots. As for the famous "broken-backed" act formation, I just don't see what it may be about. This is not because an opera doesn't have the musical continuity of Wagner's lyrical dramas that it lacks good structure. After all, despite Meyerbeer's success, the music critics of his time wouldn't have acclaimed the work as they did if it wasn't well-built. For me, an act is ok from the moment the story and the action make sense.

Regarding the cast, everyone is very good. Placido Domingo is thoroughly chilling as the intrepid explorer. He shows well that back then, the aria "O paradis" was a party-stopper. Shirley Verrett sings her second-act sleep aria very well, and is very moving at the opera's end. All of the supporting cast is also top-notch. The famous "workhouse" sounds are mostly when the music is "piano", soft. Most of the time, however, I've had no problems with this recording. The Dolby digital sound is very ok.

Finally, if you must make a choice between this work or Les huguenots, I'd say this dvd may be a surer bet than the Australian dvd of "Les huguenots", since the cast here is of greater quality. However, Les huguenots has, I think, a "grander" subject, and it's emotional impact is greater, I feel, than L'Africaine. Still, I would recommend you to buy both instead of making a choice, since each one has such a great musical and dramatic value.

Beautiful, powerful, and noisy.
Both from the musical and scenical points of view, this is a great performance of Meyerbeer's opera with the elegant and beautiful Shirley Verrett, the powerful Domingo and Ruth Ann Swenson.
However I should have prefered to have much less noise in the recording. Sometimes I am tempted to turn off the DVD for it sound more like a workshop than an opera house. This is a minus five star performance of the sound engineers, in an otherwise great opera recording.

A great DVD of a rarely heard opera
This is a excellent performance of a very good opera. The only complaint I have on this DVD is that the background noise from the live performance was not adequately removed. In spite of that, I would highly recommend it.

Top notch hokum - peel a grape, recline and enjoy.
This was a 1988 revival of a 1971 production (available on a live CD) that teamed Domingo (Vasco da Gama) and Verrett (Selika - both then very much in their prime) in Meyerbeer's discursive swan-song. Seventeen years on, they are more statuesque than sexy, but both give larger-than-life performances that contain moments of completely thrilling vocalism. That is the only way to do a piece like this - which is leisurely, structurally broken-backed (though the many cuts exacerbate this) and contrasts music of real prophetic power (Verdi certainly took several ideas over into 'Aida') with some of mind-numbing banality, that is almost unintentionally comic - but that was Meyerbeer's problem, no quality control and a short breathed melodic invention that shows him wanting next to the real masters of 19th century opera. However, this traditional and opulent production makes the best possible case for the piece and it is thoroughly enjoyable in a slightly camp way.

The casting is very strong, with the exception of Justino Diaz's Nelusko, which has strong presence but not much vocal allure. As Inez, Vasco da Gama's fiancee and rival for Shirley Verrett, Ruth Ann Swneson sings with great beauty and has impressive stage presence, very much holding her own in the confrontation with Verrett in the last act (precursor of Aida and Amneris here). Domingo is refulgent of tone and dramatically convincing, and he and Verrett strike sparks. She really comes into her own in one of the most preposterous mad-scenes in all opera, where she is slowly poisoned by the scent of a giant tree, contriving to make this dramatically truthful and even moving. Bravos all round for a good old-fashioned night at the opera. ... Read more

Reviews (17)

Unforgetabble performance
This is review of the Kultur Film DVD copy, catalogue #D2070 of 1980 Covent Garden Opera performance. What we can say about old generation operatic stars, like Dame Joan Sutherland (born in 1926) and Alfredo Kraus (born in 1927). Both are in excellent shape. Kraus is so fine that in Gennaro's aria in the beginning of II act usually omitted from performance of the opera (even do not presented in his RCA 1965 studio recording with Montserrat Caballe!) he received loud applause from usually reserved British audience. His sound is still very clear and intensive in higher register and fantastic in top Cs. The other principal singers are well too. Please, listen how effective is Anne Howells in Orsini's II act aria 'Il segreto per esser felici". The profound deep bass of Stafford Dean (Alfonso) is very attractive. Beautiful design and costumes, excellent orchestra playing under the conduction of maestro Richard Bonynge. Fine staged and recorded, sound is clear with enough higher frequency. Only one complaint: there is unexpected persistent noise in the sound. Otherwise irremovable English subtitles do not bother you. By the way it is full version of the opera, as it is in 1974 DECCA studio recording. I suggest that this DVD-performance should be presented in all opera lovers library.

To the detroit person who obviously never listen to this
This is Sutherland's best performance of an complete opera available, and this includes her Lucia. I give it five stars.

to the detroit person:
If this performance is so boring, and you watched this dvd, you'll see that Sutherland receive hundreds of flowers thrown on the stage after the performance. I've never seen so many bouquets thrown on an operatic stage before, ever. It was a complete triumph. The bravas are so loud you can't even hear the applause. So your opinion is in the vast minority. I myself was riveted by the great acting and equally great singing.
You know that you never listen to one note of this opera. I can tell by your reviews of all of Sutherland's great roles, you just put in a two sentence that you're disappointed and give it one star to slap Dame Joan in the face. Why are you so hateful? Did Sutherland do something bad to you in the past?
If you're disappointed, don't buy anymore, ok? Sutherland is consider the greatest bel canto soprano of our time, but if she continues to bore you, don't pretend that you actually go out to buy her recordings and listen to them over and over again. Because all these negative reviews are getting out of hand.

Sutherland is the best Borgia, better than even Caballe
I have the Caballe, which is fine. But Sutherland's is great. It is the greatest.
I can't help but be sad at all these terrible remarks from bashers that are uncalled for. Please, I beg you, stop. No one deserve a one star review unless the reviewer wants blood. That is just unfair. I understand the anger, but please take it out by writing positive reviews of your favorite diva rather than taking it out and writing negative reviews of your favorite singer's rival.
Is it one basher, two, three,four bashers, or more? That, I don't know, but they are doing Dame Joan a lot of harm. I wonder if these people know that they're actually causing pain for a lot of Sutherland's fans as well as for the Dame herself, that is just unfair.
Sutherland, Callas and Sills are three of the most respected singers of our time. We should be happy that so many recordings preserved for our enjoyment and for future generations of enjoyments. Let's compromise, hear me out please.
I can see both side. But the Callas and Sills fans bashed Sutherland's roles for over a month before any really bad reviews of one star started to go the Callas domains. I see this by reading the reviews and the dates.
I ask for a compromise at least. I don't think that Callas, Sutherland or Sills ever deserve one star reviews. That's for really terrible singers. If you really want to criticize or demean another singer. Three stars should be enough. To continue this is to hurt others. And that's just not right.

God it was wonderful!
This was a wonderful movie, not enough Sutherland but they had a story to tell, it was not a "star vehicle," the ending had me applauding in my living room, Sutherland was magnificent. Everyone was good, Kraus and the men too but I'm partial to sopranos so they impressed me less, but were wonderful too. The plot (except that Sutherland was Kraus' mother which you could have guessed the first moment "mother unknown" popped up!) made no sense to me at all. The subtitles stunk and I doubt I'll EVER buy another Kulture (or is it Covent Garden's doing?) DVD for that reason alone. I was bleeding to know what the hell they were saying to each other, but there just were no subtitles for 9/10ths of the opera. The same was true of Kulture's "Ballo" with Domingo. The music was spectacular. Donizetti can do no wrong as far as I'm concerned, and he outdid himself this time. He always does. I noticed something about Donizetti watching this show, it's not his music that's slight or negligible (as some dunderheads have said), it's his plots. Though this opera seemed to reek with subplots and skulduggery, it was basically a simplistic little story. It's all in the music. I recommend it 100% without reservations to anyone who likes coloratura singing. Bel canto. (Beautiful singing.)

An amazing pair!
Of course both Kraus and Sutherland aren't in their youthful prime here but mature Sutherland delivers a Lucrezia that will haunt you with her magic and lovely mature sound. Lucrezia is a mature, colourful woman and Sutherland gives one of the best performances of her career on this DVD. Her darkened sound fits this role like a glove, of course Caballe sounds a little more involved and has a bigger middle but Joan created magic here. Her "Come e bello" is like cream and dark, delicious wine. Her high notes glitter like stars. Kraus might not look the young man but he sings Gennaro, one of his best roles, incredibly. The performance of a lifetime. For a young Lucrezia of our days listen to Renee Fleming who sang Lucrezia at La Scala. ... 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 of his earlier material before his voice grew dark and overweight. I suggest The golden Years Cd which recently came out which shows him in his prime doing all of his classics.
Pavarotti is in good voice all night. Vocally he dominates concert with his amazing bush button high notes despite being, by far, the oldest. Recondita armonia is not my favorite aria in his voice, but it is okay, too lyric in my opinion. Torna sorriento is a highlight of thee dvd! Sure to please! As always, he brings a fabulous interpretation of Nessun Dorma to the table. To me he gives a less empassioned performance than domingo, but you cant argue with his voice and charm.
The medley was a real treat! The highlight for me was Amapola where the trio gives carreras the drivers seat for a change and he thrills with a dramatic B flat that you wont hear from the other two.
the encores were delightfully spontaneous with the famous trill from Pav in O sole mio.
This is the opera lovers version of the three tenors. For someone who is new to classical music i always suggest the 94 concert as it is more flashy and pop oriented. This concert, however,showcases the tenors in their best voices giving the most operatically driven and spontaneaous performance.

Wonderful
This DVD looks and sounds wonderful and how could it not with three of the worlds greatest tenors. Who would have thought this concept would work, but it did and does; the blending of the three; one low, one in the middle and one high is excellent-The voices perfectly match. The concert song selection is excellent and its just fun.

A Master Work!
As a long time Tenor fan, from the days of Enrico, this is a MAster work. It does not get any better. Luciano Pavarotti showed himself as the Master of all, with some great perfomances by each, Placido Domingo performs a master work with his rendition of No Puede Ser. The encore of the the three is awesome! The double of O sole mio at the end is a fantastic blend of audible and interactive talent. If there is one you must buy, this is it. Will

The Three Tenors at Their Best
This concert, along with the Rome concert, were the two best the Tenors have ever done. The Tenors all seemed to be at the same level, in terms of sweetness, and richness. However, there was one clear standout. Luciano Pavarotti, with his good ear, makes him absolutely phenomenal, and he is always in tune, with all the right notes at all the right times. All his arias were outstanding, but the one that most impressed me was Nessun Dorma, from Puccini's "Turandot". His pronunciation was perfect, (no wonder, he's Italian) and the singing was beautiful. Carreras sang Granada very well, with pretty good pronunciation, and a sweet tone. Domingo did an excellent job singing, "No puede ser". The he puts the notes with the words is just great. The orchestra of two-hundred, under the command of Zubin Metha was excellent. If there was such a thing as "6-star" rating, this video would get it.

very enjoyable
This remains my favourite of the three big concerts done in conjunction with the World Cup. The participation of 2 full orchestras instead of one is appropriate for such a major event, and they were rehearsed until they sounded as one large orchestra instead of two, which apparently was quite a difficult task. This was a welcoming of Jose Carreras into the music community after his terrible ordeal with leukemia. My favourite parts are when the tenors sing together, and since Domingo's voice is quite baritonal - he has done The Barber of Seville recently - whereas Pavarotti's tenor is at the highest range, and Carrera's is in the middle, they can all be heard quite clearly without overpowering each other. The programming is interesting too, and the fioratura duel between them in 'o sole mio adds an original touch to the production. I believe Mehta conducted as well in this concert as he did in Los Angeles 4 years later. The audio quality is very fine too and better, based on my experience at a show in Vancouver BC a few years ago, than what one is likely to hear at a Three Tenors live concert. The picture does have some vertical oscillations, probably due to the use of hand-held cameras, which does detract from the concert's overall quality - hence 4 stars instead of 5.

This can be warmly recommended in either VHS or DVD, although the latter format has slightly better sound and video quality. ... Read more

Amazon.com

No second names are needed in the title to tell music lovers who is singing in this gala recital. The original, audio-only Cecilia & Bryn: Duets, issued in 1999, had opera-lovers around the world echoing one Amazon.com customer's remark: "After listening to this album, all I couldsay was 'I want more.'" Here it is: a live performance with the same conductor, an even better orchestra, and a video dimension that brings out the singers' considerable acting skills. There is some duplication of the CD's contents: "La ci darem," "Dunque io son," and the "Pa-pa-pa-papagena" duet fromThe Magic Flute, as well asthe opening numbers ofThe Marriage of Figaro. But the video cameras, the singers' gestures, and their facial expressions make the duplication worthwhile.

Cecilia Bartoli is most at home in mezzo-soprano material, where her tone is particularly rich and natural, her style exactly what the music requires. But she also slips easily into the soprano roles of Zerlina, Papagena, and Susanna. She takes a tantalizing step into promising, relatively unfamiliar territory with an aria from Haydn's L'anima del filosofo. Bryn Terfel shows a significant comic flair in the "catalog aria" fromDon Giovanni and a heroic dimension in an aria from Judas Maccabeus--in either style, displaying a voice that is pure gold.

Still, vocal material is relatively scanty in this 90-minute production compared to the CD. Two overtures are included and are well played, but are notlikely to appease fans who will continue to call for more singing. --Joe McLellan ... Read more

Reviews (7)

Magic, just magic
I'd first seen this performance on CBC TV(Canada) in 2001 and immediately knew I was watching something special.

On this DVD one gets to see and hear not only two great virtuosos in what must be their absolute singing prime, but also two incredible actors who obvious absolutely love what they are doing: And if that wasn't enough you get to listen to a magnificent orchestra who has a conductor (Myung-Whun Chung)with impeccable timing. Also the camera work and film editing is wonderfully done (Brian Large): just the right facial expression, just the right cut to the next camera for the most appropriate view: just the right angle to see the cello player come in on a certain note to accompanying the vocalist.

I would like to add that this has, without a doubt, become my favorite opera DVD: and Donizetti's "Quanto amore" from the Elixer of Love is my favorite piece. Although there are several others that are truly wonderful ("madamina", "La ci darem la mano" and "Pa-pa-pa" just to mention a few)
It is the definitive mix of Singer-Conductor-Orchestra blending together to become a single classical entity.

This performance is magic, just magic! What a thrill it must have been to have witnessed live; Too bad there wasn't more.

Byrn and Bartoli having FUN together!
I'm not a fan of Bartoli and bought this based on the review here by other fans and because I love Terfel. Enjoyed the CD and the DVD of course is better as the interaction is very entertaining and makes the concert much more meaningful. I did enjoy this very much and feel Terfel is a master performer bringing Bartoli up a notch. I agree with the other reviewers. A must have in any collection! It wasn't long enough is my only complaint.

Bravo Bryn!!!
Since I got this DVD a week ago, I have watched it at least once a day, & I love it more with each viewing. I was already a fan of Bartoli, but now am an even bigger fan of Terfel's! The charisma, skill & subtlety he demonstrates in this performance are only equaled by the beauty of his voice. Figaro's rage at the Count's scheming, the comic turn of the catalog aria from Don Giovanni, the heroism of "Arm, Arm ye Brave" from Judas Maccabeus...all are given life with seemingly effortless precision by this talented Welsh artist. All this, and Cecilia too!! A must see!!! A must own!!!!!

"Supreme Artistry"
This excellent DVD preserves a recent Glyndebourne concert which was nothing short of sensational. Both Cecilia Bartoli and Bryn Terfel are here in their absolute vocal primes, sing material admirably chosen to show their beautiful voices to full advantage, and reveal in their engaging, spirited interplay considerable comic acting skill. The burly, gruff-looking Terfel is the greater surprise in this regard not only because of his unexpectedly witty, highly apt facial expressions but owing to his wonderfully funny, though always consistently graceful, movement on stage. Bartoli is already widely known for her skill in acting opera's comic minxes, and happily she matches Terfel in their duets, also bringing each of her beautifully sung characters to telling dramatic life. Yet Bartoli herself too is ultimately something of a revelation. Though technically a mezzo, her extraordinary skills in negotiating the perilous fioritura demands of 18th and early 19th century roles show us, I suspect, the reason why her illustrious predecessor, Maria Malibran, a mezzo always praised for rousing audiences to the wildest excitement by the brilliance of her ornamentation, was deemed second to nobody when compared with those presumably-to- be-preferred, great high sopranos of the bel canto period.

Magic, just magic
I'd first seen this performance on CBC TV(Canada) in 2001 and immediately knew I was watching something special. Having purchased and just watched the DVD two things become abundantly clear. First, it's even better than I remembered and second, this recording makes it so obviously clear how much more an excellent DVD gives the viewer, compared to an equally excellent, but visually lacking, CD.
On this DVD one gets to see and hear not only two great virtuosos in what must be their absolute singing prime, but also two incredible actors who obvious absolutely love what they are doing: And if that wasn't enough you get to listen to a magnificent orchestra who has a conductor with impeccable timing. Also the photography is wonderfully done: just the right facial expression, just the right cut to the next camera for the most appropriate view: just the right angle to see the cello player come in on a certain note to accompanying the vocalist. Magic, just magic! Too bad there wasn't more.
Appendage Oct/2002
Since my original review of this DVD in Jan 2002 I would like to add that this has, without a doubt, become my favorite opera DVD: and Donizetti's "Quanto amore" from the Elixer of Love is my favorite piece. Although there are several others that are truly wonderful ("madamina", "La ci darem la mano" and "Pa-pa-pa" just to mention a few)
It is the definitive perfect mix of Singer-Conductor-Orchestra acting as a living breathing entity.
What a thrill it must have been to have witnessed this performance live. ... Read more

Reviews (3)

italiano
great performance. ferrarini is still young: now can do better. bello doesn't sound too good at times. Garbis Boyagian great as always: his interpretation was incredible with over 5 minutes of applause after the "la vendetta" aria. grat singer. great opera. great composer. viva l'italia!

lovely
I was there, in Verona.Beautifuly staged.Ferarrini at her peak.Much better than on Naxos recording.Classicaly cut performance.
D.Aleksic

Rigoletto at the Verona Amphitheater without Pavarotti
The cast list for this performance includes Garbis Boyagian as Rigoletto, Alida Ferrarini as Gilda, Vincenzo Bello as The Duke of Mantua, Antonio Zerbini as Sparafucile, Franca Mattuicci as Maddelena, and Orazio Mori as Monterone with Donato Renzetti conducting. It is dated 1981 and under the direction for television of Brian Large. It is very interesting to see the production in the Arena. The singers are not household names and they do their share of scooping and swooping, but all give committed performances and the drama holds together darn well which is why I give it 3 stars, not 2. Although the sleeve says 60 minutes, it is a complete performance except that Bello does not take the Act 2 cabaletta Possente Amor. However, there are not any noticible splices either. In all, I enjoyed this performance more than I expected. But, don't expect Pavarotti - he is not there! ... Read more

Reviews (2)

A sterling performance
This may be Brian Large's finest opera video of a live performance yet. Taped October 10, 1992, the cast features
Mirella Freni, Barbara Bonney, Marilyn Horne, Susan Graham;
Paul Plishka, Frank Lopardo, Bruno Pola.

It is a very balanced cast, a beautiful production by Franco Zeffirelli, and a joy to watch. The singers are all excellent and the ensembles impeccable. What more could one want? Freni is charming as Ford's wife, Alice. Horne is amusing and sprightly as Dame Quickly, Bonney sings with purity and is magical in the last act forest scene, riding in on a white horse. As her lover, Frank Lopardo is perhaps too straight-forward and blunt, lacking charm, but he looks the part and sings well. Additionally, a young Susan Graham is a charming Meg. Pola is big-voiced and the properly offended, jealous husband. Perhaps best of all is Plishka's Falstaff, full of telling gestures and hilarious facial expressions. His eyebrows raising and lowering in sync with his thoughts and words, his feet mincing around the stage in jovial delight. His resonant bass voice etching the phrases expertly. Plishka displays a lifetime of experience in the theatre. He is always using gesture and movement which perfectly enhabit the character and make him live.

An Error
Hey, Amazon---

There is a small error in this listing. This wasn't don in 1964. It was don in 1994--from the Metropolitan Opera. ... Read more

Reviews (4)

I'm fuming!!!!
This is such a wonderful and rare performance featuring a soprano Rosina instead of the usual matronly mezzos. And we get Kathleen Battle in the role!!! When, when, when are they going to release this on DVD??????

Rossini's masterpiece in marvellous performance
This masterpiece of Rossini is performed with so much care and excellence, that it gives enjoyment from beginning to the end.
It is sung and performed so perfectly by not so wellknown singers, however all were successful to reflect the comedy side of this opera buffa.
Leo Nucci is maybe the only one already quite known and perform so marvellously displaying the prankish character of the barber Figaro. His singing and performance in this opera is better than in his other performances, really perfect and beautiful and made the whole opera so enjoyable. Kathleen Battle, sung so brilliantly in her clear coloratura voice and in appearance quite matched the character of the mischievous young and beautiful Rosina. While Rockwell Blake as the young and romantic Lindoro/Count Almaviva in his appearance quite match the character of the romantic young count who is pursuing Rosina. His singing is not quite mature yet, however match the clear coloratura voice of Kathleen Battle, so that all their duetts sound so beautifully together. We also adore Enzo Dara's performance which represent the real comedy in the foolish old ward of Rosina, who yearned to marry the young and beautiful girl. Last but not the least is Ferruccio Furlanetto's brilliant performance with his deep Bass baritone voice reflecting the sloppy and sinister music master.
The costumes and background set were also as beautiful and prepared with great care which supported the performance itself.
In overall, the performance is totally enchanting and marvellous that we will not become tired of playing it over and over again, while relishing to the romantic comedy and beautiful music.

A Delighful Perfomance of Rossini's Masterpiece
From start to finish, this performance of Rossini's Il Barbiere di Siviglia from the Metropolitan Opera House sparkles with comedic flair and stunning virtuoso singing. If you really want to have an excellent Barbiere from both a musical and dramatic perspective, this is one of the best performances on video. The cast is simply a delight. Leo Nucci is captured in great voice and stage presence as Figaro, one of his best roles. "Largo al Factotum" is on this performance a real show stopper, with Nucci showcasing his vocal and scenic agility, projecting the text with expression and tossing some fine high A's. During the rest of the opera Nucci is always engaging, a Figaro both intelligent and funny. Kathleen Battle is the perfect soprano Rosina. Her singing here is a real lesson on bel canto. "Una voce poco fa" is really a perfect vehicle for Battle's brilliant high notes (up to Eflat) accurate coloratura with perfect evenness between registers and and a sweet and unforced sound, never shrill or forced. These vocal wonders are displayed during the whole opera, with another showpiece at the lesson scene, "Contro un cor", which Ms Battle ends with another perfect high Eflat. To complete her portrayal Battle is also on this video young, pretty, elegant and charming. An extraordinary souvenir of Battle's career. Rockwell Blake is definitively the Rossini tenor of the twentieth century. True, his sound is not the prettier one, but his virtousity and ringing high notes are without equal. Blake sings, for the first time in the Metropolitan Opera history, the very difficult aria "Cessa di più resistere" in a stunning way. Enzo Dara almost steals the show as Don Bartolo, with his very funny portrayal and very accurate patter. "A un dottor della mia sorte" is a real gem. Ferrucio Furlanetto completes the main cast with an engaging portrayal of Don Basilio. The secondary roles are fine and the sets and costumes are very good. In summary, this video is a must for all fans of Rossini, Nucci, Battle, Blake and a great moment from the Live from the Met telecasts. And it can be great introduction to opera for kids and adults alike.

A Night at the Opera
This is one of the best operas I have ever seen. Kathleen Battle is a spectacular opera singer and plays her part very well. This may not seem like such a big deal, but considering that I am only sixteen and not a fan of the opera, you get to see my point. It's not like other boring operas that my mother used to watch when I was little, but one that actually tells a story and grabs one's attention. It's one of those kind of videos that is pleasing to watch with the family time after time. So if you're into operas, especially good operas, this is the one to get. ... Read more