Reviews (11)

Great performance but disappointing sound
Let's get the bad news out of the way first. The recording quality of this performance is disappointing for 1989. We really should have been able to get better. Frustratingly, I can't get the DTS on my copy of this disc to work (it works fine on other DVDs). The recorded sound is cramped and the levels are unpredictable.

But Norman is an imposing Ariadne and thrills the senses as usual. James King (that's right, James King) is in surprisingly good voice for a 60 year old Bacchus and holds his part well. Kathleen Battle is Zerbinetta to the life - physically and vocally enchanting throughout. Troyanos makes a fine composer (though has an unhideable bosom!). All up a very enjoyable night at the opera which we should be grateful to have preserved, despite the deficiencies in sound.

A night of overwhelming vocal fireworks!
I am relatively new to opera, and this DVD introduced me to Strauss' Ariadne Auf Naxos. I don't quite have the words to describe how I felt after viewing the whole thing, let's say I'm blown away. The three leading ladies were absolutely superb in their respective roles, but Norman gave me the most goosebumps. I could never imagine such waves of sound coming from a human throat! Can you say "dramatic"? Such a powerful sound coupled with such dramatic insight into the agonizing character makes for a knock-out of a performance. Kathleen Battle is not a true coloratura but she has the agility and high notes to pull off a stunning Zerbinetta. I've always admired her pure, crystal-clear tones and it's great hearing her sing a ditsy happy character. Troyanos was always known to give stellar performances with equal effort in the singing and the drama. The role of the Composer displays her talents extremely well as there are lots of high notes (for a mezzo anyway), and she gets to portray a jittery worry-wart.

I actually enjoy a silly plot as such found in Ariadne auf Naxos; not everything has to be serious, uptight and boring, which is the impression of opera on many of us teenagers. I thoroughly enjoyed this opera, especially Norman's performance. I completely disagree with the person who said this DVD is overrated. Well, see for yourself, it's really that good!

A superb Norman, a less then desirable King
First the good news: The female cast in this recording/performance is superb, all three leading voices are mindblowing. I was enchanted by Normans beautiful voice, its scope and perfect control (and excellent German pronunciation also), her phrasing is sometimes mindblowing. The same is true for Battle and Troyanos. But who got the idea to cast a singer whose golden times have past about twenty years ago (James King)? The booklet states that "his experience dates back twenty years (...) and remarkably, he was in his early 60s when this film was made, but it shows him in fine voice...". This statement says everything and is warning enough! Kings high notes are often painfull, his voice strained, destroying (at least for me) a little bit the great finale duett. He is no match for Norman here! The "Buhs" for him at the end show that also some of the audience of the evening agree with me.
Conclusion: Due to Kings appearance this sadly is not an ideal cast (therefore only 4 stars), but for the female voices it comes very close. Norman alone is worth listening to. Image quality/sound is good too, Levine does a fine Job.

good but overrated
I have always considered this is the best of Strauss's operas if not the best opera, period. This DVD does contain some of the most exquisite singing by an amazing cast, great lush sound from the orchestra under James Levine with interesting rehearsal documentary. However, the whole production is sterile in its staging. Furthermore, there is a distinct lack of chemistry between the singers on stage (particularly that of Act II). I am not usually a person who focuses on aesthetic of things, however I do believe that operas (especially when you spend so much money) should come as a whole. This is a great recording to listen to but there are better ones out there with equally good singing and stupendous production values. A sure bet would be the Salzburg Festival production in 2001 with Polaski, Graham, Dessay and Villars. This DVD may not be available in US but I'll be more than happy to help anyone who needs to locate it!

Marvelous but with a problem....
I've had Ariadne long enough that it's on VHS. There's no point in reiterating what's already been raved about. I gave it five stars because we're reviewing, really, the opera and its performers and not the unfortunate insertion of the rehersals between the Prologue and The Opera. I would have loved the extra treat at the END OF THE OPERA. Placed as it was, I found it annoyingly interruptive. ... Read more

Description

"Sherrill Milnes gave a performance of deep feeling and ...grandeur" - The New Yorker. "The set, costumes and lighting are superb." - NY Times. Simon Boccanegra, Doge of Genoa, is one of Verdi's most profound characters, a complex man ruled by love of family and devotion to country. The compelling, richly colored music of Simon Boccanegra vividly embodies the tangled personal passions and political rivalries of Renaissance Italy. Conducter: James Levine. Soloists: Sherrill Milnes, Anna Tomowa-Sintow, Vasile Moldoveanu, Paul Plishka. Metropolitan Opera Orchestra and Chorus. Production, Tito Capabianco. Includes optional English Subtitles. ... Read more

Reviews (5)

huge disappointment
Since Simone Boccanegra is my absolute favorite opera by verdi, I had a huge expectation for the DVD version by the Met. What a disappointment. The orchestration is very conventional. Levine made it sound very old fashioned. Tomowa-Sintow's Amelia is awful. Her vibrato is too much that she sounds like an aged lady. Whoever sings Paolo is the worst I've ever heard on any recordings. He can't sing a note and his appearance looks rediculous. Needless to say, Gabriele Adorno is less than mediocre. He's also a bad actor. And Sherril Milnes... I usually admire his works, but here he is just not convincing. Maybe because of the bad direction. I wasn't impressed by the setting, either. Since the quality of video is quite grainy, everything looks cheap. I just can't believe the world famous Metropolitan Opera releases such low quality DVDs. On the back cover it says "The Set, Costumes and lighting are superb - NY Times", well, that's all about it. Nothing else is worth mentioning. What a waste.

Playing it safe
This is a traditional period Boccanegra (rather gloomy sets) with Milnes suitably imposing in the name part. That said, his voice is not at its best and Anna Tomowa-Sintow as Amelia is a little too matronly for my tastes. She sings affectingly when required to, though, which is more than can be said of Gabriele (Vasile Moldoveanu), probably the weakest of the principals. In the pit, James Levine drives the music too hard, so climaxes are inclined to be a touch overpowering and not a little brash. If you want to hear the subtleties and nuances of the score try the audio recording conducted by Abbado on DG - quite a revelation, and well cast, too). Video director Brian Large (usually reliable) is caught out a few times and there is the odd sensation as singers move from one side of the stage to the other and the vocal image falters, caught in a no man's land between the microphones. Very distracting. In sum, watchable enough but not one to die for.

An excellent production
This is an excellent production of what is arguably one of Verdi's finest works.

It is an opera that both my wife, Sue, and I love from the first to the final chord, and we have been very fortunate to have seen it at Covent Garden on a number of ocassions.

This production from the NY Met is damn near perfect, every nuance and facet are catered for perfectly. I have long admired the American Bariton Sherrill Milnes, here he is just perfect as the Doge Boccanegra - this could be his finest role. Others are just as perfect, such as Paul Plishka's wonderful dour Fiesco and Anna Tomowa-Sintow's moving Amelia.

I am less impressed by Vasile Moldoveanu, a kind reviewer suggested he never set the world alight. I would more unkindly suggest he is a very inferior tenor when you consider what the Met could have had available (aka, Carreras, Domingo, Kraus, Pavarotti) - but in a production and performance like this he becomes very acceptable.

This is an outstanding document of an outstanding opera. I hope you buy it. If you do you will witness Opera at it's very best. Of course, a master composer producing an absolute masterpiece is a great help. Enjoy it, you will see and hear no better.

Vocal and dramatic mastery
This DVD is a testament to the artistry of Sherrill Milnes. He is vocally stunning, as well as dramatically dominating. The expression on his face as the curtain falls on the Council Chamber scene is intense. The other singers are good as well, although there are a few places where the tenor has some pitch problems. The reviewer below had a pretty accurate discription of the other stars. The father-daughter duet is marvelous and Milnes' pianissimo is emotional. The production is visually strong and thankfully faithful. Anyone who loves this work will want this, but those unfamiliar are encouraged to try it as well, especially if Verdi appeals to them. Dana Hill

Boccanegra Verdi Drama at its' Best
Boccanegra is not always considered and audience-pleaser, but this DVD could quite possibly change your mind. Four fine singers, a beautiful production (originally debuting in Chicago in 1974 with this reviewer in the Chorus) and fine video reproduction are strong recommendations. Anna Tomowa-Sintow is vocally and visually radiant in her role, especially in her duet with Boccanegra (Sherril Milnes), just listen to her long held note, steady as a rock at the end of that duet and Milnes' perfectly placed pianissimo for his final note a few seconds later. Vasile Moldoveanu never set the world on fire with his three telecasts at the Met (Don Carlo and IL Tabarro), but he is solid, reliable, easy on the eyes compared with many other tenors of his time -- and is certainly acceptable. Paul Plishka, then in his prime is a fine Fiesco and a good foil for his enemy Boccanegra. When the curtain goes up on the Council Chamber Scene, the audience gasps, (it always did in Chicago) as the enormous stained glass window dominates the entire background of the scene which (added later by Verdi) is the focal point of the opera. Has Verdi ever been more powerful than during the "Vo gridando pace" ensemble? If you don't know this opera, please take a chance on it with this video. ....if you do know this opera add it to your collection with total confidence. A treasure, and a triumph for Milnes and Tomowa-Sintow. Levine and the Met Orchestra and Chorus

aren't too shabby either: the chorus's whispered curses of "Sia maledetto!" at the end of the Council Chamber scene are hair-raising. Slightly grainy black backgrounds are the only visual drawback, but they are quickly gotten used to. Run out and plunk down your 30 or so dollars. Enjoy! ... Read more

Amazon.com

Igor Stravinsky's The Rake's Progress occupies two worlds. Thestory, the ironically moralizing attitudes, and many musical and verbal detailsare inspired by the 18th century. But it is modern in rhythm and harmony and inits psychology--Freudianism and existentialism in a powdered wig. Eachproduction must find its own balance between these polarities, and this crisp,stylish treatment, taped at the Salzburg Festival in 1996, leans heavily towardmodernity. The Faustian story of ne'er-do-well Tom Rakewell is told in symbolsfrom its beginning (when he succumbs instantly to the temptations of thediabolical Nick Shadow) to the final mad scene. The props include a small,earthbound airplane, signifying Tom's flights of fancy, and some supernumerarieswearing ape costumes and capering about, symbolizing perhaps his obsessions. Thecostumes are modern: Tom in a T-shirt, Anne Trulove (his fiancée) in adress so simple it looks like a slip, Nick in a mafia-style pinstripe suit.Designer Jorg Immendorff, a prominent German painter, is ingenious and self-indulgent in his staging. He portrays Tom as an artist not unlike himself. Butif ever an opera had its visual elements clearly prescribed, it is The Rake'sProgress--inspired by a set of engravings by William Hogarth thathave no resemblance to Immendorff's staging.

There have been first-class productions that respected Hogarth's vision. One ofthem is sure to find its way to home video eventually, and those who are upsetby visual tampering with an opera's original concept might want to wait. But theSalzburg audience applauds it thoroughly in this production. Stravinsky's musicis well handled. Jerry Hadley brings both pathos and humor to the title role,Dawn Upshaw puts a lot of personality into the rather bland, goody-goody role ofAnne, and they have an expert supporting cast. --Joe McLellan ... Read more

Reviews (2)

A travesty
Wait for the excellent Glyndebourne production with Hockney sets to appear. This production is really silly and works counter to the marvelous score.

The is the One to Have!
So far this 1996 Salzburg Festival production of 'The Rake's Progress', Stravinsky's 'Mozartian opera,' is the only one to make it to DVD. But frankly I don't think you need look any further; from the opening scene set in Tom's painter's studio (with Anne as his demure model) to the amusingly staged epilog that is an homage to that of 'Don Giovanni,' the production never flags, impelled smoothly by the alert conducting of Sylvain Cambreling. The production, conceived and directed by Peter Mussbach with set/costume design by Jörg Immendorff, goes from triumph to triumph. The stage action, scenery and costumes, although not always immediately clear in intent, are colorful, amusing, always engaging.

The cast could hardly be bettered. Jerry Hadley, sometimes not a very inspired actor, makes a believable and sympathetically tragic Tom Rakewell in this tale of a young man ruined by wealth and temptation. His singing is pointed, if not always innately beautiful. Dawn Upshaw, as Anne Trulove, is delectable both visually and aurally. It is hard, frankly, to imagine a better Anne. Her two big scenes, 'No word from Tom ... I go, I go to him,' and 'Gently little boat' are beautifully sung and emotionally moving. Nick Shadow, sung by Monte Pederson kitted out as a kind of Daddy Warbucks, is both vocally superb and dramatically menacing. Contralto Jane Henschel as Baba the Turk is hilarious but also sings the part's coloratura as well as I've ever heard. Not a small woman, Henschel is light on her feet and her nimble moves onstage contribute conspicuously to her impersonation of the nattering bearded lady. Linda Ormiston's licentious Mother Goose, Barry Banks's oily Sellem, and Jonathan Best's stalwart Trulove contribute vocally and visually well-drawn characterizations to round out, along with the almost omnipresent Vienna State Opera chorus, a top-drawer cast.

The production was directed for TV by Brian Large. Is there anyone better doing this sort of thing? If so, I don't know who.

I give this DVD my strongest recommendation.

Review by Scott Morrison. ... Read more

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