Description

Roberto de Simone’s production of Verdi’s epic opera recorded at the Teatro alla Scala. Starring Renato Bruson, Ghena Dimitrova, and Paata Burchuladze. ... Read more

Reviews (4)

EXCELLENT EARLY VERDI
This is a perfect, traditional production. All involved perform their roles to perfection. The chorus, Bruson and Dimitrova are exceptional.

GREAT EARLY VERDI
Every aspect of this La Scala production was well done. I thoroughly enjoyed it - particularily the chorus, Bruson and Dimitrova.

Must have opera DVD
This is a magnificent recording of Verdi's first big hit "Nabucco", recorded in 1987 in the Italy's greatest opera house - La Scala. The production is as great as it gets, in the traditional Italian style: glorious sets and costumes, great singers and wonderful chorus work. This is very much reminding Franco Zeffirelli's style: extraordinary realism and beauty. Filming is overall good and camerawork is excellent, however the picture quality is not very crispy and the sound sometimes reminds those old worn out tapes, which sometimes gets quite annoying. I think "Kultur" could have done better job with sound part on this DVD. Hence just four stars. Riccardo Muti's energetic and passionate conducting is as superb as acting and singing of all leading cast. Must mention excellent work of Renato Bruson as Nabucco, and unforgettable performance of the great Georgian singer Paata Burchuladze, as Zacharia. Choruses in Nabucco is in my opinion the most melodic and heartbreaking ever written for any opera, and "Va Pensiero" in this recording is indeed stunning both vocally and visually. This is a must have DVD for both opera fans and those who want to buy their first opera on DVD.

Great Early Verdi
Late Verdi may be awesome but I've always had a passion for the savage crudity of his early years and Nabucco satisfies that passion wonderfully. This is the biblical story of the Assyrian kind who defies God and is struck insane.This 1987 production from LaScala is great on all counts. Muti loves this music and throws himself into it with a vengence. Bruson is at the height of his powers. Dhimitrova's part is a killer and contributed to the ending of Verdi's second wife's career. No such problem for our diva here. Why didn't she have a career this side of the Atlantic? The staging is traditional and the scenery recalls Art Deco. There's really no weakness and the chorus Ah, pensiero which became the unofficial Italian national anthem will melt your heart. ... Read more

Description

Mikhail Baryshnikov’s sparkling full-length production of Don Quixote captures all the excitement, Spanish color, and humor of Cervantes’ original masterpiece. It is one of the most popular and joyful ballets surviving from the imperial Russian ballet’s repertory. The famous virtuosic pas de deux is danced in this performance by Baryshnikov "like a dream," according to the New York Post, "a madcap bravado which combined with his pure classicism gives his dancing an edge of genius." His partner, Cynthia Harvey, who takes the part of Kitri, was reviewed in the New York press as possessing "a clear line and splendid grace that grow more wonderful on each viewing." American Ballet Theatre was ecstatically received by the New York press for this performance. The New York Times described how "the dancers had the audience gasping," while the New York Post felt that the company had "never looked better. Dancing flows out of the Ballet with a boisterous beauty." ... Read more

Reviews (10)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Description

Offenbach's extraordinary opera is performed here in thisCovent Garden production by Placido Domingo, Luciana Serra, Agnes Baltsa and Ileana Cotrubas. The Royal Opera House Orchestra and Chorus are conducted by Georges Pretre. ... Read more

Reviews (8)

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

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

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

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

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

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

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

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

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

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

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

You should not watch this DVD on a big screen.

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

Reviews (23)

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

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

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

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

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

Description

This opulent Royal Opera production by Oscar-winning film director John Schlessinger stars Kiri Te Kanawa in what "deserves to be ranked…among her finest achievements".(Financial Times).Also stars Anne Howells, Aage Haugland, and Barbara Bonney. Conducted by George Solti. Color, 197 minutes. Subtitles in English, French, German, Spanish, Japanese. ... Read more

Reviews (8)

Breathtakingly Beautiful
(sung in German, with subtitles in English, French, German, Spanish, and Japanese)

Der Rosenkavalier (the Cavalier of the Rose) can entertain you on various levels.

There is the heavenly, ethereal music which is almost too beautiful. There's a delightful sense of humor with surprises for nearly all of the main characters.

There's plenty of romance, with the scene of "the presentation of the rose" as one of the best examples of capturing the very moment of love-at-first-sight.

As if all the great entertainment were not enough, Richard Strauss has given us a moral lesson: While the Field Marshall's wife has justifiable contempt for her cousin, the lecherous Baron, she realizes that she has been little better as she has used her imperial position to take advantage of more than one young officer. She sees herself in the mirror, and decides to start doing the right (loving) thing--she gives up her current lover so that he can be happy. She finally loves him enough (a sort of motherly love?) to let go of him.

Der Rosenkavalier is basically a love story, with some "growing up" by several of the characters. The music is so beautiful, it's almost unearthly at times.

Georg Solti conducts the Royal Opera, Covent Garden, and Kiri te Kanawa sings the role she has made her own--the Marschallin.

You may well gasp in amazement (tears come to my eyes) that such beautiful music has been written. Staging and costumes are splendid also..

Superlative
Perfect casting, and a near perfect performance. Well acted and well sung. The last 20 minutes is as sublime as any musical experience one could want to have.

Most emotionally satisfying of 4 Rosenkavalier videos I own
Despite hard-to-read subtitles, this performance is the best-acted, best-sung, best-staged version of the four I own, including my great favorite, the 1961 film, which I saw as a teenager.

Caveat
I agree with all the reviews. However, many of the sub-texts are difficult to read due to a white-on-white reduced ability to read them.

Te Kanawa is a goddess !
Kiri Te Kanawa thrilled and delighted me with her singing, and made me weep with her sensitivity as an actress...she's also an exquisitely graceful and beautiful woman, making this aesthetically in every way a perfect performance, and a treasure for any opera lover. The last few moments of act one (the end of tape # 1), are incredibly moving, and will stay with me forever.

Anne Howells is also superb as Octavian. Her body language as a young man is flawless and vocally she's excellent as well. Every member of this cast shines, held together with mastery by the wonderful Georg Solti.

The sets and costumes of this Covent Garden production are spectacular (the Marschallin's dress in the last act is breathtaking !), the direction flows, the editing expert, the comedy good, the drama great.

The scene between the Marschallin, Octavian, and Sophie is mesmerizing. The beauty and emotional power of it overwhelmed me, and once again, I was moved to tears.

This is simply one of the best filmed operas in existence...nothing short of magnificent, a rare jewel. ... Read more

Amazon.com

This 1990 production of Wagner's magnificent mid-period music drama atthe Vienna State Opera is wholly triumphant, not least because of its now-antiquated notion of not updating, contemporizing, or otherwise making mincemeat of the opera's original setting. Conventional staging is not foolproof, but when it's done as well and as directly as stage director Wolfgang Weber and set designers Rudolf and Reinhard Heinrich have done here, then it is a welcome non-encumbrance to enjoying and appreciating this masterpiece.

Claudio Abbado conducts the Vienna State Opera Orchestra in a refined, relaxed performance that allows the singers to find themselves inside their larger-than-life characters, not unimportant for Wagner's epic operas. And what singers they are! Placido Domingo (as Lohengrin) and Cheryl Studer (as his beloved, Elsa) are both in their prime, singing and acting with extraordinary subtlety and emotion. Robert Lloyd, Hartmut Welker, and Dunja Vejzovic contribute first-rate support.

Spread out comfortably on two DVDs, this Lohengrin has no extra features, but needs none. With a clear, crisp 5.1 sound mix and well-transferred video images, this is a must-have for opera fans in general and Wagnerites in particular. --Kevin Filipski ... Read more

Reviews (12)

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

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

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

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

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

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

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

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

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

Description

The legendary Bayreuth Centenary production of Wagner's Ring is distinguished by Patrice Chéreau's once-shocking production, which has acquired the status of the most trenchant modern interpretation of the cycle. Die Walküre is the second of the four Ring operas, introducing Brünnhilde, daughter of the all-powerful god, Wotan. Brünnhilde's attempts to protect the siblings/lovers Siegmund and Sieglinde eventually lead Wotan to encircle his errant daughter with a protective ring of fire that only a hero will be able to penetrate. Die Walküre features the best-known excerpt from the Ring cycle, the Ride of the Valkyries. Pierre Boulez's penetrating interpretation supports a cast led by one of the great Brünnhildes of our time, Gwyneth Jones. Cast:

Jeannine Altmeyer: Sieglinde
Katie Clarke: Helmwige
Elisabeth Glauser: Rossweisse
Ilse Gramatzki: Grimgerde
Peter Hofmann: Siegmund
Gwyneth Jones: Brünnhilde
Gwendolyn Killebrew: Schwertleite
Donald McIntyre: Wotan
Karen Middleton: Ortlinde
Carmen Reppel: Gerhilde
Matti Salminen: Hunding
Marga Schiml: Seigrune
Gabriele Schnaut: Waltraute
Hanna Schwarz: Fricka
The Bayreuth Festival Orchestra conducted by Pierre Boulez ... Read more

Description

From the Metropolitan Opera House, New York, this triple bill of ballets, with an additional glittering pas de deux, is a delightful introduction to the range and excitement of American Ballet Theatre’s repertory. The first piece is Les Sylphides in which Mikhail Baryshnikov is the poet surrounded by the drifting chorus of sylphs. The Sylvia Pas de deux is a sparkling duet for Martine van Hamel and Patrick Bissell, and it is followed by Triad, one of Sir Kenneth MacMillan’s most poetic and sensitive short ballets. Finally, in a blaze of brilliant dancing, the Grand Pas from Paquita shows off the technical virtuosity of ABT’s dancers in a cascade of mock-Spanish bravura choreography staged by Natalia Makarova from the original Petipa version. ... Read more

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This spectacular 1981 San Francisco production of Aida, directed by Sam Wanamaker, boasts production values more commonly associated with Hollywood to portray scenes from the time of the Pharaohs, notably a striking interior for the temple of Vulcan from where Radames is sent forth on his mission to conquer the invading Ethiopian army. With Margaret Price in the title role and Luciano Pavarotti as Radames, there is much going for this version, both musically and visually.

Price and Pavarotti are in superb voice throughout. Pavarotti sings his initial aria, "Celeste Aida", very much as a showpiece, ignoring Verdi's quadruple pianissimo ending for the very opposite, milking (dare one say it) the audience for a thunderous round of applause, which he duly receives. Initial doubts about his commitment to the drama, however, are dispelled in Act 3 when he denies Amneris his hand and bids farewell to life entombed in the same temple from where he'd once been sent forth as conqueror. Price may not be a natural actress, but her singing throughout, particularly in the concluding farewell with Pavarotti ("O terra, addio"), is very touching. Stefania Toczyska is a compelling Amneris and never more so than when she's offering Radames a lifeline at the start of the last act. Brian Large's direction for video homes in on the salient points of the drama and also picks up on an uncomfortable looking extra or two in the "Grand March" where space on stage seems at a premium. With assured conducting from Garcia Navarro, this Aida is a very desirable acquisition. --Adrian Edwards ... Read more

Reviews (1)

Welcome DVD release
This performance was telecast from San Francisco to Europe, and features a Pavarotti at the height of his powers. There is a lot of tight-angle camera work, which highlights the performers rather than the staging. The miking also is close -- and what a relief it is by comparison with the undermiking of singers that was common in those early days of televised opera. The 1997 Japanese laserdisc release of this performance received a magnificent audio and visual transfer. Therefore the forthcoming DVD has the potential for demonstration quality. ... Read more

Description

Three one-act operas by Giacomo Puccini: Il Tabarro, Suor Angelica, Gianni Schicchi. Recorded at the legendary Teatro alla Scala and starring Piero Cappuccilli, Rosalind Plowright, and Juan Pons. ... Read more

Amazon.com

In Richard Wagner's obsessive drama, with its themes of sin and repentance, cultural inhibition and artistic spontaneity, sexual excess and lost innocence, symbols sprout as profusely as dandelions on summer lawns. A lot of the symbols were put there by the composer (who also wrote the libretto), but for this production director David Alden has decided to add many more--notably in the first scene: an orgy in the love nest of the goddess Venus. The sadomasochistic visuals, reminiscent of the feverish inventions of Hieronymus Bosch, may help to explain Tannhäuser's decision that he wants to go home. Like the scenery, the costumes are eclectic, ranging from modern, formal evening gowns to medieval suits of armor and even, in a few choice instances, nothing at all.

The director may be trying to say too many things at once. The profusion of visual symbols shows a rich imagination, but a more clearly defined focus would have been helpful. That kind of focus is found in the acting, partly because Alden is a good director but also because he is working with seasoned performers. René Kollo as Tannhäuser and Bernd Weikl as Wolfram von Eschenbach have made specialties of these roles, and even when the story strains credibility or when the music strains their voices, they give convincing portrayals, as do Waltraud Meier and Nadine Secunde and the supporting cast. Zubin Mehta's conducting is opulent if not subtle. This is an intriguing though sometimes disturbing production. But on the whole, those who want a straightforward, well-sung, visually superb, and problem-free Tannhäuser would prefer the DVD edition of the superb Metropolitan Opera production. --Joe McLellan ... Read more

Reviews (11)

Lots of Naked Breasts
The overture to this production of 'Tannhäuser' has to be seen to be believed. I doubt that there's been a opera performance with so many naked breasts bouncing around, which earns this tape of it an extra star from me. The surreal ballet meant to represent Tannhäuser's nightmare defies literal interpretation, and it must have been quite a shock to the audience at the premiere. Unfortunately, the rest of the opera is not as risqué or as eye-grabbing although it remains visually interesting.

The beginning of the first act in which Venus and Tannhäuser take their leave of each other resembles the corridor of a grand hotel or luxury apartment building. The two are in modern dress and look like urban sophisticates in the throes of a ending affair. Waltraud Meier is visually and - as far as I could tell - vocally stunning. I'm not an admirer of Rene Kollo, but he seems to do an adequate job here. The shepherd lad and the pages are performed by boy sopranos.

My tape has a bad audio track, and I cannot evaluate the singers and the orchestra fairly (and, no, I can't return it). I hope it comes out on DVD soon in the US. I've never seen a favorable review of this performance, but Wagnerites are notorious sticks-in-the-mud, and I'd recommend it to anyone who appreciates innovative visuals (and naked breasts!).

Tannhäuser comes in last.
Don't put your money on this lame horse,... unless you have every other recording or video. Not one of Wagner's best stage works,- although musically quite revolutionary - Alden's pretentious, symbolic production reduces it to a travesty of what Wagner wanted and eventually achieved. Rene Kollo, as Heinrich Tannhäuser - a minstrel(?) lugs around a beaten suitcase with his songs, rather than his harp,is frankly past it and it's anyone's guess as to what they are all doing coming home from Rome,in Act 3. Only worth having for Waltraud Meier's 'Venus' - vocally and corporeally - wonderfully seductive, and Brian Large lets the camera stay with her as long as we can bear it. However all this is in Act1, and of course Venus never comes back. Certainly, all very challenging for the Munich public. Fortunately, Zubin Metha and the Nationaltheater Orchestra play Wagner superbly, and don't have to care what's happening on the stage behind them !

Stars & Composer Transcend Concept
Full of visually obvious but emotionally uncompelling symbols. Act I works, as it is a kind of fantasy to begin with. Act II is almost ruined, but (in the end) the torment of Tannhauser and Elizabeth still can move one. Act III succeeds very well, as the power of the singing and the music is finally allowed to transcend the silliness

Music- great, Production - odd
The music is wonderful. Singers range from exceptional, Meier and Weikl, to very good, Kollo and Secunde. That part of the opera is fine. The production suffers from an acute outbreak of obscure meaningful symbolism. There is a guy in a wolf suit, a woman dressed as the Bride of Frankenstein, a [body part] here and there, lots of film noir camerawork with big shadows, and some things that look left over from Evita.

The visual impact is powerful, but to what end? Meier's Venus is worth the purchase of the DVD.

Music is good - everything else is ugly
It's bizarre to watch this version. The music is there in its classical essence, but the costumes and scenery are set in a modern time period and are ugly and weird-looking.

The overture doesn't play to its end, but is melded into the first act. Tannhauser is on stage during the overture, to which has been added a sort of "dream-ballet" as in Oklahoma, during he wanders around,lost, and is tempted by Venus and her nymphs, who are partly nude, depicting the decadent atmosphere of Venusberg. OK so far.

But when he returns to the real (?) world, the castle in Thuringia is the same ugly setting, and the minstrel knights are a bunch of thugs in dingy gray.

The pilgrim's chorus is done by a bunch of people in dark gray work clothes. Again, the music sounds great, but the odd setting is a distraction.

Waltraud Meier makes a good Venus, and Jan Hendrik Rootering is a great Landgrave. Rene Kollo as Tannhauser sings well, but he looks too much like a bum to be a minstrel knight.

All in all, the visual distractions make this rendition not very entertaining. ... 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

Description

The legendary Bayreuth Centenary production of Wagner's Ring is distinguished by Patrice Chéreau's once-shocking production, which has acquired the status of the most trenchant modern interpretation of the cycle. Das Rheingold is the opening of the four Ring operas, setting the scene with the theft of the Rhine gold, first by Alberich and then by the giants on behalf of Wotan on a train of greed that will inexorably lead to the demise of the gods. Supported by Pierre Boulez's typically penetrating interpretation, the cast is magnificently led by Donald McIntyre as Wotan. Cast:

Hermann Becht: Alberich
Martin Engel: Donner
Ilse Gramatzki: Wellgunde
Fritz Hübner: Fafner
Siegfried Jerusalem: Froh
Donald McIntyre: Wotan
Helmut Pampuch: Mime
Carmen Reppel: Freia
Matti Salminen: Fasolt
Marga Schiml: Flosshilde
Hanna Schwarz: Fricka
Norma Sharp: Woglinde
Ortrun Wenkel: Erda
Heinz Zednik: Loge
The Bayreuth Festival Orchestra conducted by Pierre Boulez ... Read more

Reviews (3)

Fluent production that is quite brilliant
The staging is amusing. In fact, I was slightly shocked at the beginning where the depths of the Rhine is represented by a hydro-electric dam and those Rhine-maidens become "call-girls". Yet, in some strange way, the production works. And it grows on you with each successive viewing.

The direction of Patrice Chereau is fluent. Indeed, it's so fluent that one feels that the 2.5 hour work lasts only for slightly more than an hour. Maybe it's because Chereau's clever direction (and Brian Large's wonderful video direction) made viewers focus on the dramatic strengths of this opera. Or maybe the staging is so full of interesting (and dramatically valid) strokes that one is totally engrossed by the viewing experience. The performances of the singers are fine, too.

Despite initial reservations, I must say I like it a lot now.

Interesting production
This is an interesting production in many ways. Much of the sets will give the audience a surprise. The only disappointing part is the dragon, which is under-whelming. The Siegfried is performed by Mandred Jung, who is quite an active stage performer even though his voice is not of the first class. Heinz Zednik is an excellent Mime. The Brunnhilde is sung by Gwyneth Jones, who produces a few squally notes but the part is passionately sung nevertheless.

Well you know, you get used to it
This is the famous production of the ring cycle that was first produced in the 1970's and booed of stage. The reason was that instead of it being set in around 400AD as intended by Wager it is played in 19th Century gear with Industrial age sets. The production was performed again in 1980 and filmed without an audience. This is the production that we see on this DVD.

The first thing which must be said is that the sound quality is excellent. The film production is also good and does not have the problem that some opera DVD's have of being transferred from VHS to DVD.

The general critical response to this version of the ring cycle has been posative with most of the barbs going to the singing of the role of Siegfried, something of no relevance to this DVD.

The fist DVD of this production I saw was that of Gotterdammerung which was a bit of a shock. Brunnhilde was played by someone far to old (although it was the first woman Siegried saw, he probably wasn't that choosy) and the chorus dressed in French working men's costumes was a shock.

However by this DVD somehow you forget it and if the opening scene is a large hydro dam instead of the Rhine and the Rhinemadens are dressed as prostitutes you don't seem to notice as much. the Gotterdammerung is a reasonably static opera. Probably as the first hour drags into the fourth you have a lot of time to look at people dressed as bank clerks and you have problems suspending disbelief. With this production, its all happeing with Gods and Giants striding the stage and people descending into the underworld the action keeps up. For that reason one forgets that Wotan is wearing a smoking jacket and that the trick about the Rhinemaidens was that they were maidens.
Anyway this retailed where I come from cheaply and it was great value. The quality and timber of the orchestral playing is superb. The signing good and the, I suppose you call it acting okay. ... 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 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 Zau