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In English-speaking countries, we tend to look at Verdi'sMacbeth, think of Shakespeare, and shake our heads a little sadly. Yes, it is a fine Italian opera, but it lacks the verbal richness, the psychological depth, the symbolic resonance, and the subtle characterizations of Shakespeare's tragedy. Dissatisfied with it himself, Verdi revised the 1847 original in 1865 but remained unhappy; it's not easy to stack yourself up against Shakespeare. He did better at the end of his career with Otello and Falstaff, aided by superior librettos.

Still, taken on its own terms, as an Italian opera of the mid-19th century, Macbeth stands out. It is a powerful look at ambition, violence, remorse, the dark doings of witches, and the spooky torments of a guilty conscience. The late Giuseppe Sinopoli conducted vigorously, and his numerous fans will specially treasure this recording, which focuses its cameras on him frequently. Renata Bruson and Maria Zampieri are both at home in their roles and they exult in the opera's many opportunities for melodrama. There is not much subtlety in this production, but that is true to the spirit of the opera. --Joe McLellan ... Read more

Reviews (5)

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

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

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

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

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

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

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

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

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

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

Description

Cecilia Bartoli in sensational form for a landmark performance of music by Haydn with Nikolaus Harnoncourt and his Concentus Musicus Wien, recorded at a concert performance in Graz, Austria.

SPECIAL FEATURES:
Styriarte: Portrait of a Festival -- Short film on the renowned music festival founded by Harnoncourt in his home town of Graz. In Rehearsal -- Cecilia Bartoli and Nikolaus Harnoncourt discuss the music of Haydn and work on performances in rehearsal. ... Read more

Reviews (1)

Bigger & Better
Once again Cecilia Bartoli displays why she is the best of the contemporary classical vocalists. While shunning the trend of many modern artists to seek out a larger audience via recordings of "pop" standards and the like, Ms. Bartoli has continually committed to deeping her skills within the classical genre and bringing us many otherwise neglected masterpieces. One goes to her for knowledge - not the other way around.

This performance is unusual for a number of different reasons, two in particular. First is that it opens with a long, beautiful performance by the Concentus Musicus Wien. How many other top-billed artists would give over this much time to the oft forgotten ensemble?

Second is the mezzo herself. No longer the slender young colt of earlier recordings, she is now considerably larger. While some may be sightly taken aback when the huge, full-figured diva takes the stage, once she begins to sing, the listener is struck by the parallel growth of her vocal prowness as well. By all means, keep it up. This is an altogether wonderful performance. We can only hope that the future brings both bigger and better achievements from Ms. Bartoli. ... Read more

Reviews (3)

Stiffelio
Now that the score to Verdi's Stiffelio has been rediscovered, the opera should be recognized as a great dramatic work and performances should be frequent, but unfortunately this is not the case. Verdi's mature career did not begin with Rigoletto, and operas such as Luisa Miller and this one prove that point. In fact, the only weak aspect of this opera is the overture, which, despite being a fairly enjoyable piece of music with some moments of Verdian brilliance, is overlong, and seems a little facile, relying too much on standard uninspired Donizettian conventions. In addition, it seems incongruous to the dark themes and music of the actual opera as a whole. Stiffelio would probably be a superior work without the overture, but that is a minor quibble because this is a great piece of music drama that breaks some of the conventions of the time, being perhaps less reliant on the aria-cabaletta structure than even Rigoletto, Il Trovatore and La Traviata!
This production is magnificent, with Catherine Malfitano proving herself a great singing-actress. Her performance on this disc should be studied by all aspiring Verdian sopranos. Jose Carreras is a better singer than actor, his tendency to stretch out his arms like a Broadway crooner is a little distracting and unnecessary, but what singing! Carreras is the least celebrated of the three tenors, but this performance makes you wonder why. And despite some moments of overacting, he does do a good job of facially projecting his character's angst. The supporting cast is great, so is the orchestra and conducting. Elijah Moshinsky(stage director) and Brian Large(video director) are fabulous as usual. This is another auspicious production in the Royal Opera House's DVD collection.

A Splendid and Satisfying Performance
Stiffelio is considered "early Verdi" to musiclogists who classify things, but, in reality, it is a final transition between the maestro's earlier (but most enjoyable) works, and the mature craftsmanship of Rigoletto. Preceded by Luisa Miller (q.v.), there is more dramatic intensity and story line than in the earlier works. The plot centers around Stiffelio, a minister, who discovers that his wife, Mina, has been unfaithful. While the 19th century approach to dishonoring father and husband may be dated to some, the fact is that in watching this opera, the viewer will inevitably be caught up in the story and characters. The singers are generally fine. Catherine Malfitano is not only an exceptional soprano, but an accomplished actress as well. The facial expressions, the use of her hands and all the body mechanics are simply wonderful. I am unsure as to whether Jose Carreras was about to be diagnosed with lieukemia, or had gone into remission when he made this recording. In either case, his portrayal of the title character, in my opinion, would be hard to beat. He is fully in command of his instrument and brings life and dramatic intensity to his role. Particularly good is Gregory Yurisch in the role of Stankar, Mina's father. Here we have the third in Verdi's moving father-daughter duets (Giovanna D'Arco and Luisa Miller were earlier),the emotionally charged qualities of which many trace to the loss of the composer's first wife and baby daughters in 1840. The rest of the cast are equally fine. A surprise to me was the quality of the conducting. I never considered Sir Edward Downes to be a leading interpreter of Verdi's music. Well, he is in this performance, and as such, presents the music very well indeed. The tape to disc transfer is very good, as is the quality of the sound. As I have noted in other reviews, DVD performances of opera are really the next best thing to a live performance. Stiffelio is not performed often, so whether you live near a performing arts center or not, this DVD may be the only chance to experience it. If you are, as I am, a fan of Verdi, this is a must buy. If you want to see how good opera is on DVD or are new to Verdi, buy it. It's a fine effort.

Rare Verdi - a mixed bag
This rare Verdi work has been re- introduced again by Covent Garden with a starry line up of principles to make up for the work's lack of unity in Verdi's own generic conventions( to be later developed in works such as Aida and Othello). Catherine Malfitano sings well as the adultress- singing tastefully as well as powerfully. Jose Carreras' voice has hardened and aged over the years, but this has added to the dramatic moments within the opera. Regardless of the histronics- his interpretation is very musical and dramatically convincing. The varying tone colours produced at the end of Act 2 are forever indicative of Carreras' creative interpretation. The conducting is somewhat rigid, but this is a singer's opera rather than a conductor's one( the orchestra plays less of an atmospheric role than in some of verdi's later works) ... Read more

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Viva Vivaldi! is a concert by Italian mezzo-soprano Cecilia Bartoli interspersing arias from the 20 surviving operas of Vivaldi with two concertos. It is given with the early music ensemble Il GiardinoArmonico before a very appreciative audience in the Théâtre des Champs-Élysées. (There isvery little overlap between her studio-recorded Vivaldi Album and this 105-minute concert.) Anyone thinking of Vivaldi's vocal music in the context of his uplifting scared works may get a shock, for Bartoli performs as if her life depended upon it, attacking pieces such as "Armatae Face et Anguibus" from Juditha Triumphans with vengeful gusto. Bartoli'snatural Italian and the live atmosphere of Maria Grazia d'Alessio's oboe gives her interpretation of the quietly haunting and melodically rich "Non ti Lusinghi la Crudeltade" from Tito Manlio a particular piquancy. The Flautino Concerto is a most attractive interlude, while the more famous Lute/Violin Concerto beguiles with its exquisite lyricism. --Gary S. Dalkin,Amazon.co.uk ... Read more

Reviews (5)

Glorious Vivaldi!
Cecilia Bartoli, What can I say about her? She is a powerful blend of furor, of tenderness, of magnificent voice. And the Giardino ensemble, wonderful, pure italian flavor.
The surround sound is very nice, both the Dolby 5.1 and the DTS 5.1. My score: a 10. And for the spanish speaking people; the DVD comes with sp subtitles.
If you like woman voice, if you like opera, if you like lute and flautino concertos, in a word, if you like music and Vivaldi, then this DVD is a must, you have to get it!

Extraordinary Performance
Cecilia Bartoli has given the universe one of the most spectacular performances of the century and we are indeed fortunate to have a recording of it to enjoy time and time again. She is in top vocal form and her artistry and dramatic powers shine with every note. Every mood is expertly communicated, even if more strongly than sometimes expected...
Vivaldi' Gelido in ogni vena from his opera Farnace will simply leave you breathless............. and most probably in tears.

Art of the highest calibre!
I have never been a lover of the music of Vivaldi (anyway not the pieces that have been beaten into a pulp by every pseudo-classical radio station around the globe). My eyes, and ears, have been opened by this amazing recital. Many music lovers are extremely critical of Cecilia Bartoli. Her mannerisms, technique, breathing etc are targets for many vitriolic tongues these days. What rubbish! Everyone does not like sterile academic performances. I think this lady, as well as every member of the orchestra in this recording, is absolutely brilliant. They make every note live! I don't think that I will in my lifetime ever hear a voice like this, interpreting music like this again! These artists make Vivaldi live again. Truly - Viva Vivaldi and Bravo Cecilia and Il Giardino Armonico. Do yourself a favour and get your hands on this DVD.

Bartoli does Paris
Let me start off by saying that I enjoyed this DVD for what it is, and not for what it could have been.

Bartoli sings with a technique that few singers have or can hope to have. My only real complaints are that she over-emphasises the words so much that it starts to have no effect: surely too much spice jades the palette just as much as too little? Also, she moves so much that she has to breathe in the middle of colaratura passages - the whole point of these passages is that they are supposed to show off the breath control and accomplished techniques of their singers. I find her to be most offensive in the Anch'il mar where her many physical movements and grimaces actually start to interfere with her technique and the music. As the mighty Wagnerian soprano, Jane Eaglen, says of how to perform Wagner: If you sing the notes as written, you cannot help making beautiful music. I wish that Bartoli could have brought that to her performance of Vivaldi. Two concerti (one for recorder and one for lute) are included on this DVD, and the orchestra does it complete justice. I love the conductor's interpretation of the music and each member of Il Giardino is a virtuoso. Aside from a few intonation problems this is a first rate performance, which I doubt anyone will be able to surpass. If you love Baroque music, or Bartoli or even the orchestra, who has quite a growing reputation of their own, please buy it. I would have given this performance 5 stars were it not for Bartoli's mannerisms.

Cecilia at her very best
Watching this DVD was a truly wonderful experience, a real feast both for the eyes and ears. The concert which was recorded in a very elegant hall in Paris last September was filled to overflowing with a very enthusiastic and appreciative audience. The generous program consisted of 14 selections, all by Vivaldi, - 12 arias and 2 concertos - and it lasted just over 100 minutes. I suspect that many of the arias sung will be new to most viewers. In fact, most of the music is relatively unknown and had to be specially transcribed for the occasion from Vivaldi's original manuscripts. And what glorious and all encompasssing music it is. The tone of the arias cover the entire range of human emotions - from happiness and joy, to reflection, to terror and absolute grief and despair. They are sung in Cecilia's truly inimitable style. Of course, the closeups afforded by the DVD far surpass the pleasures of only listening to similar material on CDs. Cecilia sings with such conviction and obvious sincerity and pleasure that it is practically impossible not to get carried away with the music. The accompanying ensemble -Il Giardino Armonico - play with their usual conviction. The enjoyment of the program is enhanced as always by the exemplary video direction of Brian Large and the beautifully recorded sound -- the closeups of Cecilia are truly engrossing. Technically the DVD is among the best that Arthaus Musik has released to date. The picture is reasonably sharp throughout (unlike some of the company's earlier releases) and the colours very pleasing to the eye. This is one of the first recital DVDs from Arthaus to feature a DTS soundtrack, as well as PCM and 5.1 dolby digital(DD). As one might expect, the DTS sound is definitely superior to the 5.1 DD, and even the excellent PCM audio. The picture format is 16x9 and the subtitles which are large and clearly legible are available in five languages including English. A multilingual information booklet about the music and artists is included. I am sure that this is one purchase which will remain a favourite of mine for a long time. ... 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. Siegfried is the third of the four Ring operas, introducing the hero, Siegfried, son of the demi-gods Siegmund and Sieglinde. Though raised by the dwarf Mime, Siegfried discovers his true identity and forges the magic sword, Notung, with which he slays Mime and the dragon Fafner. He then defies the Wanderer (Wotan in disguise) and rescues the sleeping Brünnhilde from her circle of flames. The opera ends with their radiant love duet. Pierre Boulez's penetrating interpretation supports a cast led by the powerful Siegfried of Manfred Jung. Cast:

Hermann Becht: Alberich
Fritz Hübner: Fafner
Gwyneth Jones: Brünnhilde
Manfred Jung: Siegfried
Donald McIntyre: Der Wanderer
Norma Sharp: Waldvogel
Ortrun Wenkel: Erda
Heinz Zednik: Mime
The Bayreuth Festival Orchestra conducted by Pierre Boulez ... Read more

Amazon.com

Gluck's 1762 opera Orphée et Eurydice was groundbreakingin its day and, as this 1999 performance from the Théâtre Musicalde Paris shows, it still lends itself to radical treatment. The composer'srejection of traditional, flamboyant, operatic bells and whistles led to a freshform in which the lyrics hold court. The music provides the setting andemotional color in a way that is almost physical in its intensity. Gluck'sreadiness to incorporate the influences of other art forms--poetry, ballet, anddrama--has always made this story of love rescued from the jaws of tragedyuniversally appealing.

This production, directed by Robert Wilson and conducted by John Eliot Gardiner,is mesmerizing. The all but ill-fated couple (Magdalena Kozena and MadelineBender) move as if in a trance, their actions suggesting marionettes controlledby greater forces. Their faces are largely expressionless, leaving their voicesto explore the force of the huge range of human emotions they must cover duringthe opera's 100 minutes. Only Cupid runs free. The performances are beautifullysung in French, Kozena bringing immense dignity to Orphée's lament, "J'aiperdu mon Eurydice." A powerful interpretation of an important work, fit for the21st century. --Piers Ford, Amazon.co.uk ... Read more

Reviews (9)

Less is more
This minimal version of Gluck's opera is not bad....not bad at all. [Gluck himself was trying to strip down the complexities of the usual opera affair in his own time so Wilson has some authority here]

The music is beautiful to my ears but I am no musician. Fortunately opera isn't just music. it's theatre. I come from the design side of theatre and so I shall comment on the look of this production.

Wilson is very clever with his "less is more" approach. As a friend of mine noted, this stripped down production makes you listen to the music. Yet there is great beauty in Wilson's stage picture. And one of the best stage devices I've ever seen.

Throughout the work's 1st act there is this shape, 1st seen as a rock upon which Orpheus stands in a pose of outstretched arms as he mourns the loss of his beloved. This image is repeated and often shown in silhouette with strong backlighting. When Orpheus descends into Hades he takes his familiar position on the rock, backlit. He and the distinctive shape of the rock are a positive black image on the white scrim. Then a black drop comes down with the rock shape in reverse cut out of it. Orpheus moves into this now negative white shape on black, now the entrance to Hades, and strikes his familiar pose. WOW! It is so simple and so effective you must see it!

Also the shocking flying in of a perspective Baroque set with 18th century [well, almost] costumed singers for the final chorus....and that cryptic floating cube Wilson likes so much....is a wonderful device.

If only Orpheus had some masculine features on his costume, it being in this instance a pants role. Just making it knee length would have worked. And the Elysian Fields were lit as cold and blue as the rest of Hades. Could we have some golden light at least?

Still, an interesting production that mostly works and is worthwhile.

Wilson's "Alceste" is in the same vein but even more refined and perfected.

5 estrellas a la música, 1 estrella a la escena.
Nos encontramos ante una gran version musicalmente hablando de la ópera de Gluck. SIR JONH ELIOT GARDINER conoce a la perfeccion este repertorio y es difícil que alguien pueda hacerlo mejor que él. Su lectura al frente de los magníficos ENGLISH BARROQUE SOLIST es más acertada que en el disco que años atrás protagonizó Lee Ragin. Además, aquí se oferta la completa version de París.
MAGDALENA KOZÉNA es un Orfeo contralto de voz doliente, segura en toda la tesitura y sin problemas en las coloraturas. PATRICIA PETIBDefON cumple notablemente como Amour, y MADALENE BENDER cumple sin más en Eurydice. El MONTEVERDI CHOIR supera con nota su largo y complicado cometido.
Y aquí se acaba todo lo feliz de este dvd: La puesta en escena de Robert Wilson, desnuda, vacía y oscura es un fiasco. La dirección de actores, que deambulan por el escenario como si se tratara de estatuas acaba por cansar.
Definitivamente, este es un dvd para disfrutar de una leccion de canto y de una puesta en escena francamente aburrida.

ROBERT WILSON'S "ORPHEUS..."
Gluck's ORPHEUS & EURIDICE is one of my favorite operas. Strangely enough I have seen several different productions. I say, "strangely" since it is rarely produced in New York, but I have seen it in a gorgeous, traditional production at the Metropolitan Opera House starring the incomparable Marilyn Horne and in a concert version at Tanglewood with the same star. I have also seen a post-modern production at the New York City Opera which made little sense to me and in two interesting productions outside of New York City.

Robert Wilson is a director I admire greatly and this production is gorgeous: the costumes, the choreography, the stark settings and especially the lighting are all of a piece as if done by one person. The formal structure of the opera is stressed with Wilson's use of simple, symbolic gestures, mask-like make-up, few props and a bold use of color. The story is the mythic one of Orpheus who, in mourning for his wife, Euridice, decides to venture to Hades in order to return her to Earth. After various struggles, he does so with the great aid of the goddess, Amore.

There are only three principal roles in the opera, all sung by women and this cast is very good, if not up to the likes of Horne or in another fine recording, Anne Sofie von Otter, or in yet a third, Rise Stevens. In fact, there are times, especially in Act 1, when the mezzo, Magdalena Kozena, as 'Orpheus' frequently sings off pitch. Patricia Petibon does better as the goddess and Madeline Bender is fine as 'Euridice.'
Sir John Eliot Gardiner, his orchestra the Orchestre Revolutionnaire et Romantique, and the Monteverdi Choir are all superb.

Nosferatu
I mostly agree with the other reviewers. I'm not as well grounded as some in opera, or Gluck in particular (I've never seen any production of this), but I do have a few comments.

I don't know what Ko'ená's makeup was supposed to accomplish, but I watched the recent Nosferatu DVD the other day, and the similarity struck me. (If we can have original Baroque instruments, why can't we have castrati?) In the same vein, the "Ballets et Danses" looked mightly like the hoards crossing the field in the Night of the Living Dead. I felt like the production was done on a dare: "Here's $123 for costumes and scenery; see what you can do. Oh, and you can have a blue light with a dimmer on it. Don't let anybody move; it stirs up the dust."

I did think the singing was pretty good, especially Ms. Ko'ená. Few of the possible vocal sins were committed. Acting was up(?) to opera standards. I have the old Italian version with Verrett on LP. That sounded good. (I saw her with Sills in Siege of Corinth years ago here in Dallas. Their duet brought down the house.)

I don't think anybody mentioned that this seemed to be recorded during live performance(s). The DVD sound was a little gritty on my system. (The 5.1 was better than the 2.0; I don't have proper 5.1 decoding yet, just Pro Logic.) There was a lot of color noise within some of the blue background gradients (all blue, of course).

If opera was just singing, I would give it four stars.

BRILLIANT, BOLD AND BRAVE! [also Bravo!]
My Fellow Americans! Get over it folks! Thank God for Artists like Robert Wilson, providing this special production of Gluck's rarely seen work, and this work deserves to be seen often in this format. It's a brilliant DVD production, yes, stylized - so what? That's the entire point of these avant-garde productions, to make us think- discuss and perhaps inspire to create another vision. {It also just so happens to be young and fresh!}
Even Cocteau - with permission - would smile on this one!

Get this for your collection - and ENJOY!!! ... Read more

Description

The electric Cecilia Bartoli joins Nikolaus Harnoncourt and the Concentus Musicus Wien to perform arias and recitatives by Mozart at the Styriarte Festival in Graz.This live recording is from the Stefaniensaal, Graz's concert hall famous for its perfect acoustics.SPECIAL FEATURES -- Filming Notes, In Rehearsal ... Read more

Reviews (2)

Bartoli, Harnoncourt and B. Large... Great tribute to Mozart
This is a magnificent DVD

This all Mozart concert was recorded live in Graz, Austria and features mezzo-soprano Cecilia Bartoli, conductor Nikolaus Harnoncourt with the Concentus Musicus Wien.

The first half of the disc features Bartoli singing some of Mozart's lesser know arias. Songs that were intended to replace arias in some of his or other opera writers works. This was sometimes done to feature a particular singer whose voice was not suited to the original work. My favorite piece by Bartoli is the lilting 3/4 time "Un moto di gioia mi I sento" ( intended to be used in "Le Nozze di Figaro")

The second half of the concert is Mozart's Symphony #38 "Prague". This, I believe, is the only DVD recording of this work and is played beautifully by the orchestra. The third movement is truly outstanding.

However, as beautiful as Bartoli sings and as expressively as Harnoncourt conducts, the truly outstanding individual talents shown on this DVD are really brought together by the director, Brian Large; his expertise has resulted in a product of superior quality . The great camera work and film editing has captured many appealing, animated moments by both performers. (especially of Harnoncourt directing the "Prague") Also, the switching of the cameras to the proper instrument is done with impeccable timing and great effect.

In addition to the DVD, there is an informative booklet that goes to some length to explain the reason some of these aria were written, and as well, gives some insight as to what was going on in Mozart's life at the time. Also, there is an extra segment on this disc which documents how much time and work was involved with setting up the lights, cameras and stage for the filming of this live recording.

The DVD has a good menu and you can select which scene you wish to watch: The only niggling complaint would be that the only subtitle language choice is that of English. I must admit, once I get familiar with a work, I like to follow it in the language it is sung in. ( in this case Italian)

All in all, a classical DVD of the highest quality. Highly recommended.

Bartoli shines in new Mozart performance
Gorgeous setting, lovely music, expert conducting, flawless singing. It's nice to see a Bartoli slightly more spirited than in her "Live in Italy" DVD but less frenetic than in "Viva Vivaldi". ... Read more

Description

Turandot has a unique place among Puccini’s works because of its complexity, the intertwining of the exotic and the fairy-tale, of tragedy and comedy. At the heart of the opera is the psychological exploration of the eponymous character which in her ambivalence of enchanting beauty and cruel nature differs from all of Puccini’s earlier heroines. In musical terms Turandot has all the marks of a unique work. Not only did it take longer to complete than the other operas – Puccini did not live to see its completion - but in none of his other works did he show so convincingly his ability to reflect the modern musical trends of his time, without, however, compromising the foundations of the traditional melodrama, to combine advanced styles with his own idiom. The fascinating thing about this opera even today is not primarily the wealth of inspired melodies – the only hit is Calaf’s aria Nessun dorma in the 3rd act – but the clever and imaginative tonality, the subtle instrumentation. Puccini has focussed even more emphatically on the portrayal of the specific ambience than in Madama Butterfly and has captured in a highly suggestive way the exotic atmosphere by using a great variety of compositional means, such as pentatonic melodies and unorthodox structures of movements, strange rhythms and an extraordinarily large percussion section. ... Read more

Reviews (7)

Highly theatrical and creative vision
A Turandot that will not please everyone, but one that is striking in a fresh interpretation, namely the de-humanization of society. Even Turandot does not seem human, which could be a way of understanding her actions. The staging and costumes are stunningly evocative of SF visions of the future. A lot of thought went into this production, and every time I view it I perceive more ideas. The music from Act I is among Puccini's most arresting and dramatic. The added music and staging finishing what Puccini did not complete make sense, and deal with our ambivalence (even anger) with the anti-heroine. The resolution even humanizes the other citizens of this mechinistic, oppressive society.

Just awful
This is just terrible opera. Turandot is a great score and a great opera but these singers are awful! Schnaut and Gallardo-Domas sound absolutely like amateurs, they are terrible. Botha is totally forgettable. Save your money! Go out to eat instead of buying this garbage!

No-go area!
Was very disappointed with this DVD after watching it and I warn people who even think of investing in it.
Shnaut is not even a competent Turandot, missing high notes and not even singing some!
The ending is not even worth the price of this DVD, give it a miss

Interesting but will Berio replace Alfano?
As you probably know by now this is the first time we have had a chance to hear Berio's new ending and that in addition to David Pountney's production are the chief reasons to see this new Turandot. Schnaut is the successor to Gynneth Jones - overly loud and squally. Plus, sorry but she is downright ugly in a part for which men are willing to die. All right twenty rows back in the opera house who cares but unless you are Jane Eaglen no go on video. Of course the tenor is no great looks either but at least he can sing.
But the real question is the ending. I was intrigued by it. No problem telling where Puccini leaves off and Berio begins. It is quite an abrupt shift and I don't think it really works. I do like the soft ending, but not how he gets there.
We still need a video Turandot - the others feature Eva Marton - not much better than Schnaut. Maybe Eaglen will grace us with one.

Fascinating
This DVD brings us a very important development in the life of the opera Turandot: the Berio ending. A couple of years ago the contemporary Italian composer Luciano Berio composed an alternative ending to the opera, to replace that supplied by Franco Alfano. (Puccini died before he could complete the last act of Turandot -- what he would have done had he lived a couple of more years is one of history's great tantalizing mysteries.)

If for nothing more, this DVD is of great interest to Puccini and Turandot fans for that ending. And it is a very interesting ending. Where Alfano is simplistic and loud, Berio is subtle and varied. The new ending is vastly more interesting than that of Alfano -- it actually addresses, in some satisfactory manner, the great problem of how Turandot can transform from ice princess to human being in a mere fifteen minutes of singing.

Some viewers will not like the staging, which casts everyone in a phantasmagoric Peking of half-human, half-machine beings. This is a matter of taste. There can be no "realistic" staging of Turandot -- to paraphrase Dorothy Parker, there is simply no "real" there. Turandot is a fantasy, pure and simple, and how one visualizes the fantasy is subjective in all cases. I found David Pountny's approach to be as good as any I have seen.

The casting features mature, accomplished singers in all the roles. One cannot fault the singing in any major way. The staging does call for them to be rather static in their acting, but this is not their fault. Unfortunately, there are a few occasions in the recording in which the singers are overwhelmed by the orchestra -- probably an issue of microphone placement or mixing.

This may not be the ideal first Turandot for someone not already familiar with the opera, but, fortunately, there are other choices. DVDs of productions from the Met and San Francisco are both available, and both are more traditional. But for a Turandot aficionado, this DVD is an absolute must-have. ... Read more

Amazon.com

This Francesco Cilea opera is a favorite with prima donnas not only for its strong vocal attractions but for its pretty death scene (the heroine is killed by a poisoned bouquet of violets) and for its backstage atmosphere filled with gossip, career-building, and complex amorous intrigues (Lecouvreur, a historic figure, was a wildly popular star of the Comedie Francaise in the 18th century). Connoisseurs love it for a subtlety and refinement of both music and libretto (including clever imitations of 18th-century musical and theatrical styles) seldom encountered in verismo opera. The mass audience, on the whole, has yet to discover it. Mirella Freni rises gracefully to the role's potential elegance, aided by sensitive conducting and staging and a competent, sometimes brilliant supporting cast. --Joe McLellan ... 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

Description

Don Carlo is one of the grandest of all grand operas, a tour-de-force that challenges the resources of even the greatest theaters.The Met has accepted and responded to these challenges in magnificent fashion.Don Carlo is a complex, multi-layered work.Private passions are played out against a backdrop of intense political strivings.Placido Domingo leads the extraordinary cast gathered for this performance.

The Metropolitan Opera: Composer: Guiseppe Verdi Conductor: James Levine Tenor: Placido Domingo

"...an opera of devastating effectiveness." - The New York Times ... Read more

Reviews (11)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Amazon.com

One thing you could emphatically never say about Verdi was that heskimped on melodies: Un Ballo in Maschera is a veritable greatest-hits opera, not because most of the arias are so familiar (though some surely are), but because their freshness and seemingly inexhaustible supply keep listeners' ears attuned even when the characters in this historically based tragedy perform the usual operatic deeds to each other: betrayal, revenge, and murder. This 1980 Metropolitan Opera production sets the opera in colonial Massachusetts, which was Verdi and his librettist's alternate location after Italian censors insisted it not take place in Europe. (The Met's more recent stagings have returned it to the original Sweden.) Elijah Moshinsky's production works surpassingly well on video, focusing the eyes on the performers, all of whom surpass themselves dramatically and vocally. Louis Quilico makes a credible Renato, who must decide whether his best friend--who is also the "Governor of Boston" (!)--is in love with his beautiful wife. Katia Ricciarelli displays a sweet tone as Renato's wife, Amelia, and none other than Luciano Pavarotti plays Riccardo, torn between loyalty to his friend and love for his friend's wife. Never the subtlest actor, Pavarotti made his name on his one-of-a-kind tenor voice, and in 1980 he was in his prime, making this disc a valuable document. The conducting of Giuseppe Patané is more than adequate. --Kevin Filipski ... Read more

Description

Don Carlo
Don Carlo is one of the grandest of all grand operas, a tour-de-force that challenges the resources of even the greatest theaters. The Met has accepted and responded to these challenges in magnificent fashion. Don Carlo is a complex, multi-layered work. Private passions are played out against a backdrop of intense political strivings. Placido Domingo leads the extraordinary cast gathered for this performance.

Un ballo in maschera
Luciano Pavarotti in his first Met Ballo heads an illustrious cast in this revolutionary production of Verdi's opera. His portrayal of the ill-fated Riccardo is "peerless Pavarotti." Katia Ricciarelli ("a brilliant lyric spinto soprano... used to impressive effect" ) is heard in her first Amelia at the Metropolitan Opera. Louis Quilico ("his 'Eri tu?' was one of the real highlights of the evening"), Judith Blegen ("focal point of pure light'), and Bianca Berini ("sang with taste and authority") round out the cast.

Ernani
No opera is more romantic than Giuseppe Verdi's Ernani. Three rivals risk everything for a hot-blooded woman, plotting abductions, hatching conspiracies, swearing fatal oaths. This 1983 Metropolitan Opera production brought together a superb cast of singers, well able to take on the challenge of Verdi's searing music. Stars: Luciano Pavarotti, Leona Mitchell, Sherrill Milnes, Ruggero Raimondi. Chorus, Ballet and Orchestra of the Metropolitan Opera. Conductor: James Levine

Simon Boccanegra
"Sherrill Milnes gave a performance of deep feeling and ...grandeur" --The New Yorker. "The set, costumes and lighting are superb." --New York 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.

La Forza del Destino
La Forza del Destino is Verdi's panoramic tragedy of honor and vengeance in 18th-century Spain and Italy. Its characters, ranging from aristocrats to camp followers, from soldiers to monks, are all swept up in the irresistible power of destiny. Leontyne Price's memorable performance as Leonora "can still bring tears to the eyes." "James Levine's conducting is full of drive and fire," and "the grandeur of the magnificent score comes through." --New York Times

Requiem
Giuseppe Verdi's Messa da Requiem is one of the grandest choral masterpieces of the Romantic Era. This production embodies Verdi's vision of a powerful and large-scale work and is presented with all of the intensity and dramatic passion that was conceived for the Requiem. Enoch zu Guttenberg conducted the European Symphony Orchestra with the Neubeuren Choral Society in this beautiful work. It was filmed at the famous Alte Oper in Frankfurt, Germany. Featured soloists are Pamela Coburn, soprano; Trudeliese Schmidt, mezzo-soprano; Vinson Cole, tenor; and Kurt Rydl, bass. This DVD also includes the option of viewing running commentaries on the pieces as they are performed as well as liner notes, a glossary of music terms, historical markers for the pieces, and performer profiles. Audio playback options are 5.1 dolby digital and non-compressed stereo. ... 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

Amazon.com

Alban Berg's scalpel-like dissection of human baseness is compellinglycaptured in a 1987 Vienna State Opera production that emphasizes its often- overlooked lyricism. Based on George Buchner's play about a soldier's maddescent into murder, Berg fashioned a fast-moving exploration of both hisprotagonist's life and his own 12-tone music, utilized expressively throughout.As conducted by Claudio Abbado, the Vienna State Opera Orchestra and Chorus makeBerg's usually difficult music utterly accessible. Franz Grundheber vividlyconveys Wozzeck's descent into insanity, and Hildegard Behrens embodies hisgirlfriend Marie's mixture of innocence and sluttishness. Adolf Dresen'sstaging, thrillingly visualizing Berg's tense score, works its hair- raising magic best during the opera's climactic explosion of fatal violence. This performance of Wozzeck--sung in German with optional Englishsubtitles, and with the Dolby 5.1 sound capably conveying the sheer auralcreepiness permeating Berg's music--does justice to one of the true masterworksof 20th century opera. --Kevin Filipski

... Read more

Reviews (6)

First rate!
Great performance, vocally and orchestrally. The acting is good as well. Staging is appropriate throughout, and visually at times quite lovely, as in the drowing scene.

One minor caveat, already noted by another reviewer: the images on the box have nothing to do with what's inside! They look like they were taken from a Disney version!

Deceptive Packaging!
Let's not be fooled, folks: the VHS reviews, which appear under the DVD listing, refer to an ENTIRELY DIFFERENT version. This is SUPPOSED to be a different staging, as you can tell from the cover of the DVD. It looked like it was done by the same people who did Yellow Submarine, or maybe by Julie Taymor (who did Oedipus Rex for the Tokyo Met, and Titus with Anthony Hopkins).

But here's the kicker: it ISN'T! The video case for the DVD SHOWS a different staging, but the actual video is of exactly the same staging featured on the VHS version, and recorded (in a slightly better performance) on the double-CD set released by Deutche Grammophon.

This is REALLY irritating. I was expecting a different staging, since i've already heard this one, and seen it as well. The whole point was to see a DIFFERENT one, and that's what the packaging implies is recorded on the enclosed DVD.

I don't know why they took the poorly-taped 1987 performance, and put it on a DVD with all these photos from an entirely different production (with even different actors, it appears) but that would be called fraud in almost any context. Having just watched this DVD production, i'm going to contact the company and demand an explanation.

You've been warned.

+Perfect execution of a perfect opera
This is a must buy for the discriminating Berg fan. I particularly like the live audience which only added to the realism so obviously heard in the music but sometimes missed in staged videos. The doctor and the Captain's street walk is particularly effective.

an important opera an important performance
Spiritual descendant of Gustav Mahler, Berg's expressionist materpiece is a watershed work and prime example of the 2nd Viennese's school's 'more palatable' side. The drama, like the music, appeals to the subconscious and 'free-form' while remaining ferociously complex in structure and execution. Berg casts the music in various established late Romantic idioms, such as the Theme and Variations or Symphony form, such that the drama almost seems to be a 'second layer' growing on top of the music--even so, the two mate perfectly. Anyone with an interest in the documented dissolution of tonality (an experiment that did indeed culminate in 12-tone serialism, but not for a decade--and an experiment that would not last past 1970) should investigate this work, best experienced in a staged format. A couple of the singers' intonation and clarity of diction leave a bit to be desired, but on the whole Cluadio Abaddo does a masterly job of guiding orchestra and singers alike through a complex maze of notes. Recommended to die-hard Wozzeck fans, those who enjoy contemporary music, music scholars, fans of opera, and those wishing to extend their musical palate.

--Justin Laird Weaver

A must-see opera
WARNING! This is NOT composed in "12-tone atonality," as reviewed above. This is arguably the greatest opera of the twentieth century, and, consistent with Berg's other expressionistic works, embodies a wide range of styles, including some fairly standard late-romantic harmony. Franz Grundheber's Wozzeck is bone-chillingly gripping. ... Read more