Opera on DVD

[johnshade]

"Newly restored and digitally remastered from the original 35mm 1962 film,  Elisabeth Schwarzkopf stars in this film of  Der Rosenkavalier; Karajan conducts. This a Salzburg Festival production. This filmed version was hailed by The New York Times as Superb."

This DVD is excellent! A must for those who like Der Rosenkavalier (my guilty pleasure since I saw a Met production in 1958).

JS

[Scarpia]

Any reaction to this one?

Rigoletto, a new DVD release featuring Damrau.

[knight66]

Verdi: Don Carlo: Live Covent Garden Pappano, Villazon, Poplavskaya, Keenlyside, Furlanetto, Ganassi. 2008.

I ordered this the instant I saw that Poplavskaya was in it. Beautiful and with a lovely voice and stage presence. She was superb in the Simone Boccegnera and in the Muti Otello. I hope she records Guilda.

I then went to the various crits of the live performances and concluded that I had made an error. Villazon was variously described as....clearly loving himself.....only acting with his eyebrows.....singing without subtlety.

Well, I just don't understand what the critics were seeing and hearing, but it must have been on nights other than the one recorded. Villazon provides a committed and beautifully sung performance, the emotional core of the evening. He does not tire and certainly acts boldly and with a deal of subtlty. When put against that superb stage animal Keenlyside, it was the latter who sometimes looked hesitant, a kind of occasional fumbling in his stagecraft, even though vocally he was as always a rock, (of the right kind.)

The production is uncluttered, with the sets stylised, costumed for the authentic time and wonderfully lit. The whole drama flowed and a highlight was the three way confrontation between the King, Posa and Carlo. White hot and highlighting the skills of Furlanetto, who although very much in the Autumn of his career, provided a totally satisfying and rounded portrait of the depressed king. He even displayed tenderness to the Grand Inquisitor, here clearly a mentor rather than an opponent.

So to the women; I found Poplavskaya to be slightly disappointing in the vocal department. This role was a size too large for her voice in its current state. She was unable to provide unbroken phrasing utilising the full voice from middle to upper register. So a number of phrases were disturbed by her need to 'place' the note on upward leaps and provide volume, rather than sweep up to the high lying phrases.

It was not exactly effortful, careful rather. She looked and acted as well as ever, no cardboard cutout; but this was not the role progression I had hoped for. But disappointment is only relative, there was still a lot to enjoy in her singing.

As to Ganassi, stock Italianate mezzo work, capable and with all the notes, her acting was all laid on from the outside. Simply not in the same class of singing actor as the rest of the principles. She moves stiffley and looks self conscious.

The conducting was superb, full of fire and bringing out colour and that wistfulness, even sadness that lies at the heart of this score. 'Love thwarted.' could be a subtitle, though Verdi provides a very lively look at politics, but it is the sheer emotional disappointments everyone experiences that provided the main theme. The one exception is that deep fraternal devotion between Posa and Carlo, the only unblighted relationship in entire complex work....which anyone not knowing the story will nevertheless be unsurprised to learn is doomed.

I love this opera as much as any, this is a very fine version indeed. I am glad I was not put off by first reading those negative newspaper crits. As can happen and does here, clearly the DVD filming largely eliminated the things that were not admired and amplified those that were.

Mike

[sospiro]

Any reaction to this one?

Rigoletto, a new DVD release featuring Damrau.

This is a very interesting production and it worked for me.

I've got several Rigolettos & didn't really need another but was intrigued by the prospect of nice, sweet JDF singing this role. His is very very good & his performance includes several notes which I don't think are in the original score presumably to show case his talent.  Looks a wally with a mullet though.

Damrau is exceptional & plays Gilda perfectly as a scheming and manipulative girl who is desperate to escape. Couldn't be faulted. I really liked Željko Lučić in Macbeth & was eager to see him in this. His smooth mellow sound was at times deliberately harsh & his portrayal is bold and savage.

[sospiro]

Verdi: Don Carlo: Live Covent Garden Pappano, Villazon, Poplavskaya, Keenlyside, Furlanetto, Ganassi. 2008.

I ordered this the instant I saw that Poplavskaya was in it. Beautiful and with a lovely voice and stage presence. She was superb in the Simone Boccegnera and in the Muti Otello. I hope she records Guilda.

I then went to the various crits of the live performances and concluded that I had made an error. Villazon was variously described as....clearly loving himself.....only acting with his eyebrows.....singing without subtlety.

Well, I just don't understand what the critics were seeing and hearing, but it must have been on nights other than the one recorded. Villazon provides a committed and beautifully sung performance, the emotional core of the evening. He does not tire and certainly acts boldly and with a deal of subtlty. When put against that superb stage animal Keenlyside, it was the latter who sometimes looked hesitant, a kind of occasional fumbling in his stagecraft, even though vocally he was as always a rock, (of the right kind.)

The production is uncluttered, with the sets stylised, costumed for the authentic time and wonderfully lit. The whole drama flowed and a highlight was the three way confrontation between the King, Posa and Carlo. White hot and highlighting the skills of Furlanetto, who although very much in the Autumn of his career, provided a totally satisfying and rounded portrait of the depressed king. He even displayed tenderness to the Grand Inquisitor, here clearly a mentor rather than an opponent.

So to the women; I found Poplavskaya to be slightly disappointing in the vocal department. This role was a size too large for her voice in its current state. She was unable to provide unbroken phrasing utilising the full voice from middle to upper register. So a number of phrases were disturbed by her need to 'place' the note on upward leaps and provide volume, rather than sweep up to the high lying phrases.

It was not exactly effortful, careful rather. She looked and acted as well as ever, no cardboard cutout; but this was not the role progression I had hoped for. But disappointment is only relative, there was still a lot to enjoy in her singing.

As to Ganassi, stock Italianate mezzo work, capable and with all the notes, her acting was all laid on from the outside. Simply not in the same class of singing actor as the rest of the principles. She moves stiffley and looks self conscious.

The conducting was superb, full of fire and bringing out colour and that wistfulness, even sadness that lies at the heart of this score. 'Love thwarted.' could be a subtitle, though Verdi provides a very lively look at politics, but it is the sheer emotional disappointments everyone experiences that provided the main theme. The one exception is that deep fraternal devotion between Posa and Carlo, the only unblighted relationship in entire complex work....which anyone not knowing the story will nevertheless be unsurprised to learn is doomed.

I love this opera as much as any, this is a very fine version indeed. I am glad I was not put off by first reading those negative newspaper crits. As can happen and does here, clearly the DVD filming largely eliminated the things that were not admired and amplified those that were.

Mike

I agree with your comments.

In UK we were lucky enough to see this on TV last Christmas & I've watched my copy lots of times since. Several people I know say they wished it had been recorded on a night Kaufmann had sung Carlo but I think Villazón is perfect for the rather pathetic Prince. I really like Marina Poplavskaya -  she was fantastic in Boccanegra. Nice interview with her.

My recorded off the TV copy isn't brilliant so I may well get the commercial version as well.

[knight66]

Thanks for linking that article; I knew nothing about her. I hope her voice has continued to develop and I would be keen to hear whatever she appears in.

At the same time as I bought the Verdi, I got the Gounod Faust also a Covent Garden production. I saw the live broadcast of that and am glad to have it preserved. I will write it up shortly.

Mike

[Gurn Blanston]

One more Don Giovanni.

Every time I buy another new DVD release of Don Giovanni I promise myself, this will be the last one. But I can't help it if there is another ingenious director coming out with a new idea of this Mozart masterpiece! In 2008 Claus Guth did it for the Salzburg Festival!

With the support of the conductor Bertrand De Billy and a cast of outstanding singer/actors, we now have the Unitel-Classica DVD of the July//August performance at the Salzburg Mozart Haus. Guth was not hampered by the small stage at this venue, he put the entire action into a forest, doing away with the "traditional pseudo-Seville squares and palaces" - quote from the insert - . The performer's contemporary outfits fit perfectly in the woodland setting, all out for a stroll, a wedding, romancing, seducting, picknicking actions. A bus stop building does not interfere with the woods at all, it gives the opportunity for everyone to wait in it, climb up on it, jump down off it and even nap on top of it.

Guth made one radical change in the very beginning of the opera - should I really give away the surprise? Sure, opera DVDs aren't exactly hot sellers here! - The Commendatore pulls out a gun and shoots Don Giovanni in the abdomen and then dies. This wound plays a significant vehicle for Christopher Maltman's brilliant acting as the Don. - Friend Tom classifies Maltman as another barihunk. There seem to be a great number of new talented baritones populating our opera stages! - Erwin Schrott as Leporello is a perfect match for Maltman, portraying the servant as a companion and friend, not as the customary bumbling sidekick. His brilliant acting and singing was a surprise for me, I only knew him as Mr. Netrebko. He doesn't need her to become a star on the opera stages of the world.

Maltman and Schrott carry this performance so ably supported by De Billy, a performance cut of it's sometimes boring last scene of the surviving cast preaching about the evils of humans. Don Giovanni has his last encounter with the Commendatore, a luxury casting of Anatoli Kotscherga, and dies of his wound, disappearing through the forest floor, not even holding the hand of his assassin!

It's different. Not really. The essence of Mozart's opera is covered very well; I didn't miss the cuts at all, the chances for the lovely ladies to show off their talents both in singing and acting are all there, as are the roles of Don Ottavio and Masetto.

Read in this month's Opera about yet another Don Giovanni at the Opera Cologne with Christopher Maltman; if it comes out on DVD, based on the review, I actually might skip this one. 

Well, not often will you find me here in Orpyland, commenting on a production, but I just finished a holiday treat of watching this DVD and found it every bit as enjoyable as you might have expected from the above review. Being a hidebound traditionalist, I embarked on this adventure with a feeling of being somewhat intrepid. But my fears were allayed very shortly on by the excellent singing, the brilliant playing of the WP, and the rather quick realization that the simple set was really perfect for all the action.

Not being expert at comparing performances, the best I can say is that Maltman was as good as the hype I've read about him, and Schrott was the most interesting Leporello I've ever seen. Some comedic touches had me laughing, like Leporello cooling a warm situation with Masetto and Zerlina by pulling out a joint the size of a Cuban Perfecto. A touch that probably didn't occur to Mozart, but which would have amused him, I'm sure.

In any case, this was a commendable performance that I'm pleased to have seen it. I hope you do too.




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Now playing:
Franz Schubert - D 940 Fantaisie in f for Piano 4-Hands

[kishnevi]

Well, not often will you find me here in Orpyland, commenting on a production, but I just finished a holiday treat of watching this DVD and found it every bit as enjoyable as you might have expected from the above review. Being a hidebound traditionalist, I embarked on this adventure with a feeling of being somewhat intrepid. But my fears were allayed very shortly on by the excellent singing, the brilliant playing of the WP, and the rather quick realization that the simple set was really perfect for all the action.

Not being expert at comparing performances, the best I can say is that Maltman was as good as the hype I've read about him, and Schrott was the most interesting Leporello I've ever seen. Some comedic touches had me laughing, like Leporello cooling a warm situation with Masetto and Zerlina by pulling out a joint the size of a Cuban Perfecto. A touch that probably didn't occur to Mozart, but which would have amused him, I'm sure.

In any case, this was a commendable performance that I'm pleased to have seen it. I hope you do too.

You might also like this one:

which features Schrott as Figaro; overall well done and well sung, with the production suggesting some indefinite time period between 1930 and 1980, and the touches of Regietheater are well subordinated to the action and not very numerous to begin with, although I should mention for the faint of heart that Act I starts off with Schrott in an a-shirt.

[kaergaard]

 Massenet and Mozart

A plethora of DVDs arrived here, so far I watched only two of them, one is the eagerly waited for video of José von Dam's last Don Quichotte of his career at the Opera De Lamonnie in Brussels on May 2010. Nigel on another forum gave us his wonderful review - ehem: The conductor on the DVD is Mark Minkowski - and I was prepped for a moving, moist eyed, if not actually tear-shedding, performance. Sorry to admit, but it left me waiting for the impact, instead I was left dry-eyed. It must have been the sets, costumes and general direction taking away all the charm and emotions I experience when listening the a CD of van Dam's Don Quichotte. Maybe I was expecting too much, but at the first sight of this landscape resembling a Washington D.C. landfill, my expectations dampened. No rusty, clanking armour for the Don, what looked like an archivist's gray work coat had to be it; the few pieces of armour attached to his right arm didn't do it. The encounter with the windmills was lively and well done, but it made me worry José would fall out of his wildly swinging chair.

Maybe a second, or third watching will turn on the tears, not too much hope for it happening though. I'll just lisen to the CD again and have me a good cry!   

[kaergaard]

Mozart and Massenet.

Two Mozarts in the plethora, but only one watched so far, another Le nozze di Figaro. Can one ever have enough of them, just like the Don Giovannis. Good directors with a splendid, high caliber cast can make new ones just as exciting as any previous old ones. This on directed by David McVicar is another winner because the cast is special! Erwin Schrott, Gerald Finley, Dorothea Röschmann, Philip Langridge! Of course Miah Persson is a very lively and entertaining Susanna, she can sing and act quite well, it's just that I have never seen or heard her before, have to get used to her.

Antonio Pappano conducts the Orchestra of the Royal Opera House, in a 2006 performance, four years ago, when Erwin Schrott was still round-faced and a tiny bit chubby, glancing at Pappano quite frequently. No complaints about his strong and solid bass-baritone, plus his lively acting; McVicar might have something to do with it though! I was actually more interested in seeing and hearing Finley as the count. I met him in the Britten film Owen Wingrave years ago and then in Saariaos watery love story. Yes, I know he is Mr. Atomic, but my mind is not yet completely clear on  this performance. Now I have met the very funny Finley! That man can play with lots of humour, a variety of expressions on his face and in his voice! Röschmann is as effortless a soprano she always is, those lovely Mozart notes seem to come naturally from the lady's vocal chords. A had to look twice to recognise Langridge as Basilio in the unusual wig and make up, but the voice was there, his sure and secure tenor he is famous for.

The production is in traditional sets and costumes with a very short, the director's inspirational moment, when Finley puts on small rimless glasses, points of white shirt collar poking up to his black, wavy wig. "That's Franz Schubert!" I gasped; a perfect resemblance of Franzerl!

This afternoon comes the other side of the second Le Nozze in my plethora, Schrott in the contemporary 2007 Zürich production. - Any more nozzes DVDs floating around to watch? -

[Gurn Blanston]

Mozart and Massenet.

Two Mozarts in the plethora, but only one watched so far, another Le nozze di Figaro. Can one ever have enough of them, just like the Don Giovannis. Good directors with a splendid, high caliber cast can make new ones just as exciting as any previous old ones. This on directed by David McVicar is another winner because the cast is special! Erwin Schrott, Gerald Finley, Dorothea Röschmann, Philip Langridge! Of course Miah Persson is a very lively and entertaining Susanna, she can sing and act quite well, it's just that I have never seen or heard her before, have to get used to her.

Antonio Pappano conducts the Orchestra of the Royal Opera House, in a 2006 performance, four years ago, when Erwin Schrott was still round-faced and a tiny bit chubby, glancing at Pappano quite frequently. No complaints about his strong and solid bass-baritone, plus his lively acting; McVicar might have something to do with it though! I was actually more interested in seeing and hearing Finley as the count. I met him in the Britten film Owen Wingrave years ago and then in Saariaos watery love story. Yes, I know he is Mr. Atomic, but my mind is not yet completely clear on  this performance. Now I have met the very funny Finley! That man can play with lots of humour, a variety of expressions on his face and in his voice! Röschmann is as effortless a soprano she always is, those lovely Mozart notes seem to come naturally from the lady's vocal chords. A had to look twice to recognise Langridge as Basilio in the unusual wig and make up, but the voice was there, his sure and secure tenor he is famous for.

The production is in traditional sets and costumes with a very short, the director's inspirational moment, when Finley puts on small rimless glasses, points of white shirt collar poking up to his black, wavy wig. "That's Franz Schubert!" I gasped; a perfect resemblance of Franzerl!

This afternoon comes the other side of the second Le Nozze in my plethora, Schrott in the contemporary 2007 Zürich production. - Any more nozzes DVDs floating around to watch? -

That one looks pretty good, Kaergaard. I know Miah Persson quite well, actually, as I've heard her sing a couple of disks worth of Mozart arias and Lieder. I found her and her voice to be most attractive. I don't know Finley though, he sounds interesting. Thanks for the tip. I think the other one you are talking about must be the one that Kishnevi is talking about above. Curious how you find that one to be.



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Now playing:
Aviv Quartet - Hoffmeister Op 14 #3 Quartet in d for Strings 3rd mvmt - Minuetto

[kaergaard]

Gurn: It's a Michael Volle variety show with Erwin Schrott  trying valiantly to make it into a Mozart opera! 

[Gurn Blanston]

Gurn: It's a Michael Volle variety show with Erwin Schrott  trying valiantly to make it into a Mozart opera! 

  Ah well, so it goes. If Mozart's music can't save it, then it is totally over the top! Thanks for that info, K....



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Now playing:
Milan Chamber Orchestra \ Caldi  Carbotta (Flute) - Zanchietta (Basset Horn) -
Rolla Sinfonia in Bb for String Orchestra 2nd mvmt - Rondo: Andantino

[kishnevi]

  Ah well, so it goes. If Mozart's music can't save it, then it is totally over the top! Thanks for that info, K....



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Now playing:
Milan Chamber Orchestra \ Caldi  Carbotta (Flute) - Zanchietta (Basset Horn) -
Rolla Sinfonia in Bb for String Orchestra 2nd mvmt - Rondo: Andantino

I beg to differ there.  I think it's a fairly entertaining production, and while it's probably not competing for "reference recording" status, it bears rewatching, which can't be said for some other productions.

[Gurn Blanston]

I beg to differ there.  I think it's a fairly entertaining production, and while it's probably not competing for "reference recording" status, it bears rewatching, which can't be said for some other productions.

OK, that's cool with me. Clearly a difference of opinion (and I don't even have one!). I might scoop it up anyway, although the other one with Schrott sounds like it might be more my cuppa tea.

[kaergaard]

It all has to do with the direction by Sven-Eric Bechtolf compared to that of McVicar. Bechtolf turns the jealous, demanding wife beater into a cabarett performer, performing silly magician's tricks even while singing the most beautiful Mozart arias,  - Volle singing them so truly Mozartean, such a waste of an outstanding tenor! -

No reason for Marcellina to drop and then slip back on her skimpy bloomers and also showing us her belly button and bum. There is nothing in her role to justify these silly actions. 

[kishnevi]

It all has to do with the direction by Sven-Eric Bechtolf compared to that of McVicar. Bechtolf turns the jealous, demanding wife beater into a cabarett performer, performing silly magician's tricks even while singing the most beautiful Mozart arias,  - Volle singing them so truly Mozartean, such a waste of an outstanding tenor! -

No reason for Marcellina to drop and then slip back on her skimpy bloomers and also showing us her belly button and bum. There is nothing in her role to justify these silly actions. 

The magician's tricks seem to serve as punctuation/commentary on the Count's actions and thoughts, so I didn't see them as being irrelevant.  The only truly odd moment was the Count showing up in the last act in a bear costume. Haven't figured that one out yet.  How did he know Don Basilio needed a stage prop for his aria?  But otherwise I felt it was well thought out--and the stage direction clearly showed him as a jealous wifebeater and generally nasty guy for whom there is little cause for sympathy.

As for Marcellina's striptease--well, she needed to do something during her aria, so why not show her wild side?  (And, since she had a child out of wedlock, she obviously had a wild side, however well hidden it might be.)

Granted, the McVicar sounds much more traditional, but I think the Bechtolf, with its limited Regietheater,  worked pretty well.

[Wendell_E]

Sony Classical's releasing several recent Met Live in HD performances on January 25th:

John Adams' Doctor Atomic features several of the same singers as in the DVD that's already available, but in a new production by Penny Woolcock, conducted by Alan Gilbert.

Anthony Minghella's production of Madama Buttefly, with Patricia Racette, Marcelo Giordani, and Dwayne Croft, Patrick Summers conducting.

Salome with Karita Mattila and Juha Uusitalo, Patrick Summers conducting.

Simon Boccanegra with Domingo in the title role, Adrianne Pieczonka, Marcello Giordani, and James Morris, Levine conducting.

Amazon's currently listing Salome for $17.49, the longer operas for $20.99.

[kaergaard]

So the Met finally released the Mattila Salome, letting us wait for at least three years. Well now they can  me you know where! 

[yashin]

The Matilla Salome is indeed electrifying-just watch the clips on youtube for proof of that. Not sure about the rest though. Maybe the Doctor Atomic will be worth a look but there is already a DVD of this right?  Was it filmed in the Netherlands?  Was expensive DVD when i looked.

Not sure i want Giordani belting his way through Madame Butterfly nor Domingo clinging on and breathless in Simon Boccanegra.