Rossini: Il Barbiere Di Siviglia
Mozart's third and final opera with librettist Lorenzo da Ponte, the hugely ambitious dramatic comedy Così fan Tutte (roughly translated as: "They're All Like That"), is brought passionately to life in a first-class production conducted by Nikolaus Harnoncourt and featuring one of the great starring roles for Cecilia Bartoli. Filmed live at the Zurich Opera House in February 2000 on a set which visualises the subtitle "The School for Lovers", the plot revolves around two army officers arguing about the fidelity of their brides, then setting out to test their chastity. Despite the often playful humour, this is not only psychologically telling music-making, but reveals Mozart exploring the structure of opera, discarding convention to mix large ensemble sections with arias for as many different combinations of singers as possible. With Liliana Nikiteanu attractively contrasted with Bartoli, and thoroughly convincing performances by Roberto Sacca (Ferrando) and Oliver Widmer (Guilelmo), this Così has a freshness and flow which, coupled with the timeless romantic themes, feels very contemporary. On the DVD: the presentation, which includes an interesting 22-minute behind-the-scenes documentary, is spread over two DVDs. There is a multi-language booklet minus libretto, though there is the option to watch with English subtitles. Given the difficult live stage lighting conditions the 16:9 anamorphically enhanced picture is as good as can be expected. There are both stereo and Dolby Digital 5.1 soundtracks, though the latter gives the voices a disconcertingly disembodied character, leaving the former to be preferred. The total running time is approximately 213 minutes, not 275 minutes stated on the packaging. --Gary S Dalkin
Offenbach's operetta La Belle Hélene, which pokes fun at the Parisian upper class of a century and a half ago through tales of ancient Greece, requires a leap of imagination on behalf of today's audience that this production only partly succeeds in reconciling. On musical grounds we're on sure footing. Nikolaus Harnoncourt conducts the chorus and orchestra of the Zurich Opera House with his customary flair for precise and taut rhythms and an appreciation of the composer's wit and the good tunes that are a-plenty. His multi-national cast headed by Vesselina Kasarova as Helen of Troy and Deon van der Walt as her lover Paris are excellent and among the smaller parts there's a lively and stylish performance from Liliana Nichiteanus as Oreste. The video direction by Hartmut Schroder and the superb sound obtained from the relatively intimate Zurich Opera House, a delightful setting for this operetta, are further assets. The production alas is unenlightening and perpetrates an over-the-top style that seems to be synonymous with Offenbach. The backdrop, a pink concave awning is hideous. The costumes by designer Jean-Charles de Castelibajac are silly: Paris is dressed in lederhosen and looks a twerp, Calchac, the high priest wears a Ku Klux Klan hat and Helen at one point looks as though she'll take to absailing. Kasarova suggests the lure of Helen in her voice but a beauty she's not. So it's left to Harnoncourt who joins the company at the curtain call with a twinkle in his eye and a nifty side step and his superb orchestra to remind us what might have been. --Adrian Edwards
Conductor Nikolaus Harnoncourt's approach to Le Nozze di Figaro is certainly historically informed, but both his musical direction and this Zurich Opera production as a whole lack a certain lightness of touch. In such a deliciously comic work it should be permissible to have fun. Harnoncourt's tempos seem rather too conservative; while the low stage lighting keeps the revolving sets shaded in half-shadow for much of the time. The result is a tad claustrophobic, both musically and visually. There are many compensations, however. Though Harnoncourt may be a little over-cautious, what's lost in joie de vivre is gained in clarity and nuance. Similarly, the singers have plenty of space to enunciate and cherish every rolling phrase. Although Carlos Chausson makes an appealing everyman character as Figaro, he and everyone else must perform (sometimes literally) in Rodney Gilfry's domineering shadow. Gilfry's Alamaviva is a swaggering counterpart to his Don Giovanni, with the same almost overwhelming sexual presence and charisma; no wonder, then, that Eva Mei's Countess is so jealous, or that Isabel Rey's Susanna seems genuinely attracted despite her better judgment. The ensemble cast are uniformly delightful and, unusually, are all good actors: when the Count and Countess squabble, Gilfry and Mei really work themselves into a fine passion. The set and costuming are both of indeterminate period: the Count carries a shotgun to shoot Liliana Nikiteanu's errant Cherubino, and there are deckchairs in the garden, but the ladies' costumes are cut to reveal authentically 18th-century heaving bosoms. In all, this is a Figaro distinguished by a strong cast and fine singing, but hampered a little by the staging. An airier alternative is the more traditional Glyndebourne production. On the DVD: Le Nozze di Figaro from Zurich is presented in three vivid sound options: LPCM Stereo, Dolby 5.1 or DTS 5.1. Picture is 16:9. The subtitling is occasionally unnecessarily repetitive (Figaro's "Piano, piano, piano" takes up a big chunk of the screen as: "Not so fast, not so fast, not so fast" and so on) and inadequately proofread ("Forgeive me...Falsce one" [sic]). --Mark Walker
Gioacchino Rossini - Il barbiere di SivigliaA stage performance by the Opera National de Paris
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