"Actor: Liliana Nikiteanu"

• Johann Strauss: Simplicius -- Zurich Opera/Welser-Most | DVD | (21/02/2003) from £6.07   |  Saving you £18.92 (311.70%)   |  RRP £24.99

  This is a superb performance of excellent, long-forgotten music. Simplicius was lost for more than a century, but when it was recovered (including a few patches for missing parts), the Zurich Opera House welcomed it back with a production worthy of a historic event. Johann Strauss II, like most comic geniuses, had a lifelong wish to produce something deeply serious. Parts of Simplicius come close to that goal, but then a delectable tune in 3/4 time pops up and we are back in the realm of the waltz king, enjoying it all the more because of the contrast. In both styles, the music is wonderful and Franz Welser-Most conducts with exactly the right touch. The absurdist set designs of Johann Engels and the stage direction of David Pountney sometimes call Hieronymus Bosch to mind. This production puts detailed plot summaries on the screen during the overture and at other strategic point--a good idea because the plot is complicated and slightly absurd. It is set during the Thirty Years War and is full of hidden identities, unreasonable rules and sudden plot twists. Besides various tangled love pairings, and the idiocies of war, the plot centres on the figure of Simplicius, a holy simpleton like Candide or Parsifal, and his comic encounters with the realities of love and war. The story is full of colourful characters, all sung and acted with distinction. Michael Volle is a hermit who has raised his son Simplicius (Martin Zysset) in isolation from humanity until, at age 20, he is abducted by soldiers and comes into contact with reality. Other vivid performances are given by Rolf Haunstein as a rather absurd general, Elizabeth Magnuson as his silly daughter, Oliver Widmer as an astrologer, and Louise Martini as Schnappslotte, who sells liquor to the soldiers. Martina Jankova steals the show as her daughter Tilly, and Liliana Nikiteanu makes much of a small role as a Swedish spy. --Joe McLellan

• CECILIA BARTOLI/HANDEL: SEMELE | DVD | (12/05/2009) from £18.23   |  Saving you £1.76 (8.80%)   |  RRP £19.99

• Mozart: Don Giovanni -- Zurich/Harnoncourt | DVD | (12/03/2002) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £29.99

  In this Zurich Opera House staging of Mozart’s darkly comic cautionary fable Don Giovanni the lighting and stage design keep the characters shaded in half-shadow: even Zerlina’s wedding feels like a subdued affair here, and the Don’s banqueting room is a suitably gloomy venue for the Stone Guest’s climactic visit for a spot of dinner and damnation. Both this staging and video director Brian Large’s filming play no tricks with the audience’s expectations, opting for a largely traditional presentation of this tragedy of swaggering bravado, cuckolded lovers and revenge from beyond the grave. Nikolaus Harnoncourt brings all the sensitivity of his historically informed approach to the orchestra pit. Heading a very strong cast are Rodney Gilfry, defiantly strong-voiced but also haughtily handsome as the seducing Don, and Cecilia Bartoli, a mercurial presence as Donna Elvira. Their scenes together crackle and fizz, even when Bartoli’s extremely ripe vibrato contrasts a little uncomfortably with Harnoncourt’s authenticity. Liliana Nikiteanu makes for a pretty, naïve Zerlina, convincingly torn between her Masetto (Oliver Widmer) and the animalistic attraction of the Don. Laszlo Polgar’s Leporello is wheedling and base, but still the inheritor of his master’s charisma; Isabel Rey and Roberto Sacca are solid as the colourless moralists Anna and Ottavio; while Matti Salminen’s powerful Commendatore isn’t expected to do anything more than stand still and declaim. Overall this is an excellent musical performance, unexceptionally staged. On the DVD: Don Giovanni on disc has a good 24-minute "Behind the Scenes" feature, including interviews with Cecilia Bartoli, Harnoncourt, Gilfry and Isabel Rey. There’s also a trailer for other ArtHaus releases. The 16:9 picture sometimes struggles to bring definition to the dimly lit sets; sound though is crisp and clean PCM stereo or Dolby 5.1. There are subtitles in five languages. --Mark Walker

• Mozart: La Finta Giardiniera | Blu Ray | (27/04/2009) from £21.95   |  Saving you £8.04 (26.80%)   |  RRP £29.99

  Finta Giardiniera (La)

• Mozart: La Clemenza di Tito | DVD | (19/02/2007) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £13.99

  The opera La Clemenza di Tito was composed only a few months before Mozart's death. As this period of his life is not particularly well-documented there are many legends surrounding this composition - some say that it was composed in just 18 days! This production is unique because the secco-recitatives proven to not be Mozart's own are not up to the standard of the main musical numbers and Franz Welser-Mst decided to replace them with abridged spoken dialogue. The Opernhaus Zrich has aimed to look forward with this production and fuel discussions about the possibilities of modern Clemenza performances. Director Jonathan Miller was inspired by Tolstoi and Tchechov and the Flemish painters for this production. They gave the appropriate down to earth feel which he wanted to achieve. Jonas Kaufmann has sung all of the great Mozartian tenor roles so his excellent Titus rounds up his repertoire extremely well.

• Mozart: Cosi fan tutte | DVD | (30/06/2001) from £N/A   |  Saving you £N/A (N/A%)   |  RRP £29.99

  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: La Belle Helene -- Zurich/Harnoncourt | DVD | (25/09/2000) from £34.31   |  Saving you £-9.32 (N/A%)   |  RRP £24.99

  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