It is an oft-repeated saw, about life in the heavenly spheres, that the angels revere Bach but listen to Mozart. If they have DVD players, you can bet theyre now watching this stunning production of Le Nozze di Figaro ("The Marriage of Figaro"), which comes about as close to Mozartian perfection as one could possibly hope to get. The faultlessly cast youthful performers bubble with infectious energy. Alison Hagley is a sprightly Susanna with a voice as clear as a bell, and brilliantly matched by a 28-year-old Bryn Terfel both acting and sounding in fine form. Hillevi Martinpelto demonstrates why she is one of the worlds favourite Mozart singers with her melting tones, richly coloured voice and generous stage presence, and Rodney Gilfry gives a muscular, wonderfully controlled performance as the Count. Olivier Milles direction mixes knockabout comedy and restrained pathos with fluid inventiveness, and there are even--heavens, can this really be an opera?--quite a few belly laughs, and deliciously amusing details. (Susannas guitar playing during Cherubinos "Voi che sapete" is a comic delight, and Figaros hidden sneers at Count Almaviva are hilarious.) John Eliot Gardiner draws exquisite playing from his authentic-instrument orchestra and employs tempos that are ideal. Add to that gorgeous 18th-century costumes and effective sets--it doesnt get much better than this. On the DVD: the production is beautifully realised for home viewing, with clear sound (the sets are simple wooden panels, which continually and flatteringly push the sound to the front) and great camera direction. There are subtitles in Italian, English, French, German, Spanish and Chinese but no other special features.--Warwick Thompson
Recorded Live from the Zurich Opera House 2004Based on the comedy L'Attache d'ambassade by Henri Meilhac.
A performance of Mozart's 'Cosi Fan Tutte' performed by the Monteverdi Choir and the English Baroque Soloists. Conducted by John Eliot Gardiner.
'Andr� Previn at 80! It scarcely seems credible. This is the man who won 4 Oscars almost 50 years ago, and still maintains a full conducting, playing and composing schedule, each discipline of which would exhaust a man half his age. And he really is a phenomenal pianist, a conductor of profound insights, and a composer of considerable tonal originality. I once asked him how many songs he had written. After much hesitation, he told me he couldn't really remember. And that was not modesty; he j...
In this Zurich Opera House staging of Mozarts darkly comic cautionary fable Don Giovanni the lighting and stage design keep the characters shaded in half-shadow: even Zerlinas wedding feels like a subdued affair here, and the Dons banqueting room is a suitably gloomy venue for the Stone Guests climactic visit for a spot of dinner and damnation. Both this staging and video director Brian Larges filming play no tricks with the audiences 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 Bartolis extremely ripe vibrato contrasts a little uncomfortably with Harnoncourts authenticity. Liliana Nikiteanu makes for a pretty, naïve Zerlina, convincingly torn between her Masetto (Oliver Widmer) and the animalistic attraction of the Don. Laszlo Polgars Leporello is wheedling and base, but still the inheritor of his masters charisma; Isabel Rey and Roberto Sacca are solid as the colourless moralists Anna and Ottavio; while Matti Salminens powerful Commendatore isnt 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. Theres 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
André Previn's first opera, A Streetcar Named Desire, is an intelligent adaptation of Tennessee Williams' play, written to be performed by two very strong principals. Renée Fleming's performance as Blanche Dubois is one of the best things she has done, full of a dangerous bravado and a vulnerability that wins us despite our irritation. The role is one which gives her voice ample opportunity both for extended displays of controlled, passionate singing and for those moments when singing by itself is enough and the voice has to break off in sorrow or madness. Rodney Gilfrey as Stanley Kowalski is equally fine--his voice has the right dangerous energy. In the important subsidiary roles of Stella and Mitch, Elizabeth Futral and Anthony Dean Griffey are also remarkable. Futral in particular gives a total performance in which we forget to make a distinction between her acting and her singing. The opera itself is, as you would expect, one of the most accessible new scores to arrive on the opera stage for some years, drawing heavily on the legacy of jazz and with that nervous musical intensity we associate with the play. Previn conducts the San Francisco Opera Orchestra effectively. A complete CD recording with the same cast is also available.On the DVD: The DVD comes with menus in English, French, German and Spanish and sub-titles in French and German. It is presented in 4:3 ratio and with PCM stereo sound. The booklet gives a moderately interesting account of the opera's genesis. --Roz Kaveney
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
A performance of Gluck's 1774 opera which is based on Greek legend. Recorded live at the Zurich Opera House in 2001. William Christie conducts. Also a documentary 'Gluck - The Reformer' by Reiner E. Moritz. The psychological drama in a tense atmosphere of violated blood ties fears and traumas is underlined by Guth's use of huge masks and enclosed spaces.
A wonderful array of stars including Rodney Gilfry Isabel Rey and Laszlo Polgar is assembled for this production of Debussy's only finished full-length opera. This production was created by the German actor and stage director Sven-Eric Bechtolf who belongs to the most celebrated stage actors in Germany Switzerland and Austria.
This unique boxset a collaboration between Arthaus and TDK presents four great Mozart operas from the Zurich Opera House with some of the world's top artists. Featuring: Le Nozze Do Figaro Don Giovanni Cosi Fan Tutti Die Zauberflote
Live recording from The Zurich Opera House 2004
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