Bizet: Carmen (Zeffirelli)
The Vienna State Opera's 1986 production of La Gioconda, Amilcare Ponchielli's only lasting success, was an increasingly rare event. The story--based on a long forgotten Victor Hugo drama--is an emotional roller coaster of high passion and self-sacrifice, but has fallen out of favour with the major international opera companies; instead, Ponchielli's contemporary Verdi and one-time pupil Puccini are today's guaranteed crowd-pullers. This is a shame. Ponchielli's score might be sumptuous to the point of occasional over-ripeness but it contains some marvellous arias, not least Enzo's "Cielo e mar". And whenever La Gioconda herself is on stage, it's hard not become enthralled by the richness of her suffering as painted by Ponchielli's lush, explosive music. Here is a woman who is given every opportunity to ensure the removal of her rival (Laura) for Enzo's affections, but who always does the decent thing, ultimately leaving herself with a stark choice between suicide and the repulsive paws of the evil Barnaba who has pursued her since Act I. As La Gioconda, Hungarian soprano Eva Marton is utterly compelling. It's a role that places extraordinary emotional demands on the singer (Callas, not surprisingly, had a field day with it). Marton maintains total credibility. In voice, she is well matched by Placido Domingo's Enzo, who is at the virile peak of his vocal powers, rather suggesting a strength that the suggestible Enzo doesn't really possess. But perhaps the strongest aspect of Ponchielli's opera is the way in which the vocal jewels are distributed throughout the cast. Ludmilla Schemtschuk is an elegant Laura and Margarita Lilowa as La Gioconda's blind mother, La Cieca, sings an unforgettable "Voce di donna o d'angelo". And the ballet within the opera, the "Dance of the Hours", assumes its rightful place as a gleaming component of the whole work. On the DVD: Originally filmed for television, this La Gioconda is presented in PCM Stereo with 4:3 picture format, neither of which do the overall quality any favours. The sound is uneven; when the singers turn upstage it is sometimes impossible to hear what they are singing and the orchestra, conducted by Adam Fischer, sounds dull. The colours are muted. And while the booklet provides the customary comprehensive notes we have come to expect from Arthaus products, it is surprising that the cover photograph is not of the magnificent Eva Marton in the title role.--Piers Ford
Hans Werner Henze: L'UpupaUnd der Triumph der SohnesliebeEin deutsches Lustspiel in elf Tableaux aus dem ArabischenRecorded live at the Kleines Festspielhaus Salzburg 12-26 August 2003.
The bleakness of Berg's operatic masterpiece Wozzeck is relatively easy to bring off: the plot, after all, tells of a man who is bullied, cuckolded and mocked by the society around him. What are harder to realise are the gallows humour and pitch-black comedy--and it's those qualities, along with the brilliant acting and edge-of-seat orchestral playing, that make this 1987 Vienna Staatsoper staging a stunning televisual operatic production. Everything works: the simple yet evocative sets translate effortlessly to the small screen, the pacing of the 15 short scenes is worthy of a Hollywood blockbuster and the singing is beautifully focussed. Baritone Franz Grundheber is vocally and dramatically outstanding as Wozzeck, cringing and shuffling around the stage in a bewildered hang-dog manner and yet never losing sight of the character's humanity. Hildegard Behrens (Marie) has rarely sounded better, and switches between Straussian lushness and spiky sluttishness with ease. The direction is also full of wonderful touches, such as Wozzeck squeezing the Captain's nose while he's shaving him (and making his voice sound like a kazoo), and the musicians of the on-stage band being fully integrated into the tavern scene. Ironic, emotionally rich, musically faultless--this one's got it all. On the DVD: the production works beautifully on DVD, and bar one or two moments in the second tavern scene (Act 3, Scene 3) the voices rarely move out of microphone range. There are subtitles in English, German, French and Spanish and four trailers for other Arthaus DVD operas, but no other special features. --Warwick Thomson
Modest Mussorgsky's opera 'Khovanshchina' performed by the Vienna State Opera and Chorus and the Slovak Philharmonic Chorus from Bratislava; conducted by Claudio Abbado.
Riccardo Muti and an outstanding cast of singers were joined by the Vienna State Opera ensemble in a spirited and time-travelling interpretation of the eternal myth of Don Giovanni.
A 2005 production of Massenet's opera which tells the tragic story of Werther's intense passion for Charlotte who has married his best friend Albert fulfilling a pledge to her now deceased mother. But Werther's letters of love bring Charlotte to his side when he promises to take his own life. Philippe Jordan conducts the Vienna State Opera Orchestra.
Puccini's 'Turandot' as directed by David Pountney. His production is based on the idea of fear of civilisation: the fear that the fatal combination of rapid technological progress gradually spinning out of control and inhuman political systems poses a fundamental threat to all human values.
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