Showing posts with label Verdi. Show all posts
Showing posts with label Verdi. Show all posts

Sunday, November 7, 2010

Verdi: Rigoletto [Blu-ray]



  • Nov 07, 2010 17:38:05




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  • Verdi: Rigoletto [Blu-ray] Reviews By Customers
  • This is too brief to be called a review, and I intend to come back with something more substantial. But for the moment.

    We are in a period where directors far too often want to modernize the setting; sometimes it works, other times it is terrible misjudgement. Then there are productions geared to display a star performer. And so often producers/directors forget that if the composer wrote a work in the form of an opera, it was intended to be seen, so the acting, both visual and through the singing, is an important part of the production. This has, in the past, not always been given its due.

    Well in this production, none of these failings are present. First, let me say, a composer wrote his opera for the stage, and that is where it should be performed. This production boasts a cast of uniform excellence, where the beautiful singing of Verdi's great score rates among the very best. But the performers, soloists and chorus have been directed to fully bring out the dramatic aspects as well, i.e., to act as well as sing. Musically, both chorus and orchestra are in top form, under a conductor who has a full grasp of the total perspective of the score, both musically and dramatically.

    Sets and costumes cannot be faulted, and all is enhanced by excellent lighting design. All of this gushing is due to the fact that it is rare to find all the elements of an opera production at such a uniformly high standard and unified so that not one thing stands out and hits you as "not quite right", and nothing emerges above the totality to warrant special praise. There are operas I have reviewed with enthusiasm, but few have created the impression this performance gives (and it isn't even one of my favorite Verdi operas).

    The icing on the cake has been expressed in most of the reviews. If ever you wanted a demonstration disc for your Blu-ray, this is it. Most people are unaware that Blu-ray does not necessarily equate with stunning quality, and there have been Blu-ray releases that were little better than DVD, although this seems to have been a passing phase. But in this release we have Blu-ray at its best: unsurpassed clarity, the greater depth and subtlety of color that is another of the advantages of the format, and sound quality that is an audiophile's dream - and what better production on which to lavish these high standards.

    Please forgive my gushing, but this is a near-perfect release . Watching and listening to it was literally a revelation, and provides a "you are there" experiience if viewed via a good projector on a 100" screen with sound facilities that can do justice to what is on the disc.

    In my planned rewrite, I promise to try and stand back and review this much less emotively.




    Perfection - Glen Kelly - New York City, NY USA
    I've only recently been buying opera on blu-ray, and this is by far the best I've seen. Very often, when one sees contemporary opera on DVD, a viewer finds himself sitting through a "Euro-trash" version of the opera, where the director runs riot, ignoring the original intentions of the composer and librettist, and doing nothing except drawing attention to himself. But here is a Rigoletto that I imagine Verdi would have loved. Combined with exemplary audio and sound, it would be hard to give a higher recommendation to this disc.


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  • Provincial theatre.. - vinokurov - Belarus
    I'm not the most sophisticated fan of Opera. That is why
    my opinion is opinion of amateur.
    I don't like Opera Zurich because it has an ugly and claustrophobic scene.
    I didn't like artists, because they aren't the strongest and aren't
    the most beautiful voices, except for Sparafucile (l. Polgar). He was
    in his place. Orchestra sounds is alive, but it does not matter,
    because the unattractive people awfully sing a quite absurd story at
    ugly scene. Even if it is written by Verdi ...
    I'm glad, if someone love it, but it's not for me.


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  • Friday, August 27, 2010

    Verdi: Aida [Blu-ray]



  • Aug 27, 2010 23:57:05




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  • Verdi: Aida [Blu-ray] Reviews By Customers
  • I was eager to see this production because it is directed by Graham Vick, an opera director whose work I almost always admire. Overall, I liked a lot of his ideas (but then I was disposed to), however, there were also some problems.

    The "lake stage" at Bregenz is a strange venue, and difficult to film properly, I think. The orchestra is actually playing its part in a building nearby, while the singers listen to the orchestral part piped in through speakers and sing into little headset microphones that they wear throughout the performance. Performance starts at dusk and soon it becomes dark enough for the spectacular and very large sets to shine. Because the stage is so huge, directors sometimes put a lot of funny extra stage business all around the margins--which might work in person but is distracting when the video director tries to capture it all. The video director here in this Aida makes the mistake of trying to encompass everything and not going in for enough closer shots (Aida is a human drama after all). I don't want extreme close ups, but a waist length shot once in a while is good. Overall, the camera movement is often incoherent and you can't even really tell where the principles are on the scene sometimes.

    Another important note: the performance is VERY heavily cut. Apparently, festival goers at Bregenz have to get out of the performances by 11:30 (or some time) in order to catch the last city trains and buses, and they don't run very late...so they cut the score for longer operas to fit, and they don't have an intermission.

    The production itself: Giant statue of liberty in ruins...Amneris leads around two men who crawl around on the ground as she holds their leashes, and they have black hoods on like the torture victims in the photographs from Abu Ghraib...There is lots of Abu Ghraib type imagery throughout. Amneris's room at the beginning of Act II is a sort of disco with all of her friends a bunch of rich girls manhandling guys who are prisoners in those black hoods again. The triumphal march is unconventional as well: a group of American (?) soldiers dance with some girls and then break their necks in unison at the end of the dance. One interesting idea is that Radames dies right after the judgement scene, and the final scene is played out on a sort of "boat of the dead" as he and Aida leave the earth; the boat is lifted high into the night sky as they sing their duet. There were some other similarly creative and nice touches to the production, but it was highly political and modern so be warned.

    As far as the singing and acting, it was only okay. Tatiana Serjan and Iano Tamar as Aida and Amneris were really good actresses (when the camera got close enough for us to see), but vocally not really special. The Amonasro was not powerful enough in his voice and his legato was not good enough for this character's big moments. The Radames was kind of a nonentity--not much voice, and not interesting on stage.

    Overall, I am glad I got this because I like Vick's ideas--but it should not be your only version. My other favorites are the Zefferelli production from Busetto with Aldrich/Piper/Aaron--a cast of young unknowns who act and sing very well in a spectacular production (with a smaller orchestra than usual in a very, very small theatre), and the Robert Wilson production from Belgium with Fantini and Berti--strange but moving and effective for me.






    More pain for suffering Aida - Gustav - Rockville, MD United States
    I do not consider myself an ultra conservative opera fan. I enjoy innovative ideas and minimalist staging. I can accept certain liberties from directors who move the original story to alternative contexts. It is not the excess of liberties the worst in this production (and liberties there are at discretion!): it is just the poor quality of the outcome. This production does not suggest new ideas or a different approach to the story of suffering Aida; it is just excentric for the sake of excentricity. I am not advocating for the missing elephants during the triumphal march, but the awful choreography in this production does not add much attractive. I miss the good singing, the good acting, the beautiful staging and even the good dancing. The principals are simply not up to the demands of their roles or their singing is frankly irregular. The use of microphones in an open space may have something to do with this, but in any case we are not in presence of impressive singers. Save your money and go to the very traditional but still unmatched Met production of the 90s (Levine, Zeffirelli, Domingo et al). If you are not a Zeffirelli fan, wait until the Muti production (with Valayre and Cura as principals) is released, if ever.


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