Luciano Pavarotti -"Pavarotti: The Lost Concert - Live at Llangollen 1995" [Blu-ray] Marking the 40th anniversary of winning a singing competition as part of a choir from his hometown of Modena in 1955, Luciano Pavarotti returns to North Wales to give a special gala concert at the 1995 Llangollen International Musical Eisteddfod. Joining him that evening is the BBC Philharmonic, the modern-day Corale Gioachino Rossini, Modena and, for the finale, Japanese soprano Atzuko Kawahara. The program combines popular operatic arias & choruses, Neapolitan songs, one of Pavarotti's own compositions, orchestral overtures & interludes, and a special duet for the finale. The final moments of an unforgettable event are made even more emotional by the singer's departing words. "You don't know what this is for me, what it is for me to try to concentrate for myself tonight, in what I am doing, with my music - while a million of memories come to my mind. For forty years, I was looking for this day... thank you for the beautiful night that you gave to me." Blu-ray with 20-page booklet.
This exciting Dynamic DVD features the complete recording of the critically acclaimed concert given by International superstars Franco Corelli and Renata Tebaldi at the NHK Auditorium in Tokyo on 21st November 1973. This concert includes no less than five encores.
This two-disc set documents the revival of Peter Gelb's inaugural production of Puccini's Madama Butterfly at New York's Metropolitan Opera House, telecast in Times Square and in the plaza at Lincoln Center to the delight of thousands when it was brand new in 2006. It is exquisitely designed by Michael Levine and directed by the late film auteur Anthony Minghella. Since the director's death, his widow and the show's choreographer, Carolyn Choa, has been responsible for the stunning, evocative action. This performance was filmed in high-definition in March 2009.
Highly stylized and in bold, brilliant colors, our first visual is of a young Japanese woman approaching from the rear or the stage, trailing twenty-foot-long red scarves from her kimono; a sloping mirror rises from the rear of the stage multiplying the image and turning it into a kaleidoscopic event. Figures in black wearing veils — a repeated image throughout — circle her and wrap her in fabric. Only then does Puccini's music begin. The entire experience is practically tactile, and the rest of the production follows suit. Han Feng's costumes constantly surprise and please and Peter Mumford's lighting, making the most of the mirror that appears and disappears throughout, adds to the all-consuming physical enchantment. Butterfly enters wearing white against a sky of brilliant blue; her love duet with Pinkerton takes place amidst dozens of white lanterns and their reflections; later, curtains of flower petals fall from the sky. The stage is almost invariably empty of props; color and action take their place and we can focus on the singers. Minghella has minimized the singers' actions as well; there is no over-emoting. The sad story is allowed to speak for itself.
But Minghella's true coup-de-théâtre begins in the second act, when Butterfly, in her confrontation with Sharpless, shows him the child she has borne Pinkerton. The boy is played by a Bunraku puppet, operated by three veiled men in black. Yes, it startles and amuses at first, but as the opera continues we grow accustomed to it. The puppet is so effortlessly manipulated that even if our disbelief is never truly suspended, we are captivated by how real he seems and how touchingly Butterfly relates to him — and him to her. Look carefully at the face and you'll realize that it is emotionless; take a longer view and you'll feel that he's real. In the interlude before the last scene, a puppet Butterfly and male dancer enact the couple's upcoming tragic meeting. It is performed while the actual cast sits perfectly still; the effect is enchanting and troubling at once.
Patricia Racette's Butterfly is magnificent. Her full-bodied voice is imbued with a warm vibrato and her phrasing is natural and sharply musical. But just as crucially, she listens and reacts like a young girl and her movements are economical; her face registers her inner feelings — a remarkable portrayal. Marcello Giordani sings and plays Pinkerton with handsome tone and intelligence; his early swagger is offset by the realization of what he's done in the final scene. Dwayne Croft's Sharpless is sympathetic and Maria Zifchak's Suzuki is grandly sung and well-acted: her silent reaction to Cio-Cio-San's conversion to Christianity speaks volumes. Patrick Summers leads with intensity and great understanding.
Both sound and picture are splendid, as is Gary Halvorson's direction for the screen.
– Robert Levine, Listen [Spring 2011]
"In every dimension Ms. Racette’s effort was exceptional; hers is a performance not to be missed." – The New York Times
"Anthony Minghella’s sumptuous production of Madama Butterfly, Giacomo Puccini’s heartbreaking tale of love and betrayal, offers viewers a rare visual treat...Minghella, who died unexpectedly in March 2008, marks his debut in opera with the re-staging of Madama Butterfly – this is also the first time in 20 years that a new production has opened at the Met. The New York Times described it as “a gorgeous cinematic spectacle.”...Madama Butterfly, conducted by Patrick Summers, features costumes by Han Feng, with sets by Michael Levine, lighting by Peter Mumford, choreography by Carolyn Choa, and puppetry by the Blind Summit Theater." – PBS.org
Patricia Racette as Cio-Cio-San, Marcello Giordani as American Navy Lieutenant B. F. Pinkerton, Maria Zifchak as Suzuki and Dwayne Croft as Sharpless. Patrick Summers conducts the Metropolitan Opera and Chorus.
Ten years after his death, the Paris Opera Ballet payed homage to the American choreographer who considered the Paris Opera as his second home after New York City Ballet. The three pieces performed here illustrate not only the diversity of the choreographer's repertoire and sources of inspiration, but also his love of music and his all-embracing attitude to the performing arts. Jerome Robbins brought new energy to classical dance, introducing 20th century urban rhythms, confirming its status as a modern entertainment form and instilling it with the interrogations of contemporary theatre. En Sol, set to Maurice Ravel's Concerto en sol, follows no particular narrative line or dramatic effect. Echoing the music's jazzy invitations and light-heartedly copying Broadway style, this is a light and joyous piece for two soloists and an ensemble. It provided Jerome Robbins with an opportunity to reveal the relaxed, fluid feel so emblematic of his style.
In the Night and The Concert are two tributes to Frederic Chopin, each in a different register. Seeking to free the composer from the commonplaces that have often belittled his music, Robbins transforms Les Nocturnes into In the Night, a long and poetic pas de deux built like a metaphor of love in all its states. The Concert joins the ranks of the few comic ballets in the history of dance. Taking as its point of departure images inspired by some of Chopin’s more fancifully entitled scores, Jerome Robbins' piano recital is a comic plea for the cause of human vulnerability.
The fact that, at the very same period, he was contributing to the renewal of the musical by bringing a tragic side to his West Side Story, only underlines his insatiable thirst for originality and his immense talent for freely combining genres and styles. Lastly, Benjamin Millepied, who made his dance debut with Robbins in New York, dedicates his second creation for the Paris Opera Ballet, Triade, to the choreographer. "Dance is composed of human relations", Robbins used to say. A worthy heir to his master, Benjamin Millepied matches this credo through a fruitful dialogue with composer Nico Muhly.
Note: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.
Franz Léhar THE MERRY WIDOW (Sung in English) (Blu-ray Disc Version)
Anna Glawari – Yvonne Kenny Count Danilo Danilovitch – Bo Skovhus Valencienne – Angelika Kirchschlager Camille de Rosillon – Gregory Turay Baron Mirko Zeta – Carlo Hartmann Vicomte Cascada – Curtis Sullivan Raoul de St. Brioche – Jonathan Boyd Kromow – Bob Amaral Olga – Marnie Breckenridge Pritschitch – William Saetre Praskowia – Jayne Taini Bogdanovitch – Peter Strummer Sylviane – Colleen McGrath Njegus – Elijah Chester Zozo – Janice Lynde Maître d’hôtel – Matt Logan
San Francisco Opera Ballet San Francisco Opera Chorus San Francisco Opera Orchestra Erich Kunzel, conductor
Lotfi Mansouri, stage director
Recorded live at the War Memorial Opera House, San Francisco on 8 December 2001.
Bonus: - Illustrated synopsis and cast gallery - Impressions - Lotfi Mansouri, Yvonne Kenny, Bo Skovhus, Angelika Kirchschlager and Gregory Turay discuss The Merry Widow.
Picture format: 1080i High Definition Sound format: DTS-HD Master Audio 2.0 and 4.0 Region code: 0 (worldwide) Menu language: English Subtitles: French, German, Spanish Running time: 189 mins No. of DVDs: 1 (BD 50)
Ercole – Luca Pisaroni Iole – Veronica Cangemi Giunone – Anna Bonitatibus Illo – Jeremy Ovenden Deianira – Anna Maria Panzarella Licco – Marlin Miller Nettuno / Tevere / Spirit of Eutyro – Umberto Chiummo Bellezza / Venere – Wilke te Brummelstroete Cinzia / Pasitea / Spirit of Clerica – Johannette Zomer Mercurio / Spirit of Laomedonte – Mark Tucker A Page / Spirit of Bussiride – Tim Mead
Netherlands Opera Chorus Concerto Köln Ivor Bolton, conductor
David Alden, stage director
Recorded live from the Het Muziektheater, 2009.
Bonus: - Illustrated synopsis. - Cast gallery. - Behind the scenes with Johanette Zomer. - Behind the scenes with Luca Pisaroni. - The making of Ercole Amante.
Picture format: NTSC 16:9 Sound format: PCM Stereo and 5.0 Region code: 0 (worldwide) Subtitles: English, French, German, Spanish, Italian, Dutch No. of DVDs: 2
This release is a delight, a relay from Covent Garden which was, as far as I’m aware, broadcast live into cinemas last December. It features their current production which has been doing the rounds since the early 1970s, here revived by the original director himself. Copley’s production is traditional and beautiful, its chief concern being to tell the story directly. In December 2009 some criticised it for looking a little worn and shabby. Don’t believe a word of it! In the close-up of the screen it looks neat, fresh and as good as new, every piece of furniture and inch of set design serving the purpose of the drama nicely. The garret is well designed on two levels so that the most intimate action takes place closest to the audience, away from the busyness of the entries and exits. The Barrière d’Enfer looks beautiful with its warm looking tavern and gently falling snow. The Cafe Momus is uncrowded and easy on the eye, though the action in the street outside seems rather cramped. Costumes and sets place us firmly in Paris in the 1830s and there is nothing to detract from the basic narrative. Some might find this unimaginative, but there is a lot to be said for telling a story well and this is certainly one production (or, by extension, DVD) to which I would happily take a newcomer to opera.
The cast of singers are all young up-and-comings, but they are all the better for that. Bohème is all about the energy of youth and the excitement of young love, and this cast all look the part as well as sounding great. Hibla Gerzmava is a lovely Mimi, lyrical and vulnerable with a very beautiful voice: she is at her best during the parting duet of Act 3. Teodor Illincai is a very fine Rodolfo with a great ring to his voice and lots of youthful ardour. Strangely, though, Che gelida manina is probably the weakest point of his performance as he attacks from below the note – a shame as the top of his voice is thrilling. Inna Dukach is a characterful Musetta, her bright, slightly sharp soprano contrasting well with Gerzmava’s. Viviani is a warm, likeable Marcello, powerful in Acts 2 and 3 and very moving in the duet at the start of Act 4. Kostas Smorginias is of rather pale voice until the Raincoat aria which he sings with strength, and Jacques Imbrailo’s Schaunard is lovely of presence and voice. Benoit and Alcindoro are acted well by two stalwarts who love every minute of it.
Like his cast, conductor Andris Nelsons brings youth, vigour and energy to this ever-young score. The pulse of the first Act is infectious and the great crashes that begin and end Act 3 are razor-sharp. The orchestra play this most familiar of scores as if it were the only performance they would ever give, enthusiasm and virtuosity coming through in every bar. They are helped in this by production values of the highest order: the DTS sound, in particular, is outstandingly clear and well-separated without drawing attention to itself. The picture is also crystal-clear and the camera-work is effective and entirely non-intrusive.
Opus Arte’s usual high standards are maintained in the presentation and title menus, and there are brief interviews with Nelsons and Copley about the production. There are many Bohèmes available on DVD, but this one is as recommendable as any, and it feels good to be able to say this about such a home-grown product. Covent Garden have kept this production for so long because it works so well, and I think that anyone with this DVD in their collection would feel the same way.
J Regions: All regions Picture Format: 1080i High Definition / 16:9 Sound Type: 2.0 LPCM & 5.1 DTS Surround Subtitles: English, French, German, Spanish, Italian
Rodolfo: Teodor Ilincai Mimì: Hibla Gerzmava Marcello: Gabriele Viviani Musetta: Inna Dukach Colline: Kostas Smoriginas Schaunard: Jacques Imbrailo Benoit: Jeremy White Alcindoro: Donald Maxwell Royal Opera Chorus Orchestra of the Royal Opera House Conductor: Andris Nelsons Director: John Copley
Recorded live at the Royal Opera House, Covent Garden, London, in December 2009
Extra features: Cast gallery Interview with Jonathan Copley Interview with Andris Nelsons
Puccini: La Bohème / Lopez-Cobos, Mula, Machado [Blu-ray]
Opus Arte
Blu-Ray
$39.99Aug 26, 2008
*** This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD or HD DVD players. ***
Picture Format: 1080i High Definition, NTSC 16:9 Anamorphic Sound Format: 2.0 and 5.0 PCM audio Region Code: 0 (All Regions) Menu Language: English Subtitles: English, French, German, Spanish, Italian Running Time: 149 mins No. of Discs: 1 (Blu-ray)
John Pascoe, director, set & costume designer. Sara Erde, choreographer.
NTSC All Region Sound: LPCM 2.0; Dolby Digital 5.1 Color Aspect Ratio: 16:9 Duration: 136 mins. Subtitled in Italian, English, German & French
Singers of great renown were called upon for the first performance of Ercole sul Termodonte by Antonio Vivaldi in Rome, “in the hall of Signor Federico Capranica”, on 27th January 1723. An exclusively male singing cast, as was the custom on Roman stages, to tell the tale of the battle between Hercules, accompanied by the heroes Theseus, Telamon and Alceste, and the Amazons led by Antiope. The story, which is based on the ninth of the legendary labours of Hercules, and which concludes with the traditional happy ending here decreed by Diana, who proclaims the nuptial unions of Hippolyte, Antiope’s sister, (with Theseus, prince of Athens) and of Martesia, Antiope’s daughter (with Telamon, king of Ithaca), was arranged by the “regular canon of La Carità of Venice” Don Giacomo Francesco Bussani, on a libretto that had already been performed in 1678 at the San Salvatore theatre in Venice. The opera was successful, winning appreciation and at the same time astonishment , through its introduction of many passages written in a new “manner”, with an exciting, incisive rhythmic gait. This style so excited the Romans that from then on they demanded it almost exclusively in melodramas.
After the success of 1723, however, Ercole did not circulate widely and at a certain point the score was thought to have been lost. It has only recently been reassembled thanks to the precious rediscovery of some thirty arias and two duets in various archives, and has been reconstructed in its recitative passages. Arias and recitatives are indeed the traditional dramatic pillars supporting the dénouement of the story. The recitatives are generally “secco”, recreated along Vivaldian principles of expressivity and flexibility to accentuate the quality of the individual verses and respecting the general tone of the discourse. The orchestra, however, is present, punctually and in elaborate manner, not only in the more dramatic moments but also in the bucolic, descriptive arias, and stands in the service of the voice to accentuate onomatopoeic effects and to offer clearer depictions of the characters and the feelings that drive them. Now in his twenty-second opera score, Vivaldi brings into play all the technical means at his disposal to render the story comprehensible and to present the state of mind of the individual characters. The main desire of the “red priest” was to proceed smoothly, following the expressive substance of the verses, using shifting melodic invention to set the various scenic moments against a ceaseless search for lively collaboration between voices and instruments and a skilled use of harmonies and of a fanciful search for colors. The final “product”, based though it was on the structures of Neapolitan opera, thus emerges as something unique and personal.
Paisiello: Il Barbiere Di Siviglia / Di Stefano, Guadagnini, Donzelli
Bongiovanni
DVD
$35.99Jan 01, 2009
GIOVANNI PAISIELLO: Mirko Guadagnini; Donata Di Gioia; Sgefania Donzelli; Maurizio Lo Piccolo; Paolo Bordogna; Camillo Facchino; Graziano De Pace; Robert Recchia; Orchestra da Camera del Giovanni Paisiello Festival/Giovanni Di Stefano; Rosetta Cucchi, director; Live recording: No GIOVANNI PAISIELLO: Il Barbiere di Siviglia, drama buffo in due (quattro) atti.
Orchestra Sinfonica Carlo Coccia Fabrizio Dorsi/Rosetta Cucchi, directors
NTSC All Region; Stereo, Dolby 5.1 Subtitles: Italian, English, Japanese Running time: 85 minutes
ARRIGHETTO, A SENTIMENTAL FARCE Madama Beritola, finding two goats on an island, having lost two sons goes to the Lunigiana: there one of her sons is with her Master and he sleeps with his daughter and is put in prison. Cicilia rebelling against king Carlo and the son recognized by the mother, marries the Master’s daughter, and finding his brother, in grand style they return. (Giovanni Boccaccio, Decameron, second day, sixth novella). Thus begins the Story of the novella from which Angelo Anelli tells us he took his libretto. It is the eternal edifying topos He who suffers may hope. Often in the past this Lombard poet as others before him had considered Boccaccio’s novelle as a mine from which to “extract subjects” in alternative to the noble French theatre, at the time much in vogue for this use. Suffice one title as example: Griselda, an oppressed married woman whose virtue finally triumphs over fate, taken from Apostolo Zeno but rewritten by Anelli in 1793. Obviously the story is semi-serious, even larmoyante, a genre halfway between tragic, comic and pathetic which at that time had become a favorite with audiences. It is precisely what the author so eloquently wrote down on the title page of the score: a “sentimental farce”.
Donizetti: Rita, Ou Le Mari Battu / Scimone, Opera Royal De Wallonie
Dynamic
DVD
$36.99Jan 29, 2013
The thorny subject of marital violence is set against a hilarious backdrop in this one-act farce where, contrary to what we are used to seeing in opera, tenor and baritone do their best to free themselves of the female protagonist, to whom both are married. No doubt, Gaspar's aria on the joys of chastising one's wife in the way she deserves causes a few raised eyebrows nowadays, but the funny side is genuine and the music brilliant, making of this forgotten little opera a true gem. Donizetti composed Rita, ou Le mari battu, which would be staged posthumously at the Opera-comique on 7th May 1860, with Caroline Lefebvre as protagonist. The concise story of the waspish innkeeper Rita, her husband Peppe and first husband Gaspare, the latter believed dead in a shipwreck, unrolls in a single act, effectively divided into eight closed numbers: one aria for each singer, three duets, one trio and the finale. The apex of this delightful divertissement, both from the point of view of the action and the music, is the duet where the two men rival each other, albeit in a way that is diametrically opposed to what we are used to seeing on an operatic stage: instead of contending for the female protagonist, like all respectable tenors and baritones in love, they gamble her away, both desperately trying to lose. The writing is that of a consummate composer, flowing and refined. Characters are portrayed with terse effectiveness, situations never trespass into the grotesque. The result is a perfect balance of all elements, which makes of Rita a small but significant example of Donizetti's musical experience in the 1840s, an experience that can truly be called European.
Featuring: Conductor: Claudio Scimone Orchestre de l'Opera de Wallonie Stage Director: Stefano Mazzonis di Pralafera Scenes: Jean-Guy Lecat Costume Designer: Fernand Ruiz Choreographer: Antonaeta Alexieva Rita - Priscille Laplace Peppe - Aldo Caputo Gaspar - Alberto Rinaldi Opera Royal de Wallonie, 2010
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