*** This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD or HD DVD players. ***



MORENO TORROBA Luisa Fernanda & • Jesús López-Cobos, cond; Nancy Herrera ( Luisa Fernanda ); Mariola Cantarero ( Duchess Carolina ); José Bros ( Javier Moreno ); Plácido Domingo ( Vidal Hernando ); Raquel Pierotti ( Mariana ); Teatro Real O & Ch • BBC/OPUS ARTE 969 (Blu-ray: 132:00) Live: Madrid 7/14,16/2006


& Interviews with Domingo, Sagi, and López-Cobos; illustrated synopsis; cast gallery


Alan Swanson covered the earlier DVD release of this production in Fanfare 31:2; hie thee to our online archive for details. This is a highly engaging work from 1932 about a love triangle during an anti-royalist uprising in 19th-century Spain; the musical style is Spanish Puccini with even catchier tunes (by which I mean the melodies are built from short, memorable phrases rather than long operatic lines). You need only see and hear Nancy Herrera for a few seconds to think, “What a perfect Carmen she’d be.” Indeed, she has sung that role many times. Here, she’s not a dangerous Gypsy vamp but an ordinary middle-class woman torn between two lovers: a brash, womanizing, ambitious royalist and military man (sung ringingly by José Bros) and an earnest and stable country gentleman who falls in with the rebels (the superb Plácido Domingo, venturing into high baritone territory). In every respect—composition, singing, orchestral management by Jesús López-Cobos, stage direction, and set design by Emilio Sagi, everything—the production is a delight.


The high-definition video format is perfect for keeping the deep blacks and bright whites in balance, never allowing the light colors to flare or bloom or the dark patches to turn the overall picture murky. As usual with Opus Arte, the audio options are limited to stereo and 5.0 PCM. Extras include a narrated synopsis, and good interviews with Domingo and the stage director and conductor. This is an endearing work, lovingly presented.


FANFARE: James Reel
Vidal Hernando – Plácido Domingo
Luisa Fernanda – Nancy Herrera
Javier Moreno – José Bros
Duchess Carolina – Mariola Cantarero
Mariana – Raquel Pierotti
Aníbal – Javier Ferrer
Rosita – Sabina Puértolas
Don Florito Fernández – José Antonio Ferrer
Don Luís Nogales – Federico Gallar
Bizco Porras – David Rubiera
Emilio Sagi, Stage Director
Recorded live at the Teatro Real, Madrid in July 2006
Bonus:
- Interviews with Plácido Domingo, Emilio Sagi and Jesús López Cobos
- Illustrated Synopsis / Cast Gallery

Region code: 0 (All Regions)
Picture: 16:9; 1080i
Sound: PCM 2.0 and 5.1
Subtitles: English, French, German, Spanish, Italian

MOZART Le nozze di Figaro & • Sylvain Cambreling, cond; Peter Mattei (Count Almaviva); Lorenzo Regazzo (Figaro); Heidi Grant Murphy (Susanna); Christine Schäfer (Cherubino); Roland Bracht (Dr. Bartolo); Burkhard Ulrich (Don Basilio); Helene Schneiderman (Marcellina); Eberhard Francesco Lorenz (Don Curzio); Cassandra Berthon (Barbarina); Jürg Kienberger (Recitativist); Op National de Paris O & Ch • OPUS ARTE 6004 (2 DVDs: 250:00 + 59:43) Live: Paris 2006

& Bonus: A Day of Real Madness, documentary by Reiner E. Moritz

This splendid performance of Le nozze di Figaro was originally issued on DVD in 2006, and is here making its reappearance in Opus Arte’s “Essential Opera Collection.” As in the case of the Rigoletto from 2001, reviewed elsewhere, this designation is well deserved. Since this disc was fully reviewed by Christopher Williams in these pages when it was first released, I won’t retread the excellent detail of his review but only make some observations of my own.

First, the production by Christoph Marthaler is whimsical and truly funny. Back in the 1980s, I complained bitterly of Peter Sellars’s ridiculous updating and setting of this opera in a New York penthouse (like the Trump Tower) because so much of what was in the libretto—not only the stage directions, which for better or worse are very explicit because this was based on a play that had equally specific instructions, but also in the words of the recitatives and arias—was either ignored or completely contradicted by his almost consistently asinine setting. Marthaler has set nearly the entire opera in front of a marriage bureau, which has a certain relationship to the subtext of the opera (it is, after all, about marriage, fidelity, and whether or not one should ever marry for convenience or just for love), but even here there are moments, such as the riotous conclusion of act II or the final scene which is supposed to take place in the garden outside the Count’s abode, that just don’t work. Marthaler, in collaboration with conductor Cambreling, has come up with an amusing alternative to playing the secco recitatives on a harpsichord. They have invented a character called the “Recitativist,” a comedian-musician (Jürg Kienberger) who whimsically plays the recitative accompaniment on any number of instruments, including (at one point) a balloon with air escaping from it and, at another, by tooting on beer bottles that he drinks from to continually lower their pitch, sometimes humming along with them. This creates a very funny diversion to these otherwise dull moments, which is fortunate since Cambreling insisted on keeping all of them because they realized that this is where the real drama takes place, that the arias are just moments of reflection that stop the action.

As an overall production I much preferred David McVicar's contemporary staging given at the Royal Opera, Covent Garden. Here, the opera was updated to 1830s post-Revolution France where “the inexorable unraveling of an old order has produced acute feelings of loss.” More to the point, the costumes are closer to the era of Beaumarchais’s play and the stage settings equally funny due to McVicar's sharp wit. The differences lie in the quality of the casts and of the recorded sound. In the Royal Opera video (Opus Arte 990), we are given strong vocal and acting performances by Erwin Schrott (Figaro), Miah Persson (Susanna), the Count (Gerald Finley), and Don Basilio (Philip Langridge). Dorothea Röschmann’s Countess is extremely well acted, but she doesn’t have the steadiest or most beautiful voice for the role, and the singing of our Cherubino (Rinat Shaham), Dr. Bartolo (Jonathan Veira), and Marcellina (Graciela Araya) is substandard. The recorded sound, however, is terrific, the microphone picking up orchestra and soloists with crisp, lifelike fidelity. In this Paris production, every single role from top to bottom is sung splendidly. Williams had a niggling complaint about the fact that Christine Schäfer, the Cherubino, is a soprano, and thus does not add variety to the ensembles but sounds a bit too much like the Susanna and Countess. This is true, but except for the very low notes in “Voi che sapete,” Schäfer sings and acts brilliantly, really looking like an adolescent, sex-drawn boy. My complaints about the cast here are small, mostly of baritone Regazzo as an almost consistently scowling, over-macho Figaro with a gorgeous voice but almost no inflection in his use of it, and of soprano Heidi Grant Murphy as Susanna, who sings beautifully but looks rather dowdy, something like Angela Lansbury in Murder, She Wrote.

More to the point, the sound recording and mix by Radio France is not consistently clear. The microphones seem to be a little high or a bit away from both soloists and orchestra, with the result that everyone sounds a little reverberant most of the time. Once in a while, the principals walk right under the microphone—it seems to have been set up a little to stage left of center—and then sound marvelous, but at moments the sonics are a little off. This is a shame, as Cambreling conducts here a shade better than Antonio Pappano on the Royal Opera DVD, the differences being in the Countess’s two arias. Having played these pieces for a soprano friend of mine many years ago, I can assure you that they are written in cut time, 2/2, and so are not to be performed as slowly as they so often are. Pappano, then, conducts them in the conventional way which is wrong; Cambreling at a brisker pace which is right. Christiane Oelze cannot match Röschmann as an actress, thus her overall presentation (visual as well as aural) is not as strong, but strictly from a singing perspective Oelse’s voice is radiant and exquisite (I have previously described her as having a voice of pure crystal) whereas Röschmann’s is plain-sounding and a bit fluttery.

What makes Marthaler’s conception work is his zany, Marx Brothers-style sense of humor, which (thankfully) is tasteful and never overdone. In brief, this is a great singing and conducting performance set to a clever but not always convincing stage production. An opera like Rossini’s La pietra del paragone benefits from this kind of surreal zaniness because it isn’t really a stage plot that one takes the least bit seriously, but Beaumarchais’s comedy of manners, though requiring some good slapstick moments, needs a bit more structure in order to make sense of it. Therefore I recommend this DVD for its many good points while still preferring the Royal Opera version as a visual representation of the work.

FANFARE: Lynn René Bayley

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Also available on standard DVD

The contemporary face of The Royal Ballet is shown in works from three of today's leading choreographers. Christopher Wheeldon's Within the Golden Hour is based around seven couples separating and intermingling, to music by Vivaldi and Ezio Bosso and lit with the rich colours suggested by sunset. In Flight Pattern, Crystal Pite combines Górecki's haunting “Symphony of Sorrowful Songs” with a large dance ensemble to create a poignant and passionate reflection on migration. Between them, Medusa is new work inspired by the Greek myth, created for The Royal Ballet by the acclaimed choreographer Sidi Larbi Cherkaoui, which juxtaposes Purcell arias with an electronic score by Olga Wojciechowska.

Also available on Blu-ray

The contemporary face of The Royal Ballet is shown in works from three of today's leading choreographers. Christopher Wheeldon's Within the Golden Hour is based around seven couples separating and intermingling, to music by Vivaldi and Ezio Bosso and lit with the rich colours suggested by sunset. In Flight Pattern, Crystal Pite combines Górecki's haunting “Symphony of Sorrowful Songs” with a large dance ensemble to create a poignant and passionate reflection on migration. Between them, Medusa is new work inspired by the Greek myth, created for The Royal Ballet by the acclaimed choreographer Sidi Larbi Cherkaoui, which juxtaposes Purcell arias with an electronic score by Olga Wojciechowska.

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Also available on standard DVD

Mozart’s third venture into the “opera seria” genre, demolished its traditional boundaries to open the way to lyric drama. Blending youthful earnestness with mature mastery, Mozart uses - while profoundly changing - the elements of a genre based on arias that come one after another with no real concern for dramatic progression. The importance and expressive power of the choruses, influenced by the operatic reforms of Gluck, foreshadows The Magic Flute. Idomeneo is often regarded as Mozart’s first masterpiece for the opera house. After the fall of Troy, King Idomeneo can finally dream of returning to his homeland after a long absence, during which his son Idamante ensured the continuity of his reign and guarded Trojan prisoners, including Ilia, King Priam’s daughter. To escape from a terrible storm that is keeping him from reaching Crete, Idomeneo promises Neptune to sacrifice the first living being he encounters upon landing. Unfortunately, it is his own son who greets him in his native land. By offering her own life in exchange for that of Idamante, whom she loves and who loves her, Illia manages to get Neptune to yield and to deliver Idomeneo from his fateful vow. Robert Carsen’s “politically poetic staging” (Opera News), set in present-day Crete, features a first-rate cast including Eric Cutler as Idomeneo, David Portillo as Idamante, Anett Fritsch, as Ilia, Eleonora Buratto, as Elettra, and Benjamin Hulett as Arbace.

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Also available on standard DVD

Mozart’s Singspiel Die Zauberflöte seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflöte a refreshing treatment both thrilling and simple. Following overwhelming stage success, McBurney’s unique production received five-star reviews in the Dutch press: ‘a feast for the eyes and ears’ (Het Parool) and ‘Delicious!’ (Trouw) ‘‘...inventively staged...’’ (Daily Telegraph)

Running time: 156 minutes
Subtitles: English/German/French/Dutch/Japanese/Korean
Picture Format: 1080i High Definition
Sound format: 2.0LPCM + 5.1(5.0) DTS

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Also available on standard DVD

The last days of the American icon Walt Disney form a powerful and poignant subject for Philip Glass's latest opera, which was filmed at its first performances in Madrid in January 2013. Phelim McDermott's spectacular production is worthy of Disney's own visual imagination and its definitive influence on American culture, while in the pit is the conductor Dennis Russell Davies, an experienced and authoritative champion of the composer's hypnotically beautiful music, which gives wings to Rudy Wurlitzer's operatic transformation of Peter Stephan Jungk's novel, using both fact and fiction to peer into Disney's troubled psyche as illness forces him to confront his mortality.

What the press said: ''...one of the crowning events of the past year's globe-trotting celebration of Mr. Glass's 75th birthday.'' The New York Times

Philip Glass
THE PERFECT AMERICAN
(Blu-ray Disc Version)

Walt Disney – Christopher Purves
Roy – David Pittsinger
Dantine – Donald Kaasch
Hazel George – Janis Kelly
Lillian Disney – Marie McLaughlin
Sharon – Sarah Tynan
Diane – Nazan Fikret
Lucy / Josh – Rosie Lomas

The Improbable Skills Ensemble
Madrid Teatro Real Chorus and Orchestra
Dennis Russell Davies, conductor

Phelim McDermott, stage director

Recorded live from the Teatro Real, Madrid, February 2013

Bonus:
- Cast gallery

Picture format: 1080i High Definition
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Japanese, Korean
Running time: 120 mins
No. of Discs: 1 (Blu-ray)

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

This new release from Opus Arte is a live recording from the Glyndebourne Opera House, Lewes, taken in October of 2015, of the first ever professional UK staging of Donizetti’s Poliuto. This masterpiece is rarely performed, but is nevertheless a masterwork that shows the magnanimous genius of this bel canto opera composer. The exhilarating American tenor Michael Fabiano sings the role of Poliuto, and fellow world-class singers Ana Maria Martinez and Igor Golovatenko round out a spectacular cast. “Every now and then the world of opera unearths a forgotten masterpiece […] Poliuto needs at least three world-class singers, and Glyndebourne has them” (What’s on Stage) Extra features include “Passion & Faith: Preparing for a UK premiere” and “Love & Opression: An interview with Mariame Clement.”

Picture Format: 16:9, 1080p HD
Sound Formats: LPCM 2.0, DTS-HD Master Audio 5.1
Region Code: 0 (Worldwide)
Subtitles: English, French, German, Japanese, Korean
Running Time: 117 mins, 15 mins (Bonus)

Written by John Gay in 1728, The Beggar's Opera is widely considered to be the first musical comedy, and one that pre-empted by about 300 years the current vogue for " jukebox " productions, which create a plot to fit around hit songs. Gay took some of the best-known tunes of his day, both classical and popular, and worked them into a savagely satirical tale set amongst London's thieves, pimps and prostitutes. Wildly popular from it's first performance, The Beggar's Opera has been the basis for numerous stage, musical and cinematic adaptations ever since. It explores a cynical world where capitalist greed, crime and social inequality are the norm. Robert Carsen's new take on this classic is indeed "A brilliant tour de force between baroque and modernity" (Liberation).

Internationally acclaimed choreographer Cathy Marston, previously Associate Artist of The Royal Ballet and Director of Bern Ballett, created The Cellist for The Royal Ballet in 2020. The inspiration for her first work for the Royal Opera House Main Stage is the momentous life and career of cellist Jacqueline du Pre - from her discovery of the cello and her celebrity as one of it's most extraordinary players, to her pain, frustration and struggle with multiple sclerosis. Composer Philip Feeney incorporates some of the most moving and powerful music for cello by Elgar, Beethoven, Faure, Mendelssohn, Piatti, Rachmaninoff and Schubert into an exquisite score that is itself an homage to the cello. Jerome Robbins' elegant and elegiac classic, Dances at a Gathering, is the other work in the programme.' pure dance for five couples, set to music by Chopin, is a masterpiece of subtlety and invention."

"Simply the most compelling account of L'Orfeo yet produced...John Mark Ainsley is simply superb as Orfeo..." -- BBC Music Magazine

Claudio Monteverdi
L’ORFEO

Orfeo – John Mark Ainsley
Euridice – Juanita Lascarro
La Messagiera – Brigitte Balleys
Apollo / Pastore II – Russell Smythe
La Musica – David Cordier
La Speranza – Michael Chance
Caronte – Mario Luperi
Proserpina – Bernarda Fink
Plutone / Pastore IV – Dean Robinson
Pastore I / Eco – Jean-Paul Fouchécourt
Pastore III – Douglas Nasrawi
Ninfa – Suzie LeBlanc

Tragicomedia
Concerto Palatino
Stephen Stubbs, conductor

Pierre Audi, stage director
Michael Simon, set designer
Jorge Jara, costume designer
Jean Kalman, lighting designer

Recorded live at Het Muziektheater Amsterdam, July 1997

Picture format: NTSC 16:9
Sound format: LPCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Spanish, Italian, Dutch
Running time: 140 mins
No. of DVDs: 2

Tchaikovsky’s unforgettable score combines with the magical choreography inspired by Lev Ivanov in an atmosphere of fantasy and the supernatural. Hoffmann’s Christmas story unfolds with breathtaking splendour and beauty in the most festive and enduring of all ballets. The Royal Ballet, whose Director, Sir Anthony Dowell, plays Drosselmeyer, is joined by the Orchestra of the Royal Opera House.

Anthony Dowell, Alina Cojocaru, Ivan Putrov, Miyako Yoshida, Jonathan Cope The Orchestra of the Royal Opera House / Evgenii Svetlanov

FORMAT: NTSC; REGION 1 | PICTURE FORMAT: 16:9 | APPROX RUN TIME: 133 MINS | SOUND: DOLBY SURROUND / LPCM STEREO

Extra features include
• The Transformation Revealed Behind-the-scenes secrets of the spectacular Christmas tree scene
• Producer Sir Peter Wright on the production and Sir Anthony Dowell on the role of Herr Drosselmeyer
• Fixed wide shots of the Snowflakes and Transformation scenes

R E V I E W S:

‘...gorgeously staged Nutcracker.’ -- The Guardian

‘…fabulously entertaining. …a deliciously mysterious Herr Drosselmeyer played by Dowell. I plan on returning to this ‘Nutcracker’ many,many times.’ -- The San Francisco Chronicle

‘Peter Wright’s traditional production of The Nutcracker is lovely Christmas stuff, with lots of tutus and tiaras.’ -- The Mail on Sunday

‘Now you don’t have to leave the comfort of your armchair to enjoy one of the most magical productions of recent years whenever you wish – in pin-sharp widescreen with CD-quality Dolby Digital surround sound. …Needless to say, the dancers are top class, the costumes exquisite, the music delightful and the sets as sumptuous as a wedding cake. Enjoy the best that ballet has to offer from the best seat in the house – your own.’ -- HMV Choice

Verdi (1813 - 1901) AIDA

Norma Fantini, Marco Berti, Ildiko Komlosi, Mark Doss, Orlin Anastassov, Guido Jentjens
Symphony Orchestra and Choir of La Monnaie - De Munt
Kazushi Ono

Stage director Robert Wilson

Picture Format : 16:9 Anamorphic (widescreen)
Sound Formats: DTS Surround / LPCM Stereo
Region Code: All regions
Menu languages: English Subtitles: English/French/German/Spanish/Italian
Running Time: 159 mins

Cult director Robert Wilson's highly stylised and intensely dramatic staging brings a Zen-like tranquillity to Verdi's great opera concerning the conflict between individual aspiration, tradition and duty. His visually calm, yet emotionally taut, direction is emphasised by outstanding performances from the cast and the Symphony Orchestra and Choir of la Monnaie - De Munt under the commanding and inspired musical direction of Kazushi Ono. Recorded live at the Royal Opera House (La Monnaie/De Munt) in Brussels, this riveting and painstakingly beautiful production, reminiscent at times of Japanese Noh theatre, offers a new and thought-provoking experience of a masterpiece. Recorded in High Definition and true surround sound.

R E V I E W S

"Wilson’s production of Aida is one of his truly great creations - highly disciplined and utterly convincing. ...The Monnaie’s performance was superb... The outstanding cast had no weak links vocally." -- Phil Ward, Opera

"...the Hungarian mezzo Ildiko Komlosi is a sensational Amneris, a singer of the highest calibre and a born tragédienne. The rest of the cast is equally outstanding... Verdi’s score acquired a chamber-music quality and the subtle instrumental details were lovingly underlined. A stunning production, not to be missed." -- The Bulletin

"...Monnaie orchestra was in tip-top rip-roaring form, brass firm focussed and cutting edge, woodwind, specially the flutes, longbreathed and luminous, strings reaching to top and bottom of their ranges with exemplary certainty and clarity." -- John McCann, Opera

"Amneris is sung by the rivetingly powerful Hungarian mezzo Ildiko Komlosi... Norma Fantini’s vibrant, emotionally confused Aida is sheathed in white... Mr Wilson ... creates a sense of visual calm and continuum that has you looking at the stage as you might contemplate a painting. ... Under his subtle, emotionally taut direction, the singers, chorus and orchestra sounded magnificent." -- The Wall Street Journal Europe

To mark 100 years since the First World War, the Royal Shakespeare Company chose to set this uncommon but apt pairing of two of The Bard's comedies in the era of the Great War. The first of the two is situated in the relatively carefree period a few months before the outbreak of conflict in 1914; the second just after it's end four years later. Although the jury is still out on whether the play more commonly known as Much Ado About Nothing was alternatively titled Love's Labour's Won in Shakespeare's time, the coupling of plays is unquestionably fitting. The characters may be different, but the earlier comedy leaves a number of threads dangling (or labors seemingly lost) at it's conclusion, and it is much the same tensions - interpersonal, philosophical or political - that are shown to exist between other, analogous characters, and that are finally resolved, in the later play. The exquisite acting, ingeniously composed music and accomplished directing of these complementary productions by the company and staff of the RSC bring Shakespeare's comic masterpieces together to create a result both coherent and un-missable.