The Places
The capital of Shaanxi Province, Xi'an, its name translating as 'Western Peace', was the Chinese capital during the Tang dynasty (618-906 A.D.). The Big Wild Goose Pagoda, completed in 704 on the orders of the Empress Wu Zetain during her period of rule as Empress of the Zhou dynasty, soon replaced by the restored Tang, is one of the oldest such structures in China. Of particular interest is the tomb of the Emperor Huang, regarded as the founder of the unified Chinese nation, and the remarkable terracotta warriors and horses discovered around the mausoleum of Qin Shi Huang Di, founder of the Qin dynasty who died in 210 B.C.. The tour ends with vies of the precipitous Huashan (Flower Mountain), so called from its five peaks, groups in the shape of a great flower.

The Music
The music chosen for this tour of Xi'an is played on traditional Chinese instruments. The excerpts include, to accompany the terracotta warriors, a contemporary composition inspired by Zhang Ji's poem 'Night at the Maple Bridge' giving particular prominence to the zhongruan, a form of Chinese lute of ancient origin. Other instruments heard are the Chinese transverse bamboo flute, the dizi, the Chinese plucked zither, the guqin, and the Chinese lute, the pipa. A glimpse of operatic stage performance finds a place for a Shaanxi opera tune, an example of the music to be heard in the many regional forms of Chinese opera.

Picture format: NTSC 16:9
Sound format: Dolby Digital 2.0 / Dolby Digital 5.1 / DTS 5.1
Region code: 0 (worldwide)
Booklet notes: English, Chinese
Running time: 66 mins
No. of DVDs: 1

Rimsky-Korsakov’s The Golden Cockerel (Le Coq d’or) is based on a Pushkin folk tale, but the opera’s Orientalism, comedy and sultry elements go far beyond its original influence. The composer saw in the story of a Tsar, punished for his cowardice and despotism, an opportunity to employ satire to condemn Russia’s autocratic ruler, Nicholas II. This new production premiered in May 2021 and was staged by the Australian director, Barrie Kosky, a specialist in Russian opera. Critics hailed the ‘glorious’ singing of Dmitry Ulyanov and the ‘exquisite’ performance of Nina Minasyan calling the event ‘a triumphant evening for all concerned’ (Bachtrack.com).

REVIEW

Dmitry Ulyanov is simply the best Dodon I have ever seen and heard... His singing is impeccable, sonorous and characterful… The rest of the Russian-speaking cast acquit themselves honourably. There may be a glut of recent Cockerel DVDs out there but this is one that cannot be missed.

--Gramophone

Mieczyslaw Weinberg's powerful Holocaust drama Die Passagierin channels his and his family's ordeals of wartime and Soviet persecution, applying them musically to Zofia Posmysz's autobiographical novel. The score was praised by Shostakovich for it's 'beauty and greatness', with a narrative that unfolds on an ocean liner bound for Brazil on which a former Auschwitz guard and one of her Polish prisoners confront impossible moral conflict and harrowing flashbacks in music that is sparse, dark, sardonic and intermittently tender. This acclaimed Oper Graz production draws us movingly into the raw unimaginable madness of this imperishable moment in history.

Also available on Blu-ray

These two pinnacles of Italian opera, Pagliacci and Cavalleria rusticana have it all – love, infidelity, betrayal, jealousy and murder. Both are classic examples of verismo operas that dramatise the lives of ordinary people: Pagliacci fuelled by the tension between everyday life and the aesthetic world of the stage, Cavalleria rusticana juxtaposing unbridled passion with profound faith. Robert Carsen’s widely acclaimed 2019 production plays a masterful game of theatre-in-theatre, avoiding clichés and calling into question the nature of reality.

Vincenzo Bellini’s first great operatic success I Capuleti e i Montecchi is based on an Italian version of Romeo and Juliet in which the feuding clans seek reconciliation through the wedding of Giulietta and Tebaldo. Giulietta’s lover, Romeo, begs her to elope with him, but fate has other plans for the couple. Topped with the ‘agile coloratura runs and lyrical grace’ (New York Times) of soprano Jessica Pratt, this acclaimed production takes place in the historical and beautifully atmospheric Teatro La Fenice, the same venue in which I Capuleti e i Montecchi had its triumphant premiere in 1830.

REVIEWS:

Ruben Amoretti makes for fierce Capellop and Luca Dall’Amico’s solid bass lends gravitas to Lorenzo. Omer Meir Wellber conducts a sympathetic account of the score, well played by La Fenice’s orchestra.

--Gramophone

Naxos has recently been reaching back into archives from the not too distant past for some of its home video releases of opera. The latest one is this recording of a performance of Bellini’s sixth opera taken from a staging in Venice in 2015. The staging by Arnaud Bernard in most respects observes a traditional interpretation of Felice Romani’s libretto...Bernard achieves some really striking friezes, as seen in the closing tableau for Act Two and a wonderful visual effect for Giulietta’s funeral procession.

Capellio, Giulietta’s father is given an imposing performance by Rubén Amoretti. His bass is strong and solid with an appropriately sepulchral aspect to his tone. His contribution is my choice for the most fearsome Cappellio available.

Vocally [Sonia Ganassi's] mezzo has a fine sheen to it, especially in the upper register where her tone could be described as glowing...[she] gives a fine performance of Romeo. Jessica Pratt’s Giulietta is notable for her polished acting. Her every gesture is in tune with the heroine’s increasingly desperate situation. Her concentration on her character doesn’t lag for an instant, as witnessed her performance of the long opening recitative before “Oh! Quante volte”, in which she presents a singularly riveting, three-dimensional portrait. Platt’s voice is in splendid shape on this occasion, her singing is poised and the tone is always brightly expressive. There is little of the uneven vocal production which sometimes affects her singing. Both stars’ voices meld quite beautifully in their duets and leave nothing to be desired [in] some of Bellini’s most ravishing music.

The chorus and orchestra are in excellent form and respond beautifully to the energetic baton of Omer Meir Wellber. He offers plenty of rhythmic drive but rarely did I sense that the music was rushed, as is so often the case in recent performance practice of early 19^th century operas. The production has some incredibly beautiful costumes from the late Renaissance period and the High-definition camera work does real justice to that aspect of the production.

--MusicWeb International (Mike Parr)

The State Opera is the first film ever made about the Bavarian State Opera, one of the world's oldest, most prestigious and internationally esteemed companies. It charts the course of three operas - Die Meistersinger von N�rnberg, Les Indes galantes and Un ballo in maschera - as they come to life on the stage. We meet some of the great singers, such as Jonas Kaufmann and Anja Harteros, in performance and behind the scenes, as well as artistic directors past and present, and two of the music directors in Kirill Petrenko and his predecessor Zubin Mehta. As both a celebration and an exploration, this entertaining film is a declaration of love for the operatic form.

The focus of Lorenzo Da Ponte’s libretto for Così fan tutte is on female infidelity, two partner-swapping couples and a wager. Its enigmatic ambiguity and lightness of touch, its razor’s edge balance between irony and empathy, detachment and involvement, and on-stage reality and illusion is structured with perfect Classical symmetry. More than any other opera it explores the depths and darker impulses of the experience of love. This production by director Sven-Eric Bechtolf was given in Florence with a staging that ‘holds a balance between philosophy and humour’ (bachtrack.com).

Review:

At last! While we have plenty of filmed productions of Coppélia to watch and enjoy – whether vintage, bang up to date or downright wacky – and a very good one of Sylvia, this new release finally brings the first of Delibes’s three ballets, La source, to a wide audience via Blu-ray and DVD.

The usual explanation for La source’s historical neglect has been that the contribution of Delibes’s co-composer Ludwig Minkus diminished the overall quality of the score. But that suggestion isn’t an adequate one – or even necessarily accurate. In the first place, we need to be clear that “co-composers” doesn’t mean that each of the score’s individual numbers was a sort of high-quality-Delibes-watered-down-by-workmanlike-Minkus hybrid. In fact, the way in which the collaborative process worked was a very practical one – even if we have no idea why it was adopted – with each man allocated responsibility for different parts of the score. Minkus was entrusted with Act 1 and the second scene of Act 3, while Delibes was responsible for Act 2 and Act 3’s first scene. That turned out, in practice, to be a pretty even split, for Minkus ended up providing about 45 minutes worth of music and Delibes penned about 44[.]

It is certainly true that there are differences between the two men’s scores. To some extent, those derive from the mundanely practical point that each composer was writing music for very different sections of the story. Minkus’s focus in Act 1 was on establishing the ballet’s various characters and generally setting the scene, while the finale to Act 3 offered few opportunities as it gave him only six minutes to wrap up the whole drama. Delibes, on the other hand, was tasked with creating the music underpinning the more glamorous jollifications at the khan’s court, which allowed him to concentrate on writing livelier material that was characterised by far more colour, glitter and exotic sensuality.

There is, however, a second and somewhat more fundamental explanation for the perceived contrasts between the two composers’ scores, for Minkus and Delibes had rather different conceptions of what writing music for the ballet actually meant. The former was a composer of the old school who, as Ivor Guest wrote in his booklet essay for the aforementioned Bonynge CD, “specialised in composing music for the ballet, a field not highly regarded in musical circles but which nonetheless demanded a special gift to satisfy the ballet-master’s requirements – to produce melodious numbers for the dances and suitably descriptive passages for the action, and above all to deliver to a deadline”. That has led some critics to perceive Minkus as little more than a hack journeyman who churned out unmemorable material on demand, even though audiences who have come to appreciate the manner in which his skilfully-wrought scores underpin such popular ballets as Don Quixote and La bayadère might beg to differ. In reality, his music was in no way “inferior” to that of the next generation of ballet composers: it simply aimed to achieve a very different - but certainly no less legitimate – musical and dramatic purpose. The first embodiment of that subsequent generation, Delibes himself, was, on the other hand, a composer whose conception of ballet was developing into something rather more ambitious. No less a figure than Tchaikovsky, the originator of the modern “symphonic” style of ballet score, regarded Sylvia as “the first ballet in which the music constitutes not just the main, but the sole interest. What charm, what grace, what melodic, rhythmic and harmonic richness. I was ashamed. If I had known this music earlier, then of course I would not have written Swan Lake”.

It is far too easy, in fact, to assert glibly that any contrasts between the two composers’ contributions are necessarily qualitative in nature. Indeed, when listened to blind and without foreknowledge of who actually composed what, the score of La source – skilfully edited and occasionally augmented here by Marc-Olivier Dupin - actually emerges as a pretty seamless whole.

In reality, there were two other much more significant causes of the ballet’s failure to maintain a long-term place in the repertoire. In the first case, its plot was undeniably involved, and it is notable that the production under consideration omits several of its complicating plotlines. Moreover, the fact that there are no less than three central female figures and that easily confused names were selected for some of the central characters (Naïla/Nouredda, Djémil/Dadjé) does not help. The inconsistency of some of the participants’ on-stage motivations can also be puzzling from time to time – though, in the absence of any other modern production with which to compare it, that may be a feature unique to this particular one.

The second legitimate reason for La source’s relatively rapid descent into obscurity is simply accidental. It successfully maintained its place in the repertoire for a decade and there is no reason to doubt that regular revivals might subsequently have been mounted. However, a disastrous fire in 1873 destroyed the drawings, models and plans on which the original production had been based and, rather than recreate them from scratch, it no doubt seemed easier to ballet impresarios at the time to move on to different projects.

This new Blu-ray/DVD release preserves a new production of the ballet dating from almost 150 years after its premiere. Conservatively choreographed by Jean-Guillaume Bart for the Paris Opera Ballet, it follows the original story’s broad outlines and uses much of the Minkus/Delibes score. Booklet notes author Laure Guilbert is nevertheless at pains to stress that this production is in no way a “reconstruction” of the original but instead has a character and identity of its own. Those last words might be enough to strike fear in the heart of traditionalist ballet fans, but in reality the French choreographer (gushingly described by Ms. Guilbert as a man who “fervently cultivates his attachment to the classical universe… a lover of dance who has transformed [it] into an odyssey throughout the near- and far-flung realms of the art”) is owed a real debt of gratitude for his achievement in returning La source to the stage. There are, it’s true, a few significant problem areas that would have benefited from attention. In the case of the plot, Nouredda’s motivation and reactions as she experiences her character’s trials and tribulations can be somewhat opaque or even downright puzzling. In addition, the stage production itself is visually rather disconcerting. There is, to my own eyes at least, a jarring mismatch between Christian Lacroix’s detailed and often gorgeously elaborate costumes and Éric Ruf’s essentially impressionistic set designs. The latter are highly imaginative and attractive in their own right (especially a set of prominent and exquisitely lit ropes, lowered over the stage from the flies, that represent trees) but they are clearly not intended as any sort of realistic depiction of the settings and that doesn’t gel with the detailed, elaborate and convincingly “realistic” clothing sported by the dancers. Neither element can be described as wrong in itself, but another producer might have chosen to integrate them more effectively.

The quality of the dancing, meanwhile, is generally high, with the women, in particular, demonstrating confident assurance in their own technical skills. Ludmila Pagliero as Naïla performs with delicacy and an appropriate sense of otherworldliness; she presumably impressed not only the theatre audience but the company’s management, too, as within a year of this performance she had been promoted to the top rank of danseuse étoile. Meanwhile, the nature of her role as the princess Nouredda means that the other leading female dancer, Isabelle Ciaravola, tends to spend a disproportionate amount of time on stage looking depressed and generally mopey – although there are also moments, as already noted, when she looks bizarrely happy even though her circumstances are at their worst. If her acting is somewhat questionable, the same cannot be said, however, of Ms. Ciaravola’s dancing which is, invariably, both sensitively and often rather beautifully delivered. Of the men, Karl Paquette combines sheer energy with attention to detail in a winning performance that suffers only from an uncharacteristically drab and featureless costume, little suited, in my opinion, to the hero of a classical ballet. The role of Nouredda’s brother Mozdock, concerned about her only as far as she serves his own political ambitions, is taken by Christophe Duquenne who delivers an effectively villainous turn while leading his energetic and well-drilled soldiers in several lively numbers. Dancing as the elf Zaël, Mathias Heymann is the audience’s favourite as he leaps his way enthusiastically and repeatedly across the stage, creating a genuine character out of his role. The dancer portraying the libidinous khan, Alexis Renaud, makes the most of his opportunities but does not create as much of an impression as the other men. The rest of the company make a very positive contribution, to the extent that I thought that the numbers in which the primary focus was on the corps de ballet were among the most effectively delivered in the whole performance.

On the technical side, I was particularly impressed by the effectively realised stage lighting which has been very well captured on film. The sound, as relayed on this recording, is also more than merely acceptable and allows us to appreciate plenty of felicitous detail from the orchestra, led on this occasion by Koen Kessels who will be known to many as music director of the Royal Ballet. Meanwhile, the experienced François Roussillon’s film direction focuses our attention to everything that we need to see while not distracting us unnecessarily or drawing undue attention to itself.

This is an important release for balletomanes. It is, I think, unlikely that there will be an alternative version of La source any time soon...I repeat, therefore, my original reaction to the release of this new and well-produced Blu-ray disc – at last!
 
Rob Maynard

Also available on Blu-ray

MUSICAL JOURNEY (A) - ROME: Piazzas, Fountains and the Remains of Empire (NTSC) ROME

The Places

Starting from the Pantheon and the Colosseum, our tour takes us to the Forum of Augustus and the Forum of Trajan, the Arch of Constantine and the Capitol, with the later city represented by the Piazza di Spagna, the Trevi Fountain, and the great piazza before St Peter's in Vatican City.

The Music

The music chosen for this tour of Rome is by Franz Liszt, who divided the last 25 years of his life between Rome, Hungary and Weimar, after an early career as a travelling virtuoso, one of the greatest pianists of his time, and a period settled in Weimar as Director of Music Extraordinary to the Grand Duchy. In Rome he took minor orders and developed further his interest in the music of the Church.

Picture format: NTSC 4:3
Sound format: Dolby Digital / DTS Surround
Region code: 0 (worldwide)
Running time: 59 mins
No. of DVDs: 1

Alceste is an idealist and a master of hurtful words, always eager to hold up a mirror to his fellow human beings. But he has finally found his match in the young widow Célimène: As rhetorically gifted as he is, she has no intention of giving in to his whimsies. A delightful and humorous production within a contemporary reduced setting by famous stage director Anne Lenk at the Deutsches Theater Berlin. “Molière’s sparkling wit comes through beautifully.” (New York Times) “An outstanding production.” (Frankfurter Allgemeine Zeitung) “An entertaining evening with grand actors and racy dialogues.” (taz) The production was invited to the Theatertreffen Festival Berlin, 2020.

Also available on Blu-ray

Charles Gounod was enchanted by the young Provençal-born Frédéric Mistral’s epic love poem Mirèio, and enlisted the distinguished Michel Carré to fashion a libretto. Against the grain of prevailing operatic practice in the 1860s, and its promotion of glamour and spectacle, Gounod relished instead the lives of modest country people and their idyllic world. He utilizes folk dances and a shepherd’s lament to chart the story of his tragic heroine whose desire to marry her true love ends in her death. ‘Everything feels true to the opera’s pastoral spirit’ wrote Gramophone about this production, which marked the opera’s first appearance at the Paris Opera.

REVIEW:

Vocally, and visually, the cast is outstanding, the Albanian, soprano, Inva Mula, ravishing vocally and beautiful of countenance, while the American tenor, Charles Castronova, as Vincent and quite young at the time of filming, has a nice ringing tone to the top of his voice. As the respective fathers, who cause so much grief, we have Nicolas Cavailier and Alain Vernhes acting-out their respective roles to perfection. The chorus are excellent, with conductor, Mark Minkowski, obtaining a fulsome orchestral partnership in an ideally painted accompaniment, the whole video—both in sound and visually—is excellent, and one of the best I have seen.

– David's Review Corner (David Denton)

This is an audio-only (i.e., with no video content) Blu-ray disc playable only on Blu-ray players.

Also available on standard CD

George Gershwin fired up the New York music scene with his mélange of alluring tunes and refinement of the jazz vibe. His Strike up the Band Overture opened a flashy broadway hit and, inspired by a train ride, the composer heard his masterpiece Rhapsody in Blue as a “musical kaleidoscope of America”. Promenade was reconstructed from a 1937 film score, and Catfish Row was Gershwin’s concert suite from the opera Porgy and Bess. Acclaimed as a “bold, gutsy performance with plenty of pizzazz” and with “impressive brilliance and depth”, JoAnn Falletta’s previous Gershwin volume can be found on 8.559705 or Blu-ray NBD0025.

Also available on Blu-ray

A political prisoner awaits death in his cell. A woman puts herself in mortal danger to seek justice. With its atmosphere of revolution and tale of devotional romance and a dramatic rescue from captivity, Pierre Gaveaux’s Léonore, ou L’Amour conjugal was the direct forerunner to Beethoven’s Fidelio. Having been entirely overshadowed by its famous successor and lain hidden for centuries, this both darkly somber and entertainingly celebratory opéra comique is seen here in an acclaimed modern premiere whose timeless and inspiring story of female heroism and political injustice is as relevant today as ever. The Washington Post wrote of this production: “Opera Lafayette’s smart, efficient production brought the brief opera comique fully to life with vivid playing and singing… events such as this… are a rarity anywhere and a gift...”

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

Also available on standard DVD

André Messager’s Fortunio premiered in 1907 at the Opéra Comique, where it received acclaim that was to last decades. One of the last composers to devote his entire career to opera and operetta, Messager exemplified in his music a feeling for dramatic pacing and the spirit of the Belle Époque, qualities that permeate Fortunio, a comédie lyrique in which the dialogue in the libretto is given a continuous musical setting. Taking Alfred de Musset’s play Le Chandelier as his source, Messager explores upper-class society at the turn of the 19th century with subtlety of characterization and a thoroughly French orchestral transparency. This production directed by Denis Podalydes features Cyrille Dubois in the title role, alongside soprano Anne-Catherine Gillet, and baritone Franck Leguerinel, among others.