TORVALDO E DORLISKA

Sara Mingardo, Ruth Rosique and Atonio Abete lead the cast in this premiere recording of Handel's opera from Turin's Teatro Carignano in 2009. Davide Livermore, the director, makes this 2009 production both enjoyable and interesting to watch. It has been recorded in the newly restored and beautiful Teatro Carignano in Turin and features Sara Mingardo, Ruth Rosique and Atonio Abete in the leading roles. Based on the well-known mythological story narrated by Ovid in the Metamorphoses, this is a classical tale of jealousy and love. The giant Polyphemus tries to force his attention on the fair sea-nymph Galatea, who is in love with the shepherd Aci. When mad jealousy drives Polyphemus to kill his rival, Galatea asks her father Nereus to turn Aci�s blood into a river so that, flowing into the sea, he will join her forevermore. Directed by Davide Livermore, Matteo Ricchetti. Starring Ruth Rosique, Antonio Abete, Cristina Banchetti. Language: Italian Subtitles: English, Italian, German, French, Spanish

ERNANI

UMBERTO GIORDANO Giuseppe Altomore; Fabio Andreotti; Patrizia Cigna; Francesco Facini; Maria Scogna; Coro Lirico "Umberto Giordano di Foggia"; Orchestra Sinfonica di Capitanata/Gianna Fratta; Live: Teatro Umberto Giorano di Foggia, January 2006; NTSC All Region; Stereo; DD 5.1 UMBERTO GIORDANO: Il Re.

ALESSANDRO SCARLATTI (1660 – 1725)
Il Pastor di Corinto, Opera pastorale in tre atti (1701)

Bruna Tredicine, soprano; Anna Carbonera, soprano; Cristina Cappellini, soprano; Caterina Novak, mezzo; Carlo Putelli, tenor; Roberta De Nicola, soprano buffo; Massimo Di Stefano, bass buffo

Romabarocca Ensemble/Lorenzo Tozzi

Tito Schipa, Jr., stage director
Adriana Ruvolo, costumes; Luigi Stefano Cannelli, design

Recorded: Auditorio di San Francesco a Bolsena, August 16 & 17, 2007 NTSC All Region; 16:9; 5.1; Approx. 140 mins. Subtitled in Italian, English

Starring Antonio de Gobbi, Alberto Gazale, Francesco Demuro.

This comic opera tells the story of Geronimo, a wealthy citizen of Bologna, who is trying to arrange aristocratic marriages for his two daughters, Carolina and Elisetta. What he doesn�t know is that his youngest daughter Carolina is already secretly married to Paolino, his young secretary. Through a series of humorous situations the young couple confess their marriage and all ends well. Giovanni Antonini conducts the Wallonie Royal Opera Orchestra for this performance of Cimarosa's two-act comic opera 'Il Matrimonio Segreto' ('The Clandestine Wedding'), recorded live at Liege in February 2008. Soloists include Cinzia Forte, Priscille Laplace and Damiana Pinti. Directed by Stefano Mazzonis Di Pralafera. Starring Cinzia Forte, Alberto Rinaldi, Damiana Pinti. Language: Italian Subtitles: English, German, French, Italian, Spanish

JULES MASSENET: Michelle Breedt; Patrizia Ciofi; Carmela Remigio; Teresa di Bari; Alessandra Palomba; Giorgio Surian; Nicola Ebau; Bruno Lazzaretti; Riccardo Novaro; Emenuele Giannino; George Mosley; AlessandroPerucca; Orchestra & Chorus del Teaatro Lirico di Cagliari/Emmanu JULES MASSENET: Cherubin.

CARL MARIA VON WEBER: Elena Prokina, soprano; JOlana Fogasova, soprano; Yikun chung, tenor; Andreas Scheibner, bass-baritone; Orchestra e Coro del Teatro Lirico di Cagliari/Gerard Korsten; 169 mins; NTSC; Subtitles in Italian, English, German, French, Spanish; DTS, Dolby Digital 5+ CARL MARIA VON WEBER: Euryanthe (Sung in German).

RICHARD STRAUSS: June Anderson; Roberta Sacca; Scott Mac Allister; Daniel Lewis Williams; Birgit Remmer; Orchestra e Coro del Teatro La Fenice di Venezia/Stefan Anton Reck; Paul Curran, director; NTSC All Region; DTS 5.1; PCM Stereo 2.0; Color; 16:9; 114 mins; Subtitled in Ita RICHARD STRAUSS: Daphne.

GIOACHINO ROSSINI: Lorenzo Regazzo; Fedrico Lepre; Carmen Giannatasio; Maxim Mironov; Anna Rita Gemmabella; Nicola Marchesini; Teatro La Fenice di Venzia/Caludio Scimone; NTSC All Region; dolby Digital; DTS, Linear PCM 2.0; color; 16:9; Aprox. 174 mins. GIOACHINO ROSSINI: Maometto Secondo.

All Regions | NTSC | Dolby Digital 5.1, DTS, PCM Stereo 2.0 | Colour | 16:9 | 137 min.

In recent years not only music festivals but also important opera theatres have turned their attention towards the neglected masterpieces of the lyrical repertoire. Thus also Venice’s Teatro La Fenice, in a commendable effort, staged this Pia de’ Tolomei by Donizetti, with some of the best singers available today for this type of repertoire. Initial response to this opera, which was performed for the first time in 1837, was ambiguous, so much so that Donizetti re-worked it as many as three times. The version here recorded is that of the critical edition recently published by Ricordi, with the tragic finale originally conceived by the composer. The listener will undoubtedly wonder, once more, at Donizetti’s wealth of melodic inspiration, especially when it comes to the character of Pia, wonderfully interpreted, here, by Patrizia Ciofi. Subtitles in 7 languages.

First DVD recording
First recording of the new critical edition

R E V I E W:

A work far better than its reputation, an attractive production, splendid singing and acting.

Donizetti composed Pia de’ Tolomei during the summer and autumn of 1836 in Naples, where he was living at the time. In December he set out for Venice, where the premiere was planned for February the next year at the Teatro La Fenice He travelled via Livorno and Genoa but when he arrived in Genoa he was met by the news that the theatre had been destroyed by fire on the night of 12/13 December. He realized that there was a great risk that the premiere would be jeopardized. However the production was moved to Teatro Apollo and the premiere took place on 18 February 1837 as planned. Fanny Persiani, who had been the first Lucia di Lammermoor a couple of years earlier, took the title role. The opera was not an immediate success and Donizetti reworked it twice. The second time was for Naples in 1838, where the censors enforced important changes and a happy ending. The present production is based on the critical edition published by Ricordi, where the original tragic finale is restored.

History often repeats itself and on 29 January 1996 Teatro La Fenice was again destroyed by fire. After seven years of intense reconstruction work a Phoenix arose from the ashes. Its inauguration took place on 14 December 2003, almost to the day 167 years after that first disaster. When Pia de’ Tolomei was scheduled less than 1½ years later the performances were carried through without mishap and the result can be seen and heard on this wholly attractive set of DVDs.

“Why is it attractive? I’ve read that this is one the worst of Donizetti’s operas.” I can hear more than one jaded opera-freak’s distrustful grumble. Yes, I have read that too and I wasn’t all that hopeful when I started viewing. Things began badly by mistake I started playing the second disc first and ended up hopelessly at sea. “What has happened before and why don’t we know that?” was my reaction. I shouldn’t blame Dynamic but since the disc I put in my player was in its usual place on the right-hand side of the opened box and to the left was the booklet, I didn’t even notice the admittedly very large 2 on the label. Unfortunately disc 1 was obscured by the booklet. However, when starting from the beginning, I found the plot and layout fully comprehensible – which is not always the case with these more obscure operatic byways. The origin of the story is to be found in a few lines in Dante’s Divina Commedia and according to some scholars they refer to events in the poet’s own time, taking place in 1297. A poem on the subject had been published in 1822 and in April 1836 a play by Giacinto Bianco was staged in Naples. Donizetti must have known it and been inspired by it. His librettist Salvadore Cammarano was no mean author – no one can deny the dramatic qualities of Lucia di Lammermoor. This drama unfolds with few digressions from the main story in what is certainly a clear-cut libretto.

The plot goes along these lines: Ghino is in love with Pia but she is married to Nello, his cousin, and turns him down. In revenge he informs Nello that Pia is going to have a secret meeting with a lover. Her visitor is however her brother Rodrigo, who has just escaped from captivity. Rodrigo manages to escape Nello’s guards but Pia refuses to tell her husband who the visitor was and is condemned to imprisonment for life in his castle. Ghino visits her there and promises to set her free if she becomes his. She tells him who the visitor was and Ghino decides to tell Nello the truth. On his way he is attacked and mortally wounded. He manages to tell Nello about Pia’s innocence and Nello rushes to the castle to save her, since he has ordered Ubaldo to poison her. He arrives too late but before she dies Pia reconciles her brother to her husband. OK, this may not be a masterpiece of a story or a libretto but there are standard works that are not one iota better.

Secondly the music is fully worthy of the drama. Rarely in Donizetti’s operas is everything perfect. This was his 61st opera in twenty years – if we include often far-reaching revisions of some works. There was little time for him to go back and tidy up details. In most of his works he tends to lapse into clichés. That said, it is remarkable how often he avoids the temptation; how frequently he finds new expressions, new structures. In Pia de’ Tolomei he has long abandoned the recitative-aria-recitative pattern and builds long, continuous scenes – not seamless as later Verdi but still pointing forward to his brilliant successor. He is stuck in the aria-cabaletta pattern, rather along the same lines as middle period Verdi. In addition he far too often builds the cabalettas and other numbers on the almost mechanical rum-ti-tum rhythm with which we are also well acquainted from early and middle Verdi. But it really doesn’t matter as long as it is captivating – and very often with Donizetti it is. The opening chorus of act 2 – the first thing I heard in my reverse-order listening – is one stirring example. Rodrigo, a trouser role, has a rousing cabaletta in the dungeon scene in act 1 and in the same act there is a fine cabaletta duet for tenor and baritone that should be a splendid recital item. More original are Pia’s big solos which make her a close relative to the likewise ill-fated Lucia di Lammermoor. Technically this role requires the same amount of florid singing and sensitive pianissimo singing and it should be an attractive role for any good lyric-dramatic soprano. The leading tenor also has a couple of vocally and dramatically attractive arias. Then there is a beautiful duet for Pia and her brother Rodrigo – for soprano and mezzo-soprano – accompanied by plucked strings.

Thirdly the production is visually pleasing. The sets are of the modern-minimalist kind, with strict geometrical constructions and evocative lighting. Sometimes screens with texts are inserted. The costumes are timelessly-historical, if you can accept the contradiction in terms. The soldiers’ armoury could be anything from late 13th century to the Thirty Years’ War while Pia’s nightdress could be from the latest issue of Vogue. The grouping of the soldiers in the mass-scenes is also decorative though hardly based on dramatic necessity.

Fourthly the singing and acting of the principals is uniformly at the highest level. It has been a long time since I saw a DVD production with such high quality singing even from the comprimarios. Patrizia Ciofi’s Pia is ravishingly sung, deeply felt and convincingly acted. She seems in a state of mental disturbance from the very outset - an innocent victim. Technically speaking she is brilliant with fluent coloratura and the gift of delicate embellishments. Dario Schmunck is a lyrical and ardent Ghino – a singer I eagerly look forward to hearing again. His acting may be rather reticent but is still efficient. Andrew Schroeder is a powerful and dramatic Nello and sings with glowing tone. Laura Polverelli’s Rodrigo is also a character not to be taken lightly. In the smaller parts Carlo Cigni, sporting a magnificent basso cantante, is surely predestined for a grand career. The chorus have a lot to do, especially the male soldiery. They are vivid and powerful but not always the most homogenous of ensembles. The orchestra play well and Paolo Arrivabeni is obviously deeply inspired by this long neglected score.

Is it a forgotten masterpiece? Maybe not but it is far better than some works regularly performed and should not be returned to the archives for the eternal sleep. If it is, the Teatro La Fenice forces have seen to it that it will not be totally forgotten and opera lovers with a taste for the unusual should hasten to acquire this set. Technically this set is fully worthy of the occasion. There is a good booklet and subtitles are available in seven languages.

A work that is far better than its reputation, in an attractive production with splendid singing and acting. Should be snapped up by all opera lovers with a feeling for the unusual.

-- Göran Forsling, MusicWeb International

Recorded at the Théâtre des Champs-Elysées in June 2004, this Marriage of Figaro was unanimously acclaimed by public and critics alike as a Mozart opera landmark. Director Jean-Louis Martinoty brings an elegantly intelligent narrative sense to an interpretation in which the protagonists, against a backdrop of magnificent canvases of 18th-century inspiration, are dressed by Sylvie de Segonzac in a palette in which every shade is perfect. Hans Schavernoch's set suggests an elitist society that is coming apart at the seams. René Jacobs conducting of the Concerto Köln is meticulous and perfectly balanced, offering a ravishing use of tonal colour and orchestral dynamics. A veteran Almaviva, the excellent Pietro Spagnoli plays opposite Annette Dasch's beauteous Countesss. As Figaro and Susanna, Luca Pisaroni and Rosemary Joshua are a truly sparkling couple, while mezzo Angelika Kirchschlager embodies the most divine troubling of Cherubino.

Classical Music

The Places - Vienna was already an ancient Celtic town called Vindobona when around 15 BC the Romans fortified it with a military camp. The town prospered and grew, undergoing considerable further development under the Emperor Marcus Aurelius, who died there in AD 180. In later times Vienna assumed the greatest importance as the capital of the Habsburg Empire and as a bulwark defending Western Europe from invasion from the East, although it failed to repel Napoleon, who occupied the city twice in the first decade of the 19th century. The Music; the eldest son of Johann Strauss I, the younger Johann Strauss was born in 1825, the year in which his father established his popular dance orchestra. The father intended other professions for his sons, but in 1844, two years after his father had abandoned his wife in favor of his mistress, the younger Strauss set up his own orchestra, an enterprise in which he later compelled his younger brothers, Joseph and Eduard, to share. In 1863 Strauss was appointed Imperial Music Director for the balls held at court, a position he held until 1871, when he was succeeded by his brother Eduard. He then began writing a series of operettas, including in 1874 the best known of all, Die Fledermaus. He died in 1899 after a busy and successful career, having composed some five hundred pieces of music; Waltzes, Polkas, Marches, Quadrilles and Stage works.

Laurent PETITGIRARD (b. 1950)

Joseph Merrick, The Elephant Man

Elephant Man - Jana Sykorova
Doctor Treves - Nicolas Rivenq
Tom Norman, showman - Robert Breault
Mary, nurse - Valérie Condoluci
Eva Lükes, matron - Elsa Maurus
Carr Gomm, hospital manager - Nicolas Courjal
The Coloratura - Magali Léger
Jimmy, showman's assistant - Mari Laurila-Lili
Nice Opera Chorus · Nice Philharmonic Orchestra
Conducted by Laurent Petitgirard

DVD 9 · NTSC · Regions 1-6
Picture Format: 16:9
Audio Formats: Dolby Digital 2.0 · Dolby Digital 5.1
Subtitles: English · French · German
Running time: 166 mins

Written in 1998, Petitgirard's opera differs from David Lynch's cult film in offering an entirely different perspective on the tale of Joseph Merrick, born in 1863 with horrific deformities, exhibited as a freak at the circus, taken in by Dr. Treves at the London Hospital and subsequently afforded celebrity status. Where the film is based largely on Dr. Treves' memoirs, the opera is based on biographies of Joseph Merrick giving his character a more central focus than in the film.

"The opera is many ways the most original treatment of the story... The most revolutionary aspect of the opera is the writing of Merrick's part for a female singer. At first tempted to make Merrick a counter-tenor, Petitgirard finally decided that only the contralto voice could give him the effects he wanted. Certainly, in the theatre, this helps to create the aura of strangeness, of otherness, which Merrick personifies." -- The Independent "Petitgirard's musical vocabulary reflects his French heritage - the influences of Fauré, Ravel, Poulenc and Satie are evident - but his subtlety, melodic gift and sensitivity to the drama make him well-equipped to inherit the mantle and create his own outstandingly original idiom... No doubt [the opera] would prove even more powerful onstage than on disc." -- Opera News

DONIZETTI Gemma di Vergy • Roberto Rizzi Brignoli, cond; Maria Agresta ( Gemma ); Gregory Kunde ( Tamas ); Mario Cassi ( Conte di Vergy ); Leonardo Galazzi ( Guido ); Kremena Dilcheva ( Ida) ; Dario Russo ( Rolando ); Bergamo Musica Festival Gaetano Donizetti O & Ch • BONGIOVANNI 20024 (DVD: 140:00) Live: Bergamo 2011


I certainly applaud the Donizetti Festival in Bergamo for staging a rare production of their namesake composer’s Gemma di Vergy , as seen here from the festival’s 2011 season. Pretty much neglected by opera companies in the modern age since it was championed by Montserrat Caballé in the mid-1970s, Gemma contains some little heard and quite entertaining music by composer Donizetti that deserves wider exposure. Of course Caballé, as was her wont, was not singing Donizetti’s version, but her own, with simplified and smoothed-over vocal lines replacing much of the composer’s bel canto fioratura. The Spanish diva sang the title role well enough in that style, but none of her recordings are, at least in my opinion, a truly satisfactory representation of the original opera.


The story itself, like Bellini’s Beatrice di Tenda and Donizetti’s earlier Anna Bolena , tells of an aristocratic wife (here a Countess) repudiated by a husband because she has not borne an heir. The locale is France in the final years of the 100 Years’ War during the victorious ascendancy of Joan of Arc. It is instructive to note that all of these sanctimonious gents wishing to move on from barren marriages seem to have a comely lass waiting in the wings, more than ready to take up conjugal duties. Unlike Beatrice or Anna, Gemma does not go quietly or nobly into the night. She is more into the cat-fighting mode, trying to kill her new rival, the lady Ida de Gréville, and inadvertently inciting her faithful Saracen retainer Tamas (secretly in love with her) to kill the Count. Gemma spurns this rather extreme act of devotion (those crazy Saracens!) and Tamas kills himself rather than be taken by the count’s loyal followers. In fact, the opera ends quite unhappily for everyone, but in a welter of melodious, engaging music.


The Bergamo sets are simple yet effective. Painted risers and some props come and go, along with a gorgeous blue stained-glass backdrop with medieval themes. Traditional costumes are finely detailed and rich-looking, probably much too fine for war-ravaged France, but an operatic excess I can easily live with. It is when the action and singing begins on stage that the warning lights begin to go off. In fact, there is very little action, period, and what does occur seems rather amateurishly staged. The singers mostly stand and sing, and like Caballé, they don’t really do bel canto . That particular style of singing was losing cachet by 1834 when this opera premiered, but in modified form it was still central to Donizetti’s work. The lack of that type of expertise from this cast is disappointing. Young soprano Maria Agresta sings quite passionately in the demanding title role (Caballé said it was more difficult than singing three Norma s) but her voice spreads rather unpleasantly in higher register. Neither bass Leonardo Galeazzi as Guido, the Count’s retainer, nor baritone Mario Cassi as the Count really have enough voice fully to command their roles. Cassi, although good-looking in the part, could benefit from some acting lessons. The best singer seen here turns out to be veteran American tenor Gregory Kunde in the role of Saracen Tamas. Kunde’s voice occasionally displays a bit of the ravages of a long career, but he still possesses a ringing tenor top and generally turns in a fine performance. The Festival chorus is given little to do, but they sing quite satisfactorily and the orchestra is led in some brisk pacing by Maestro Roberto Rizzi Brignoli.


This is the first Bongiovanni DVD I have seen. The label’s video capture of the stage production uses pretty straightforward basic camerawork but looks professionally rendered. Sound is fine in stereo with no surround option available. Subtitle choices are limited to Italian, English, and Japanese. To my mind, despite a sincere effort here, poor Gemma is still looking for a good representative recording of her opera. This Bergamo DVD will serve to replace the Caballé discs as a place-holder until something better comes along.


FANFARE: Bill White

Classical Music

Federico Moreno Torroba - LUISA FERNANDA

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

Chorus & Orchestra of the Teatro Real
(Madrid Symphony Orchestra & Chorus)
Jesús López Cobos, Conductor

Emilio Sagi, Stage Director

Recorded live at the Teatro Real, Madrid in July 2006

Bonus Material:
Interviews with Plácido Domingo, Emilio Sagi and Jesús López Cobos / Illustrated Synopsis / Cast Gallery

Picture format: NTSC 16:9 Anamorphic
Sound format: DTS Surround / LPCM Stereo
Region code: 0 (All Regions)
Menu Language: English
Subtitles: English, French, German, Spanish, Italian
Running time: 105 minutes
No. of DVDs: 1

* Plácido Domingo heads an internationally renowned cast in Emilio Sagi's stylish new production for Madrid's Teatro Real of Moreno Torroba's enduring Zarzuela, whose story itself is set in the Spanish capital. Filmed using High Definition cameras and recorded in true surround sound. Jesus Lopez Cobos conducts the Chorus & Orchestra of the Teatro Real.

R E V I E W S

"The production at the Teatro Real in Madrid was a top-of-the- range version… Vidal is a peach of a role for Domingo: his voice easily commands its baritone range and he dominates the action, convincingly heroic in voice and figure and still able to project a greying virility in the style of Sean Connery. Nancy Herrara as Luisa and Jose Bros as Javier gave fine support." -- The Independent

"Luisa Fernanda is a fantastic addition to Opus Arte’s already very impressive catalog of classical releases. Aside from the small lighting issue, which I addressed in my technical analysis, this is just about a perfect disc. I am definitely looking forward to more Spanish music being released on Blu-ray. I hope Manuel de Falla isn’t too far behind. Very Highly Recommended." -- Dr Svet Atanasov, Blu-ray.com [April 2009]

"Luisa Fernanda deserves to be better known and appreciated. Hopefully this excellent BD performance will help foster that appreciation. Beautifully played and sung, and with a striking physical production, this is zarzuela at its finest. Highly recommended." -- Jeffrey Kauffman, DVD Talk [June 2009]

R E V I E W:



VERDI La Traviata • Antonio Pappano, cond; Renée Fleming ( Violetta ); Joseph Calleja ( Alfredo ); Thomas Hampson ( Germont ); Royal Op House Ch & O • OPUS ARTE OA 1040 D (DVD); OA BD7076 D (Blu-ray: 154:00) Live: Covent Garden 6/27 & 30/2009


Back in Fanfare 34:1 I reviewed the recent DVD of La traviata with Angela Gheorghiu, Ramón Vargas, Roberto Frontali, and Lorin Maazel at La Scala. To summarize that briefly, my verdict was: excellent staging, superlative Gheorghiu, good Vargas and Maazel, hapless Frontali and comprimario singers. I also provided an extensive overview of other versions of the opera on DVD; all are flawed, but the best alternatives are the 1968 film version on VAI with Anna Moffo, Franco Bonisolli, Gino Bechi, and Giuseppe Patané; a 1972 Tokyo staging starring Renata Scotto, José Carreras, Sesto Bruscantini, and Nino Verchi, also on VAI; and the 2006 Los Angeles Opera production on Decca with Renée Fleming, Rolando Villazón, Renato Bruson, and James Conlon. Opus Arte now brings us a new version with Renée Fleming, and while it too is not without its flaws, it joins the aforementioned entries in the top rank of La traviata performances on video.


At the risk of seeming like a gaggle of geese nibbling this DVD to death, I will state up front that this version of the opera is carried by a few great strengths over multiple secondary weaknesses. The strengths are easy to state: All the principal roles are securely sung, a top-notch conductor is on the podium, and the staging is sensible. In particular, Joseph Calleja is one of the greatest Alfredos ever to record the role. While not ideally handsome and dashing in physical appearance, he has the ringing tenor voice, secure technique, heartbreaking plangency of timbre, and interpretive imagination for the ideal Alfredo. Every time he opens his mouth, you simply don’t want him to close it again. He is also an effective actor whose facial expressions, postures, and gestures harmonize with his singing.


After Calleja, however, the “yes, but” element of this review enters in for everyone and everything else, beginning with the Violetta of Renée Fleming. Doubtless she is a very good Violetta, and superior to many rivals, but I do not think she is a truly great one. Compared to her Los Angeles performance from three years earlier, her interpretation is considerably deeper but her vocal technique (particularly in “Sempre libera”) is more labored and the sound less creamy. Thankfully, she does far less of the distracting grimacing and bizarre grinning than before, though sometimes it still intrudes (someone needs to tell her to rehearse in front of a mirror). However, my greater concern is that her acting is too calculated and external to the character rather than indwelling it; she expends too much energy portraying, rather than being, Violetta. The gestures and movements all seem too self-conscious; instead of just picking up a champagne bottle, or flitting a handkerchief, or sitting down in a chair, one can almost see her thinking, “Now I’m supposed to pick up the champagne bottle,” “Now I should flit my handkerchief,” “Now I should sit down in this chair.” Again, I would prefer to emphasize the real improvement in her characterization in just three years, but this dimension is present and it does matter.


Next there is the Germont of Thomas Hampson. The good news is that he is in steady and secure voice here—not always the case recently—which is more than can be said for much of his painfully superannuated competition. The less than ideal news is that, in order to keep the voice steady, he constantly forces it so that every syllable is pushed out at a forte with a hard, unyielding tone that limits him to a single mode of expression, one of preemptive sternness. His acting and facial gestures are similarly limited and wooden; when Violetta pleads for his fatherly embrace he remains stock-still and ignores her, and displays equal unconcern for his son at “Di Provenza il mar.” In an unintentionally comic sartorial aspect, the light green piping on his brown suit unavoidably conjures up a chocolate sundae with mint drizzle icing, while his stiff posture and lumbering gait in an over-padded full-length fur coat keep bringing to mind actor Fred Gwynne (aka Herman Munster). Again, I don’t want these smaller details to override the fact that Hampson’s Germont trumps that of many lesser singers, but again they are present and do matter.


The rest can be summarized more briefly. One always expects fine Verdi conducting when Antonio Pappano is in the pit, and so it proves here; but this time he seems a bit too deferential to his singers and the performance lacks the extra frisson found in his very best interpretations, and I actually find myself preferring Maazel overall despite his occasional eccentricities. The comprimario singers are uniformly excellent to a rare degree—every one of them could easily be singing a principal role in a major opera instead—and the deft stage direction makes their momentary interactions contribute far more to the cogency of the plot that I have ever experienced before. The recorded sound and film quality are quite good, with the quality of the Blu-ray disc only marginally superior to that of the regular DVD; the camerawork is sensible if not exceptional; the costumes are of the period and (Hampson’s suit and coat excepted) attractive and elegant; the ballet sequence at Flora’s party is nicely staged.


My one other major reservation concerns the production’s sets, which are quite pedestrian. Act I is set in a round room with brown wood paneling and a single large window with blinds in the back, with a small round settee and semicircular padded backless benches around it—no banquet table, chandelier, or anything else to indicate either elegance or the intended significance of Violetta in the round. While not the awful Willy Decker sofa and clock, it’s a major disappointment. The villa interior for act II, scene 1 is painted a drab eggshell blue and has no furniture other than a long work table and a few chairs. Several paintings—whether waiting to be hung or sold is not clear—are stacked on the floor to one side, and several little squares painted with stripes—color swatches, perhaps?—rest in a row on the wall molding halfway off the floor. It’s not very attractive, and simply leaves one baffled regarding the desired effect. By contrast, Flora’s party in act II scene 2 is appropriately elegant, marred only by garish red stage lighting, a huge modern dome light fixture hanging from the ceiling like an oversized cafeteria heat lamp hovering over sandwiches. Act III has an appropriately simple setting of a bare room outfitted with a bed, a dresser, and a couple of chairs, but again is marred by two enormous windows with blinds, against which inexplicably tall shadows (up to 30 feet) of carnival revelers are cast after Violetta finishes “Addio del passato.” Compared to the high-class La Scala staging for Gheorghiu, this is an impoverished country cousin.


So, once again, we still await the ideal La traviata . In the best of all possible worlds, I would be able to take the La Scala production, replace its wretched comprimario singers with their Covent Garden counterparts, swap out Vargas for Calleja, and replace Frontali with almost any other baritone from another DVD. (Leonard Warren, where are you when we need you?) Barring such a pleasing impossibility, however, this production is as good as any other and better than most, and is recommended accordingly.


FANFARE: James A. Altena

Also available on Blu-ray

Madame Larina – Olga Savova
Tatjana – Krassimira Stoyanova
Olga – Elena Maximova
Filipjevna – Nina Romanova
Jevgeni Onjegin – Bo Skovhus
Vladimir Ljenski – Andrey Dunaev
Vorst Gremin – Mikhail Petrenko
Petrovitsj – Peter Arink
Zaretski – Roger Smeets
Monsieur Triquet – Guy de Mey
Zapevalo – Richard Prada

Chorus of De Nederlandse Opera
Royal Concertgebouw Orchestra
Mariss Jansons, conductor

Stefan Herheim, stage director

Recorded live at De Nederlandse Opera, June 2011

Bonus:
- Cast gallery
- 30-Minute Documentary Film

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM 2.0 / DTS 5.0
Region code: 0 (worldwide)
Menu language: English
Subtitles: English, French, German, Italian, Spanish, Dutch
Running time: 151 mins (opera) + 30 mins (bonus)
No. of DVDs: 1 (DVD 9)

Carl Tanner, Iano Tamar, Zeljko Lucic, and Marianne Cornetti star in this Bregenzer Festspiele production of the Verdi opera on 2 DVDs with Thomas Rosner conducting the Vienna Symphony, Moscow Chamber Choir, and Bregenzer Festspielchor.

Also available on Blu-ray



MOZART MOZART Die Zauberflöte • Roland Böer, cond; Saimir Pirgu (Tamino); Genia Kühmeier (Pamina); Alex Esposito (Papageno); Albina Shagimuratova (Queen of the Night); Günther Groissböck (Sarastro); Ailish Tynan (Papagena); Peter Bronder (Monostatos); La Scala O & Ch • OPUS ARTE OA 1066 D (DVD: 172:00); OA BD7099 D (Blu-ray: 172:00) Live: Milan 3–4/2011


This very Masonic opera pits the forces of Light—love, honesty, trust, reason, enthusiasm—against those of Darkness—lust, hatred, deception, fear, despair. William Kentridge in an interview included on this disc speaks of envisioning the original Masons in specific and the Enlightenment in general as part of a movement that brought “benign” colonialism to Africa, Asia, etc. He states that Die Zauberflöte is far less a matter of black-and-white sides when understood in this fashion, but instead of shades of gray. Fortunately, only some of this historically suspect interpretation actually finds its way into his production and set design. The result has its quirks, and some things definitely don’t work, but by and large it’s wildly creative and fun.


Multimedia has seldom been used so extensively in opera, so stylishly, or to such advantage. Kentridge essentially riffs on the idea of backlit projections as physical location, metaphor, and commentary, employing imagery drawn from turn-of-the-19th-century material. So when Tamino walks to a part of the stage, the words Tempel der Vernugt (Temple of Reason) are superimposed via projection; then he stands still, and the transparent gate of the stone edifice seems to pass over him. The second gate advances from the other side to silhouette itself on the first, a visual equivalent of the Prince’s compounded confusion. When Papageno’s music is first heard before his entrance, Tamino turns a projector/camera crank that throws on the back curtain a shadow image of a human who morphs briefly into a giant bird, and can pull birds out of thin air: Papageno, in other words, here depicted as something half-magical. Again, when Papageno and Monostatos cower on stage during their meeting, as each sings, the silhouetted image behind him is of the other looming over his huddled figure brandishing a weapon. I can’t praise such moments highly enough, and many others like them.


But I’m not convinced by Kentridge’s dressing up the Priest as an academician before a classroom chalkboard, showing geometric drawings—not when his discussion with Tamino is about love and virtue. Similarly, “In diesen heil’gen Hallen” doesn’t lend itself under any circumstances to backlit abstract geometric lines, equations, and a black-and-white silent film of a pair of pith-helmeted explorers viewing some previously unknown savannah. True, a bad king might speak such words as Schikaneder has written, while pursuing policies more along the lines of Belgium’s morally repulsive Leopold II; but no king could lie so convincingly to such music as Mozart has written. It’s a rule of opera (with very few exceptions) that music defines a character’s emotions, and Sarastro is all about benevolent, equalizing, all-embracing love, not logic and territorial invasion. The fit simply is wrong.


The static pictures that Kentridge often creates with his characters are necessary for the fluid animated line drawings à la Émile Cohl that loom over large portions of the stage. The performers’ acting is generally very good, though the singing is variable. Samir Pirgu offers a distinguished “Dies Bildnis,” but Ailish Tynan begins tremulously, with a few efforts at pitch that fail. Before the end of “Ich Vogelfanger bin ich ja” his voice settles down, revealing a thin but pleasant lyric baritone that turns harsh when pressed. Albina Shagimuratova is a lyric soprano Queen (and excels in this respect) rather than a stratospheric coloratura one, who manages the figurations of “Du wirst sie zu befreyen gehen” with slight uneasiness at the moderate speed Böer sets for her. Peter Bronder wobbles and barks his way through his part, but Genia Kühmeier delivers a beautifully refined “Ach ich fühls.” Günther Groissböck supplies a rock-solid bass and cantabile singing for Sarastro. I do feel his two arias go by too quickly under conductor Roland Böer, and are rendered prosaic as a result. This is as nothing compared to the music in the act I quintet that first introduces us to the Three Boys, however, which suddenly accelerates with a wrenching change of tempo, and rushes to its conclusion—as though people shouldn’t enjoy it. These are only a few of the changes to the score based as we are told on René Jacobs’s interpretation. There are noodling fortepiano chords between concert pieces and secco recitative at various times, such as at the conclusion of Tamino’s aria, and an entirely new section accompanying an overlong shadow play of Monostatos terrorizing Pamina. Since none of these alterations have ever been established as more than Jacobs’s personal preferences, however intelligent the source, it amounts to defining a new tradition every bit as arbitrary and in several instances anachronistic as any 19th-century one.


The camerawork by Patrizia Carmine is excellent, working obviously to second Kentridge’s design. Subtitles are furnished in English, French, German, Spanish, and Italian, with audio formats in Dolby Digital and DTS surround, and a visual format of 16:9 anamorphic.


I have my reservations, and some of them are strong. But for sheer visual exuberance and insight this Zauberflöte trumps the rest. I only wish Kentridge the stage director with an Idea didn’t get in the way of Kentridge the imaginative artist, but there’s so much of the latter that I’m more than willing to forgive the former. Strongly recommended.


FANFARE: Barry Brenesal


Sarastro – Günther Groissböck
Tamino – Saimir Pirgu
Queen of the Night – Albina Shagimuratova
Pamina – Genia Kühmeier
Papagena – Ailish Tynan
Papageno – Alex Esposito
Monostatos – Peter Bronder


Milan La Scala Chorus and Orchestra
Roland Böer, conductor

William Kentridge, stage director

Recorded live at La Teatro alla Scala, 20 March 2011

Bonus:
- Overview of The Magic Flute
- Illustrated synopsis

Picture format: NTSC 16:9 anamorphic
Sound format: LPCM 2.0 / DTS 5.1
Region code: 0 (worldwide)
Subtitles: English, French, German, Italian, Spanish
Running time: 150 mins
No. of DVDs: 1

Inva Mula and Aquiles Macnado star in this Giancarlo del Monaco-directed Teatro Real Madrid production of the Puccini opera with Jesus Lopez Cobos conducting.

MONTEVERDI L’Orfeo • William Christie, cond; Dietrich Henschel ( Orfeo ); Maria Grazia Schiavo ( La Musica, Euridice, Proserpina ); Les Arts Florissants; Les Sacqueboutiers de Toulouse • DYNAMIC 33598 (DVD: 113: 00) Live: Madrid 5/19/2008


This is the third L’Orfeo I’ve seen on DVD, and it’s a real success. In style it fits among the theatrical productions that use over 20 singers and over 20 players, even adding some supernumeraries to fill the stage. Yet as a performance it should stand comparison with the intimate versions that we have heard on CD recently, since Pier Luigi Pizzi, the stage director who also designed the sets and costumes, replicated the venue of the first production in the Mantua residence. This may suggest that adhering to the minimal personnel of the alternative interpretation (a dozen singers and a dozen players, more or less) is not really necessary, or simply that Pizzi imagines a pretty big palace. But he imagines well, for this is the best stage set, the best costumes, the best lighting, and the best camerawork of the three versions I’ve seen. It is simply the best theatrical production of an opera that I’ve ever seen on DVD (not that I’ve seen very many). All three were made in live performances (the Harnoncourt video of 1979 was pantomimed in a studio 10 months after the performance was recorded), but the audience manifests itself only twice at the ends of the two halves. Christie’s was a single performance of May 19, 2008, at the Teatro Real in Madrid, while Jean Claude Malgoire’s was made at Tourcoing in October 2004 (also for Dynamic) and Stephen Stubbs’s was made in Amsterdam in July 1997 for Opus Arte.


Henschel is a fine Orfeo, a good actor as well as singer, but it is interesting that he has made a career not in early music but in contemporary opera. Schiavo, a mesmerizing stage presence, outdoes herself in adding not just La Musica but also Proserpina to her main role. At least seven previous conductors allowed Euridice to double as La Musica, and Rinaldo Alessandrini assigned Proserpina to his Euridice, but no other singer has combined all three roles. This is Pizzi’s way of identifying Pluto’s wife with Orfeo’s beloved. Christie directs from the keyboards, seeing his role as comparable to the pianist for a Schubert Lied. There is not a weak member of the supporting cast, and Christie’s players, supplemented by the brass from Toulouse, maintain their longstanding reputation. The Madrid production was associated with La Fenice as well. This can replace any previous video of the work that you may have, for it is absolutely superb.


FANFARE: J. F. Weber
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Recorded: Teatro Real, Madrid, May 2008
NTSC All Region; 16:9; Dolby Digital 5.1/LPCM 2.0; Approx. 113 mins.
Subtitled in French, Italian, English, German & Spanish