Also available on Blu-ray

Richard Wagner
TRISTAN UND ISOLDE

Tristan – Robert Gambill
Isolde – Nina Stemme
Brangäne – Katarina Karnéus
Kruwenal – Bo Skovhus
King Marke – René Pape
Melot – Stephen Gadd
Young Sailor / Shepherd – Timothy Robinson
Steersman – Richard Mosley-Evans

The Glyndebourne Chorus
London Philharmonic Orchestra
Jirí Belohlávek, conductor

Nikolaus Lehnhoff, stage director

Recorded live at Glyndebourne, Lewes, Sussex on 29 July, 1 and 6 August 2007

Bonus:
- Artists biographies
- "On the set" – a slide show of the set being built
-"Trimborn on Tristan" – a talk about the musicological and philosophical backgrounds of Tristan und Isolde.
- A film by Reiner E. Moritz
- Illustrated synopsis and cast gallery

Picture format: NTSC 16:9 anamorphic
Sound formats: DTS 5.1 / LPCM Stereo
Region code: 0 (worldwide)
Menu languages: English
Subtitles: English, German, French, Spanish, Italian
Running time: 350 mins
No. of DVDs: 3

R E V I E W:

WAGNER Tristan und Isolde • Ji?í B?lohlávek, cond; Robert Gambill (Tristan); Nina Stemme (Isolde); Katarina Karnéus (Brangäne); Bo Skovhus (Kurwenal); René Pape (King Marke); Stephen Gadd (Melot); Timothy Robinson (Young Sailor/Shepherd); Richard Mosley-Evans (Steersman); London PO; Glyndebourne Ch • BBC/OPUS ARTE 988 (3 DVDs: 358:00)

& “Trimborn on Tristan, ” a talk; “Do I hear the light?”, a film; slides of set building; artists bios; cast gallery; synopsis Buy Tristan und Isolde From Amazon Tristan und Isolde DVD; Box set BBC / Opus Arte

Wagner’s operas have long attracted the best stage directors but there’s none with more penetrating and revelatory insights than Nikolaus Lehnhoff. Lehnhoff’s Parsifal and Lohengrin, both conducted by Kent Nagano and covered, respectively, in Fanfare issues 29:2 and 30:5, were powerfully involving. His take on Tristan und Isolde, filmed at Glyndebourne in August of 2007, is definitely in the same class.

Lehnhoff’s productions have shown a profound understanding that the success of the composer’s dramas as theater derives from the music itself and no attempt is made to introduce superfluous stagy elements that could distract or annoy. There is not much “action” in Tristan to begin with and, if anything, the director strips things down further. We hear but do not see any crew members on the ship—only the four principals appear during act I (plus Melot, who wordlessly and ominously crosses the stage during the final seconds). Lehnhoff spares us the usual vertiginous side effects that Tristan and Isolde often suffer after consuming the love draught: the couple simply disappears for the several minutes of music preceding their passionate declarations. In his characteristically heady, yet straightforward note in the set’s booklet, Lehnhoff explains, “the setting of this plot is the soul.” He describes the staging as “concrete and instrumental.” The shepherd doesn’t pretend to play a pipe during the long English horn solo and, when Tristan challenges Melot at the close of act II, he literally pulls his opponent’s sword into his midsection so there’s no question of his suicidal intent.

Nina Stemme, of course, was the Isolde for Plácido Domingo’s high-profile Tristan a few years ago. Along with Deborah Voigt, she should be delivering wonderful representations of this character for years to come. Stemme inhabits the role: her forceful defense to Brangäne of the path she’s taken, at the beginning of act II, is no less spirited than the desperate fury of her outbursts in act I; Isolde is still the same woman she was before the potion. Her voice is rich and full, almost plush, coherent from a confident top to an earthy bottom, and she communicates the layers of meaning of her texts wonderfully. The “Liebestod,” which the soprano has described as “a song from space,” provides the release and resolution necessary for the preceding three-and-a-half hours to be worth the emotional investment by a listener. Robert Gambill, who sang a very impressive Siegmund for Lothar Zagrosek (on Naxos CDs and Euroarts or Tdk DVDs) is not among the most elite of current Heldentenors, singers like Ben Heppner or Peter Seifert. But thanks to the exceptionally intelligent use of his not-inconsequential instrument and knowing support from Ji?í B?lohlávek in the pit, Gambill succeeds admirably, even when Stemme isn’t around in act III. The hesitancy with which he queries Kurwenal about his circumstances when he first comes to in Brittany lets us know what kind of shape Tristan is in. What follows fully communicates the hero’s physical and psychic pain, even if the raw agony of a Jon Vickers can’t be duplicated. In act II, Gambill’s response to Marke’s long speech (“Wohin nun Tristan scheidet, wilst du, Isold’, ihm folgen?”) is a highlight of his performance.

As Brangäne, Katarina Karnéus is outstanding, palpably conflicted about her responsibilities to her mistress. She’s a terrific singing actress who makes her scene with Stemme in the second act memorably compelling. Some will find Bo Skovhus’s voice a little light for Kurwenal but he, too, does the job from a dramatic standpoint. René Pape is the Wagnerian bass of his generation, presenting King Marke with dignity and a sense of hurt that’s very moving. B?lohlávek assures a worthy orchestral contribution from the venerable London ensemble. Act I’s Prelude is taken at a languorous tempo and the timings for acts I and III are on the long side, though not grotesquely so, by any means.

Picture quality is superb—a Blu-ray release would be most welcome—and the sound, both PCM Stereo and DTS Surround, has gratifying weight and detail. The multichannel version offers a luxuriant but natural spaciousness. In surround, Brangäne’s voice in act II and the English horn solos in act III have a disembodied quality that seems apt. Subtitles are offered in English, German, French, Spanish, and Italian.

In addition to the usual plot synopsis and “cast gallery,” Opus Arte provides two substantial “extras” which are responsible for this set’s running time of close to six hours. The first is a short film by Reiner E. Moritz (it’s 56 minutes in duration) entitled “Do I hear the light?” made at Glyndebourne. There are shots of some awfully privileged-appearing operagoers enjoying picnic dinners and champagne on the Glyndebourne lawn but also and more important, commentary from the principal singers, conductor, and others. Not surprisingly, it’s Nikolaus Lehnhoff who is the most interesting, expressing himself on camera as epigrammatically as he does in print. (“Dying to live is the device of love.”) Mostly, the feature serves to show that everyone was truly on the same page when it came to an understanding of Tristan, which was surely a key factor in the great success of this performance.

The second extra feature is a talk from the keyboard by the German musicologist Richard Trimborn that relates specific musical aspects of the opera to philosophical, psychological, and biographical issues. Trimborn clearly knows a lot about Wagner, and his discourse will be a treat for those already possessing some background on the composer’s life and work. For the completely uninitiated, the lecture may be a little hard to keep up with as the scholar jumps all over the place, touching on Schopenhauer, Gottfried von Strassburg, Buddhism, Mozart, Thomas Mann, Albert Einstein, Carlos Kleiber, the druids—among much else. Clearly, Trimborn could have gone on for hours.

So, this Tristan und Isolde deserves the highest recommendation. Among DVDs, I’d pick it over Levine, Barenboim, Jordan, or De Billy. (An amazing Vickers/Nilsson/Böhm set on Kultur is very much a specialty item because of dim monaural sound and grainy picture quality.) This Opus Arte release isn’t a bad choice at all for those looking to acquire their first video Tristan.

Fanfare: Andrew Quint

Dario Fo applies his inventive genius to Rossini's comic opera in it's premiere DVD release.

Katharina Wagner, the great-granddaughter of Richard Wagner, is currently director of the Bayreuth Festival, making this recording even more special.. Tristan und Isolde was first performed in 1865 and provided inspiration to many composers including Mahler, Strauss, Szymanowski and Berg. It is widely acknowledged as one of the peaks of the operatic repertoire, and has been performed regularly since it's premiere. This production, by renowned director Christoph Marthaler, stars leading Wagner exponents Robert Dean Smith and Ir�ne Theorin in the title roles, supported by the Bayreuth Festival Chorus and Orchestra conducted by Peter Schneider. The press had only good things to say about this performance: "It's hard to know where to point the awards finger first in such a complete ensemble performance... Musically everything is fine under the super-experienced Peter Schneider... Despite the ferocious competition, absolutely unmissable.' (Gramophone) 'Peter Schneider conducted with real feeling for the score and the prelude to the first act stole upon the ear with the magic of Bayreuth's amazing acoustics.' (The Stage)

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

Also available on standard DVD

Puccini’s Japanese tragedy Madama Butterfly is given a ravishing production by The Royal Opera. Its alluring imagery of Japan from the 19th-century European Imagination heightens the intense clash of East and West. When the American naval officer Pinkerton seduces the young ‘Butterfly’ Cio-Cio-San, he seems to promise every happiness – but his cruel abandonment leads to her tragic self-sacrifice. Antonio Pappano, Music Director of The Royal Opera and renowned for his interpretations of Puccini, conducts an exceptionally fine cast with the Royal Opera Chorus and the Orchestra of the Royal Opera House. Powerful performances show why Madama Butterfly remains one of the all-time operatic favourites. ‘‘Always at his best in Puccini, Antonio Pappano conducts with passionate sincerity.’’ (The Guardian 5 Stars) ‘‘An opera that ranks among the very greatest of the 20th century.’’ (The Daily Telegraph 4 Stars) ‘‘Ermonela Jaho is the best Cio-Cio-San London has seen in years’’ (Independent 4 Stars)
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REVIEWS:

The Albanian soprano Ermonela Jaho is one of the great singing actresses of our time. Hers is not a sumptuous soprano, but the colors she brings to her portrayal are astonishing. Her Flower Duet with Elizabeth DeShong's feisty, sympathetic Suzuki is quite beautifully sung. Pappano - arguably today's greatest Puccianian conductor - draws ardent playing from the orchestra, superbly detailed in its commentaries.

– Gramophone

Pappano is particularly alert to Puccini borrowing traditional Japanese melodies; at times he makes you hear this score, as well as the drama on stage, as a tug of war between East and West. It’s Sharpless and Suzuki who steal the show – a consul with a tender conscience from Scott Hendricks and Elizabeth DeShong as a maid who could melt the stoniest of hearts.

– BBC Music Magazine

This collection consists of George Benjamin and Martin Crimp's two award-winning full-length operas, in visually stunning productions by critically acclaimed director Katie Mitchell. Written on Skin has been hailed as 'magic and irresistible... The best opera written over the last twenty years' (Le Monde). It tells the story of a cruel and powerful Protector who asks a mysterious Boy to create an illuminated book to celebrate his wealth and family. He invites the Boy into his home, little realizing that this will lead to a journey of startling, joyful and ultimately tragic self-discovery for his oppressed and much younger wife Agn�s. Drawing on the real-life relationship between Edward II and Piers Gaveston, Lessons in Love and Violence explores how personal relationships can have fatal political consequences. The King lives in a close but uneasy relationship with his wife Isabel, their two children and his lover Gaveston. When the King banishes his military advisor Mortimer, he sets off a chain of devastating events. The composer conducts two superb international casts, including soprano Barbara Hannigan, who appears in the leading roles of Agn�s and Isabel.

J.S. Bach’s six Trio Sonatas BWV 525–530, works whose charm resides not only in their rich variety of compositional style and musical invention but also in their virtuosic demands, occupy a treasured place in the organ repertoire.David Newsholme offers a fresh perspective on these seminal works, re-ordering their sequence and drawing on the unique qualities of the Metzler organ of Trinity College, Cambridge.David Newsholme, former Organ Scholar at New College, Oxford and Salisbury Cathedral, is Organist at King’s School, Canterbury and Music Director of the Canterbury Singers.

Award winning director Damiano Michieletto has brought together these two short operas, both of which are set in a poverty-stricken Southern Italy village in the early 1980s where the Mafia has a stranglehold. Music Director of the Royal Opera, Antonio Pappano, conducts this star studded cast which includes charming Dutch soprano Eva-Maria Westbroek, vivacious Italian soprano Carmen Giannattasio, and exhilarating Latvian tenor Aleksandrs Antonenko. These two works are prime examples of verismo opera- a genre of opera which focuses on the everyday struggles of the common man rather than on mythical or historical legends. Extra features included in this set are Introduction to Cavalleria Rusticana, Introduction to Pagliacc, an interview with Antonio Pappano on the music, and a cast gallery.

From fake potions and feigned emotions to the follies of youth and the vulnerability of age, this set brings together two of Donizetti's greatest comedies, L'elisir d'amore and Don Pasquale, charming works packed with musical wit in which the composer looks beyond the archetypes of the Buffa tradition to create complex, highly individual characters. Both operas are brought to life in sparkling Glyndebourne productions, with first-class singing from such noted artists as Alessandro Corbelli, Danielle di Niese and Ekaterina Siurina, and expert bel canto conducting from the pit.

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

Also available on standard DVD

Die Entfuhrung aus dem Serail (The Abduction from the Seraglio) is a three act opera Singspiel by W. A. Mozart. With libretto by Christoph Friedrich Bretzner, the plot follows the attempt of Belmonte and his servant Pedrillo to rescue his Konstanze from the seraglio of Pasha Selim. This production comes from the Glyndebourne Chorus, and the Orchestra of the Age of Enlightenmnent conducted by Robin Ticciati. Director David McVicar has strived in this production to give an original-period version of the opera. The costuming from Vicki Mortimer and the sets add to the dazzling performance. “Mesmerising, sensitive, at times troublingly erotic, the whole thing forces us to rethink a remarkable work. Outstanding.” (The Guardian)

From fake potions and feigned emotions to the follies of youth and the vulnerability of age, this set brings together two of Donizetti's greatest comedies, L'elisir d'amore and Don Pasquale, charming works packed with musical wit in which the composer looks beyond the archetypes of the Buffa tradition to create complex, highly individual characters. Both operas are brought to life in sparkling Glyndebourne productions, with first-class singing from such noted artists as Alessandro Corbelli, Danielle di Niese and Ekaterina Siurina, and expert bel canto conducting from the pit.

This new release is an in-depth portrait of dance superstar Natalia Osipova directed by BAFTA winning filmmaker Gerry Fox. Force of Nature Natalia follows a season in the life dance superstar Natalia Osipova. With unique access to Natalia's personal archive, we follow her preparations for a fifth season as a principal of the Royal Ballet as she continues to champion contemporary dance with some of the world's greatest choreographers. We watch the rehearsal process of new ballet Mother by Arthur Pita, a new commission with Sidi Larbi Cherkaoui, and the Royal Ballet's legendary production of La Bayadere directed by Natalia Makarova. Natalia opens up about her life and history, her childhood in Russia, her time with American Ballet Theatre and her journey to the Opera House. It is an unparalleled opportunity to get up close and personal with the leading ballerina of our generation and understand why critics and audiences all over the world call her a force of nature of the dance world.

Visually, it's a theatrical feast of eccentricity... witty, irrepressible, unforgettable... (The Guardian) One of Mozart's most enchanting works, Die Zauberfl�te is a fairytale that uses familiar archetypes to ask provocative and difficult questions about religion, the nature of power, the bonds of family, and of course love. Premiered just months before Mozart's death, Die Zauberfl�te in many ways represents a new departure for the composer. Catching the spirit of revolution in the air, Mozart turned his attention for the first time from court opera to popular opera, writing this singspiel ('sung-play') for a new and much broader audience. Celebrated Canadian directing duo Barbe & Doucet make both their British and Glyndebourne debuts here with their new Die Zauberfl�te, a veritable "theatrical feast of eccentricity." (The Guardian). Ryan Wiggleworth conducts an outstanding cast including Russian soprano Sofia Fomina as Pamina, David Portillo as her beloved Tamino, Brindley Sherratt as Sarastro, and the ebullient Bj�rn B�rger as Papageno.

... one of the most profoundly moving and emotionally compelling dance performances you are ever likely to see. (THE HERALD) The Mother is a powerful, narrative dance production choreographed and directed by Arthur Pita - a master storyteller. Inspired by Hans Christian Andersen's dark tale, The Story of a Mother, this sumptuously designed production stars international dance superstar Natalia Osipova and multi-award-winning dancer Jonathan Goddard. This is an inventive new production which conjures up a dangerous, kaleidoscopic world, combining narrative dance and drama. In setting out to save her sick child a young mother journeys into the unknown to face life and death. Will she succumb to the forces of evil, or will the power of motherhood prevail? "The Mother is a truly original piece that satisfies on all levels, from it's stunning visual imagery to the downright weirdness of it's characters and the eerie musical score." (DANCING TIMES)

Also available on Blu-ray

Keith Warner’s iconic production sets the stage for Wagner’s epic tale of family and power. Antonio Pappano conducts an outstanding cast including Nina Stemme, John Lundgren, Sarah Connolly, Emily Magee, Stuart Skelton and Ain Angerin in Keith Warner’s ‘outstanding staging’ (Evening Standard) of Die Walküre. Die Walküre is the second opera in Richard Wagner’s four-opera-cycle Der Ring des Nibelungen. It is the most performed work in the cycle, loved and admired for its nuanced and intelligent exploration of complex family entanglements through music of astonishing emotive power. This includes the glorious music for the incestuous lovers Siegmund and Sieglinde, and Wotan’s passionate farewell to his beloved daughter Brünnhilde.

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REVIEW:

This performance of Die Walküre came as part of a Ring cycle at the ROH running from September 26 to November 2, 2018. The four operas were generally well received and if I can judge their quality from this one alone I can say I'm certainly not surprised by their positive reception. In the age of opera studio recordings, singers and musicians could do multiple retakes over many days, but now in the era of video, live efforts such as this one are usually culled from just a few performances. The dates given in the album booklet here indicate this one is derived from just two, which is all the more remarkable, suggesting the singers, pit musicians and conductor were truly in their element in this performance and thus likely throughout the entire cycle. But of course, there is another aspect to every opera on video—the production, what you see on stage. So, the issue is, this Die Walküre will have to be an exceedingly strong one in just about every respect to succeed in the marketplace, owing to the plentiful competition, which I'll deal with shortly. Let me start with the singers here.

Nine Stemme is probably the finest soprano to portray Brünnhilde that I've ever encountered on video. She doesn't have a weak or prosaic moment in this opera. John Lundgren as Wotan is also excellent: full-voiced and utterly immersed in his character—becoming Wotan, in fact—he is splendid, coming across as domineering and adamant, cold and vengeful, but struggling still in his attempts to deny all emotion. He is brilliant throughout the opera actually, and like Stemme, divulges nothing even tinged of mediocrity in either his singing or acting skills. Stuart Skelton as Siegmund is also extremely convincing, capturing the essence of his character as well, his singing and dramatic abilities consistently impressive. Emily Magee catches fire in the latter third or so of Act II and continues in the same spirited vein in the last act, really showing total involvement and singing her heart out, perhaps inspired to rival the imposing stage presence of Nina Stemme. Ain Anger as Hunding is more than adequate, as is Sarah Connolly in the role of Fricka. I'm not sure that any recording tops this cast in the competition from the video realm, though there are of course some great performances on older recordings in LP and CD formats.

Antonio Pappano generally employs somewhat brisk tempos and seems to grasp fully the emotional trajectory of each scene in his well-conceived and imaginative phrasing of the score. The ROH Orchestra respond with great spirit in their performance and also strike you as fully connected to this opera's strange but compelling world. There is much flair to their account of the Ride of the Valkyries' music but they also deliver the more subtle moments in the score in the same committed manner.

As for the staging aspects of this Keith Warner production, they are quite effective for the most part, though some Wagner traditionalists will likely object to certain liberties taken in this account. I found Warner's take on this opera generally quite fine though, not a radical rethinking of the story's events and characters. The costuming is a mixture of tattered medieval and casual modern, though Fricka's regal dress is an exception in the former category. The sets typically seem to convey symbolism, often in an inscrutable way.

It must be said that some aspects of this production don't go so well. The Ride of the Valkyries scene to open Act III is a bit awkward in execution, at least in the out of sync choreography of the eight warriors as they wave their horse skeletons in the air and traipse about the stage. Their singing is fine though, and their sense of drama quite good. In the background the wall serves as a screen which shows black and white filmed scenes of a sword battle and horses charging. Though brief, these film clips don't really enhance the happenings on center stage, but seem rather inconsequential instead. The special effects in the opera are mostly okay, not of outstanding quality. Still, while some visual effects aren't the product of some bold new technique, they often succeed quite impressively, like the jets of fire from above and to the side of center stage in the Magic Fire Music scene at the end.

The sound reproduction is excellent, as is the picture clarity and camera work. There are four short bonus features on the second DVD: the first three feature commentary by cast members, conductor Pappano, Keith Warner, the repetiteur and orchestra members; and the fourth contains the cast gallery.

What's my recommendation then in this crowded field? This new Pappano-led effort is truly superb, but so is the recent one by Thielemann. To muddy the waters further, the 2010 Barenboim is another recording I would never want to part with and for that matter, his highly praised earlier recording featured the excellent Harry Kupfer production. Any one of these four would probably do, but I must get to a verdict here. Without much hesitation I would now choose, especially for the singing, this new Die Walküre by Pappano on Opus Arte. As mentioned earlier, Wagner traditionalists might find some aspects of the production objectionable, but the whole package is immensely satisfying. A tremendous performance!

– MusicWeb International (Robert Cummings)

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

Also available on standard DVD

Keith Warner’s iconic production sets the stage for Wagner’s epic tale of family and power. Antonio Pappano conducts an outstanding cast including Nina Stemme, John Lundgren, Sarah Connolly, Emily Magee, Stuart Skelton and Ain Angerin in Keith Warner’s ‘outstanding staging’ (Evening Standard) of Die Walküre. Die Walküre is the second opera in Richard Wagner’s four-opera-cycle Der Ring des Nibelungen. It is the most performed work in the cycle, loved and admired for its nuanced and intelligent exploration of complex family entanglements through music of astonishing emotive power. This includes the glorious music for the incestuous lovers Siegmund and Sieglinde, and Wotan’s passionate farewell to his beloved daughter Brünnhilde.

-----

REVIEW:

This performance of Die Walküre came as part of a Ring cycle at the ROH running from September 26 to November 2, 2018. The four operas were generally well received and if I can judge their quality from this one alone I can say I'm certainly not surprised by their positive reception. In the age of opera studio recordings, singers and musicians could do multiple retakes over many days, but now in the era of video, live efforts such as this one are usually culled from just a few performances. The dates given in the album booklet here indicate this one is derived from just two, which is all the more remarkable, suggesting the singers, pit musicians and conductor were truly in their element in this performance and thus likely throughout the entire cycle. But of course, there is another aspect to every opera on video—the production, what you see on stage. So, the issue is, this Die Walküre will have to be an exceedingly strong one in just about every respect to succeed in the marketplace, owing to the plentiful competition, which I'll deal with shortly. Let me start with the singers here.

Nine Stemme is probably the finest soprano to portray Brünnhilde that I've ever encountered on video. She doesn't have a weak or prosaic moment in this opera. John Lundgren as Wotan is also excellent: full-voiced and utterly immersed in his character—becoming Wotan, in fact—he is splendid, coming across as domineering and adamant, cold and vengeful, but struggling still in his attempts to deny all emotion. He is brilliant throughout the opera actually, and like Stemme, divulges nothing even tinged of mediocrity in either his singing or acting skills. Stuart Skelton as Siegmund is also extremely convincing, capturing the essence of his character as well, his singing and dramatic abilities consistently impressive. Emily Magee catches fire in the latter third or so of Act II and continues in the same spirited vein in the last act, really showing total involvement and singing her heart out, perhaps inspired to rival the imposing stage presence of Nina Stemme. Ain Anger as Hunding is more than adequate, as is Sarah Connolly in the role of Fricka. I'm not sure that any recording tops this cast in the competition from the video realm, though there are of course some great performances on older recordings in LP and CD formats.

Antonio Pappano generally employs somewhat brisk tempos and seems to grasp fully the emotional trajectory of each scene in his well-conceived and imaginative phrasing of the score. The ROH Orchestra respond with great spirit in their performance and also strike you as fully connected to this opera's strange but compelling world. There is much flair to their account of the Ride of the Valkyries' music but they also deliver the more subtle moments in the score in the same committed manner.

As for the staging aspects of this Keith Warner production, they are quite effective for the most part, though some Wagner traditionalists will likely object to certain liberties taken in this account. I found Warner's take on this opera generally quite fine though, not a radical rethinking of the story's events and characters. The costuming is a mixture of tattered medieval and casual modern, though Fricka's regal dress is an exception in the former category. The sets typically seem to convey symbolism, often in an inscrutable way.

It must be said that some aspects of this production don't go so well. The Ride of the Valkyries scene to open Act III is a bit awkward in execution, at least in the out of sync choreography of the eight warriors as they wave their horse skeletons in the air and traipse about the stage. Their singing is fine though, and their sense of drama quite good. In the background the wall serves as a screen which shows black and white filmed scenes of a sword battle and horses charging. Though brief, these film clips don't really enhance the happenings on center stage, but seem rather inconsequential instead. The special effects in the opera are mostly okay, not of outstanding quality. Still, while some visual effects aren't the product of some bold new technique, they often succeed quite impressively, like the jets of fire from above and to the side of center stage in the Magic Fire Music scene at the end.

The sound reproduction is excellent, as is the picture clarity and camera work. There are four short bonus features on the second DVD: the first three feature commentary by cast members, conductor Pappano, Keith Warner, the repetiteur and orchestra members; and the fourth contains the cast gallery.

What's my recommendation then in this crowded field? This new Pappano-led effort is truly superb, but so is the recent one by Thielemann. To muddy the waters further, the 2010 Barenboim is another recording I would never want to part with and for that matter, his highly praised earlier recording featured the excellent Harry Kupfer production. Any one of these four would probably do, but I must get to a verdict here. Without much hesitation I would now choose, especially for the singing, this new Die Walküre by Pappano on Opus Arte. As mentioned earlier, Wagner traditionalists might find some aspects of the production objectionable, but the whole package is immensely satisfying. A tremendous performance!

– MusicWeb International (Robert Cummings)