{"title":"Royal Opera Chorus","description":null,"products":[{"product_id":"tchaikovsky-eugene-onegin-ticciati-stoyanova-keenlyside-maximova-256590","title":"Tchaikovsky: Eugene Onegin \/ Ticciati, Stoyanova, Keenlyside, Maximova  [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=1014477\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  Kasper Holten's inaugural production as Director of Opera for The Royal Opera returns to Pushkin's verse novella to reveal the shadows of memory which haunt Tchaikovsky's lyric tragedy. Using doubles to suggest the paths taken, or not taken, by its two impulsive protagonists, Holten gives eloquent voice to the loss and regret that lies at the heart of Eugene Onegin. Simon Keenlyside and Krassimira Stoyanova bring both experience and dynamic energy to the pair of protagonists, while the youthful, 'heartrending' tenor of Pavol Breslik and the idiomatic sweep of Robin Ticciati's 'inspired' conducting (The Independent) were enthusiastically received at the premiere of this visually opulent staging. \u003cbr\u003e  \u003cbr\u003e  Pyotr Il’yich Tchaikovsky\u003cbr\u003e  EUGENE ONEGIN \u003cbr\u003e  \u003cbr\u003e  Tatyana – Krassimira Stoyanova\u003cbr\u003e  Eugene Onegin – Simon Keenlyside\u003cbr\u003e  Olga – Elena Maximova\u003cbr\u003e  Lensky – Pavol Breslik\u003cbr\u003e  Prince Gremin – Peter Rose\u003cbr\u003e  Madame Larina – Diana Montague\u003cbr\u003e  \u003cbr\u003e  Royal Opera House Chorus and Orchestra\u003cbr\u003e  Robin Ticciati, conductor\u003cbr\u003e  \u003cbr\u003e  Kasper Holten, stage director\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, Feburary 2013 \u003cbr\u003e  \u003cbr\u003e  Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: English, French, German, Italian, Japanese, Korean\u003cbr\u003e  Running time: 154 mins\u003cbr\u003e  No. of Discs: 1\u003cbr\u003e  \u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46012839559402,"sku":"809478071327","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2335601.jpg?v=1781557355"},{"product_id":"verdi-i-due-foscari-pappano-domingo-meli-256566","title":"Verdi: I Due Foscari \/ Pappano, Domingo, Meli, Agresta","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2180496\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  This rendition of Verdi’s opera I Due Foscari was recorded live at the Royal Opera House in September 2015. Directed by Thaddeus Strassberger, these powerful settings delve deeply into the corruption of the Venetian Court. Starring Placido Domingo, this work is an exciting forerunner to the classics of Verdi’s later style.","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46012998090986,"sku":"809478012078","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3371563.jpg?v=1778261710"},{"product_id":"verdi-la-traviata-pappano-fleming-calleja-hampson-80522","title":"Verdi: La Traviata \/ Pappano, Fleming, Calleja, Hampson, Wade [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=565569\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  Giuseppe Verdi\u003cbr\u003e  LA TRAVIATA\u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e  Violetta – Renée Fleming\u003cbr\u003e  Alfredo Germont – Joseph Calleja\u003cbr\u003e  Giorgio Germont – Thomas Hampson\u003cbr\u003e  Baron Douphol – Eddie Wade\u003cbr\u003e  Doctor Grenvil – Richard Wiegold\u003cbr\u003e  \u003cbr\u003e  Royal Opera House Chorus and Orchestra\u003cbr\u003e  Antonio Pappano, conductor\u003cbr\u003e  Richard Eyre, stage director\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, Covent Garden, London, June and July 2009.\u003cbr\u003e  \u003cbr\u003e  Bonus:\u003cbr\u003e  - Cast gallery\u003cbr\u003e  - Antonio Pappano interviews Renée Fleming\u003cbr\u003e  \u003cbr\u003e  Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Spanish, Italian\u003cbr\u003e  Running time: 135 mins\u003cbr\u003e  No. of Discs: 1 (Blu-ray)\u003cbr\u003e  \u003cbr\u003e  R E V I E W:\u003cbr\u003e  \u003cbr\u003e   \u003ctitle\u003e3525240.az_VERDI_La_Traviata_Antonio.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"COMPOSER12\"\u003eVERDI \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eLa Traviata \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003eAntonio Pappano, cond; Renée Fleming (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eVioletta\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Joseph Calleja (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eAlfredo\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Thomas Hampson (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eGermont\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Royal Op House Ch \u0026amp; O \u003c\/span\u003e  \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e OPUS ARTE OA 1040 D (DVD); OA BD7076 D (Blu-ray: 154:00) Live: Covent Garden 6\/27 \u0026amp; 30\/2009 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eBack in \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e  \u003cspan\u003e 34:1 I reviewed the recent DVD of \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa traviata\u003c\/span\u003e  \u003cspan\u003e 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 \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003ecomprimario\u003c\/span\u003e  \u003cspan\u003e 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 \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLa traviata\u003c\/span\u003e  \u003cspan\u003e performances on video. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eAt 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eAfter 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eNext 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 \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eforte\u003c\/span\u003e  \u003cspan\u003e 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThe 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 \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003efrisson\u003c\/span\u003e  \u003cspan\u003e found in his very best interpretations, and I actually find myself preferring Maazel overall despite his occasional eccentricities. The \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003ecomprimario\u003c\/span\u003e  \u003cspan\u003e 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eMy 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eSo, once again, we still await the ideal\u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003e La traviata\u003c\/span\u003e  \u003cspan\u003e. In the best of all possible worlds, I would be able to take the La Scala production, replace its wretched \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003ecomprimario\u003c\/span\u003e  \u003cspan\u003e 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James A. Altena \u003c\/span\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013049864426,"sku":"809478070764","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1844810.jpg?v=1781371765"},{"product_id":"puccini-la-boheme-8","title":"Puccini: La bohème","description":"Sonya Yoncheva and Charles Castronovo lead an award-winning cast in Richard Jones's acclaimed production of Puccini's most heartrending opera. Emmanuel Villaume conducts the Orchestra of the Royal Opera House and the Royal Opera Chorus in some of the composer's most luscious and memorable music. Spectacular designs by Stewart Laing for this Royal Opera production set the passion, friendship, comedy and tragedy in late 19th-century Paris. The production evokes the vulnerability of youth amid the harshness and glamour of the big city, and contrasts the poverty of the bohemians's attic home with the splendour of Paris's shopping arcades on Christmas Eve.","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013154427114,"sku":"809478072874","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3945798-2684275.jpg?v=1778261316"},{"product_id":"il-trovatore-80511","title":"Verdi: Il Trovatore \/ Farnes, Royal Opera House [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=2271967\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Verdi’s opera of passion, blood, fire and vengeance comes to the stage in an atmospheric production by David Bosch. A quartet of world-class singers bring the principal characters of this searing opera to life. Gregory Kunde stars as the troubadour Manrico, with Lianna Haroutounian as his courageous lover Leonora. Vitaliy Bilyy is the tyrannical Count di Luna, the man who wants Leonora for himself, and Anita Rachvelishvili is Azucena, the mysterious gypsy woman unable to reveal the secret that torments her. Richard Farnes conducts the Orchestra of the Royal Opera House and Royal Opera Chorus in this exploration of love, cruelty, intense passion and revenge. \"The evening’s musical credentials are unequivocally outstanding. The soloists are very strong with two performances standing out in particular. The first comes from Vitaliy Bilyy who is making his Royal Opera debut as the Count di Lunaand who combines a deep, rich and secure baritone with a suitably commanding presence.... The second comes from Anita Rachvelishvili as Azucena who displays a rich and nuanced mezzo-soprano, and whose voice and acting mark out the weight of sorrow and resolve that she constantly carries....\" (Opera Online)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013265969386,"sku":"809478072386","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3803620.jpg?v=1778276425"},{"product_id":"bernstein-celebration-royal-opera-house-blu-ray-84180","title":"Bernstein Celebration \/ Royal Opera House [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e\u003ca class=\"links\" href=\"album.jsp?album_id=2275909\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e \u003cbr\u003eThe Royal Ballet celebrates the centenary of Leonard Bernstein’s birth with this all-Bernstein collection. The Company’s three associate choreographers respond to the varied styles of Bernstein’s music in ballets that are lyrical, beautiful, exuberant and moving. Wayne McGregor’s ‘Yugen’ is set to Chichester Psalms. In ‘The Age of Anxiety’ Liam Scarlett responds to Bernstein’s eclectic Second Symphony, itself a response to W.H. Auden's poem. ‘Corybantic Games’ by Christopher Wheeldon responds to the Serenade after Plato’s ‘Symposium’. Filmed in High Definition and recorded in true SS. ‘‘…one of the most beautifully achieved dances of his career.’’ (The Guardian- ‘Yugen’) ‘‘…a cascade of showstopping, kaleidoscopic configuration.’’ (The Guardian – ‘Corybantic Games’) ‘‘…moments that catch at the heart.’’ (The Arts Desk – ‘The Age of Anxiety’)","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46013335240938,"sku":"809478072522","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3585799.jpg?v=1781982365"},{"product_id":"verdi-macbeth-keenlyside-aceto-monastryrska-cliffe-blu-207241","title":"Verdi: Macbeth \/ Keenlyside, Aceto, Monastryrska, Cliffe [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=709136\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Black, red, cream and gold are the colours that define Phyllida Lloyd’s Royal Opera House staging of Verdi’s robust, yet penetrating setting of Shakespeare’s Scottish play. Manipulated by a whole coven of cunning, scarlet-turbanned witches, the characters often evoke figures in a splendid Gothic fresco. With Simon Keenlyside as an athletic, brooding Macbeth and Liudmyla Monastyrska as his Lady, both imperious and subtle, this performance, masterfully conducted by Antonio Pappano, goes far beyond mere sound and fury.\u003cbr\u003e  \u003cbr\u003e ‘…an impressive company showcase, full of moments when chorus and orchestra are at full throttle. Whipped up by Antonio Pappano's baton, they sound truly thrilling.’ – The Guardian\u003cbr\u003e  \u003cbr\u003e Giuseppe Verdi\u003cbr\u003e  MACBETH\u003cbr\u003e (Blu-ray Disc Version)\u003cbr\u003e \u003cbr\u003e  Macbeth – Simon Keenlyside\u003cbr\u003e  Banquo – Raymond Aceto\u003cbr\u003e  Lady Macbeth – Liudmyla Monastryrska\u003cbr\u003e  Servant – Nigel Cliffe\u003cbr\u003e  Malcolm – Steven Ebel\u003cbr\u003e  Lady – Elisabeth Meister\u003cbr\u003e  Macduff – Dmitri Pittas\u003cbr\u003e \u003cbr\u003e  Royal Opera House Chorus and Orchestra\u003cbr\u003e  Antonio Pappano, conductor\u003cbr\u003e \u003cbr\u003e  Recorded live at the Royal Opera House, 13 June 2011 \u003cbr\u003e \u003cbr\u003e  Bonus:\u003cbr\u003e  - Cast gallery\u003cbr\u003e  - Interviews with Simon Keenlyside, Raymond Aceto and Liudmyla Monastryrska\u003cbr\u003e  - Rehearsing Macbeth with Antonio Pappano \u003cbr\u003e \u003cbr\u003e  Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Italian, Spanish\u003cbr\u003e  Running time: 170 mins\u003cbr\u003e  No. of Discs: 1\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025391833322,"sku":"809478070955","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1957524.jpg?v=1778388015"},{"product_id":"szymanowski-krol-roger","title":"Szymanowski: Król Roger","description":"Karol Szymanowski's tragic masterpiece, Kr�l Roger (King Roger) powerfully presents the dilemmas of culture versus nature and man versus beast as told through the stormy life of King Roger. Antonio Pappano conducts Szymanowksi's score whose opulence contrasts achingly with the darkening skies of this morality tale in Kasper Holten's first production since becoming director of the Royal Opera House. With inspired performances led by the fine Mariusz Kwiecien, who has made the title role a signature one in his career along with Georgia Jarman in her Royal Opera debut as Roger's loving queen Roxana. Sung in Polish with English, French, German, Japanese and Korean subtitles, this production is further distinguished by marking the return of this opera to the London stage after a 40 year absence along with it's innovative stage, lighting and video design that further enhances this tale.","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025491054826,"sku":"809478011613","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3039362.jpg?v=1778300740"},{"product_id":"puccini-madama-butterfly-pappano-jaho-puente-51874","title":"Puccini: Madama Butterfly \/ Pappano, Jaho, Puente, Royal Opera House Orchestra","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2274852\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  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)\u003cbr\u003e  \u003cbr\u003e  -----\u003cbr\u003e  \u003cbr\u003e  REVIEWS:\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  – Gramophone\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  – BBC Music Magazine\u003cbr\u003e  \u003cbr\u003e  DETAILS:\u003cbr\u003e  \u003cbr\u003e  Format: NTSC; 16x9 (Anamorphic\u003cbr\u003e  Subtitles: English, French, German, Japanese, Korean\u003cbr\u003e  Region: All Regions\u003cbr\u003e  Sound: Stereo, Dolby Digital; DTS Digital Surround\u003cbr\u003e  1 DVD-9 double-layer disc","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025491546346,"sku":"809478012689","price":26.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3828549.jpg?v=1778282931"},{"product_id":"cosi-fan-tutte-71062","title":"Cosi Fan Tutte","description":"'The school for lovers', Mozart's alternative title for Cos� fan tutte, is given a playful, theatrical treatment by German director Jan Philipp Gloger, who sets this new production for The Royal Opera in a theatre. The four lovers are performed by a cast of young rising stars, with Sabina Puertolas as the fun-loving Despina and acclaimed German baritone and comic genius Johannes Martin Kranzle as the impresario Don Alfonso, who leads the lovers on a role-playing journey full of picturesque settings. Semyon Bychkov conducts the Orchestra of the Royal Opera House in one of Mozart's most beautiful scores, packed with wonderful arias and ensembles. \"Ensemble singing is strong; the standout is Daniel Behle's gorgeous tenor as Ferrando. Above all, Semyon Bychkov's impeccable balance and pacing in the pit allows it full space to blossom.\" (The Independent) \"Semyon Bychkov gives an enthralling lesson in Mozart from the outset. Conducting his first Mozart opera in 20 years, he has a style might be said to belong (in the best sense) to the old school. But, Bychkov draws glowingly warm playing, and the textures are lithe and lively. The score's darker colours are all brought out in a performance that bristles with dramatic tension.\" (The Daily Telegraph)","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025566486762,"sku":"809478012603","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3772797.jpg?v=1778272672"},{"product_id":"puccini-il-trittico-pappano-gallo-demuro-westbroek-153624","title":"Puccini: Il Trittico \/ Pappano, Gallo, Demuro, Westbroek, Larsson [blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  \u003ca class=\"links\" href=\"album.jsp?album_id=772495\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Leading director Richard Jones staged his witty, darkly comic realization of Gianni Schicchi for The Royal Opera in 2007. The production was revived in 2012 and here he completes the trio with two new productions of Il Tabarro and Suor Angelica. Antonio Pappano conducts an acclaimed cast including Eva-Maria Westbroek, Ermonela Jaho, Lucio Gallo, Elena Zilio and rising star Francesco Demuro. These three one-act works were broadcast on BBC Radio 3 and went to cinemas world-wide in February 2012.\u003cbr\u003e  \u003cbr\u003e Giacomo Puccini IL TRITTICO\u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e \u003cbr\u003e  Il Tabarro\u003cbr\u003e  Michele – Lucio Gallo\u003cbr\u003e  Giorgetta – Eva-Maria Westbroek\u003cbr\u003e  Luigi – Aleksandrs Antonenko \u003cbr\u003e  Suor Angelica\u003cbr\u003e  Suor Angelica – Ermonela Jaho\u003cbr\u003e  La zia principessa – Anna Larsson\u003cbr\u003e  La badessa – Irina Mishura\u003cbr\u003e \u003cbr\u003e  Gianni Schicchi\u003cbr\u003e  Gianni Schicchi – Lucio Gallo\u003cbr\u003e  Lauretta – Ekaterina Siurina\u003cbr\u003e  Rinuccio – Francesco Demuro\u003cbr\u003e \u003cbr\u003e  Royal Opera House Chorus and Orchestra\u003cbr\u003e  Antonio Pappano, conductor\u003cbr\u003e \u003cbr\u003e  Richard Jones, stage director\u003cbr\u003e \u003cbr\u003e  Recorded live at the Royal Opera House, September 2011 \u003cbr\u003e \u003cbr\u003e  Bonus\u003cbr\u003e  - Introductions by Antonio Pappano\u003cbr\u003e  - Behind the Scenes\u003cbr\u003e \u003cbr\u003e  Picture format: 1080i High Definition\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Subtitles: Italian, English, German, French, Spanish\u003cbr\u003e  Running time: 180 mins (operas) + 20 mins (bonus)\u003cbr\u003e  No. of Discs: 1 (Blu-ray)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025569042666,"sku":"809478071020","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2017585.jpg?v=1778387877"},{"product_id":"tchaikovsky-eugene-onegin-ticciati-stoyanova-keenlyside-maximova-222684","title":"Tchaikovsky: Eugene Onegin \/ Ticciati, Stoyanova, Keenlyside, Maximova","description":"Kasper Holten's inaugural production as Director of Opera for The Royal Opera returns to Pushkin's verse novella to reveal the shadows of memory which haunt Tchaikovsky's lyric tragedy. Using doubles to suggest the paths taken, or not taken, by its two impulsive protagonists, Holten gives eloquent voice to the loss and regret that lies at the heart of Eugene Onegin. Simon Keenlyside and Krassimira Stoyanova bring both experience and dynamic energy to the pair of protagonists, while the youthful, 'heartrending' tenor of Pavol Breslik and the idiomatic sweep of Robin Ticciati's 'inspired' conducting (The Independent) were enthusiastically received at the premiere of this visually opulent staging. \u003cbr\u003e \u003cbr\u003ePyotr Il’yich Tchaikovsky\u003cbr\u003e EUGENE ONEGIN \u003cbr\u003e \u003cbr\u003e Tatyana – Krassimira Stoyanova\u003cbr\u003e Eugene Onegin – Simon Keenlyside\u003cbr\u003e Olga – Elena Maximova\u003cbr\u003e Lensky – Pavol Breslik\u003cbr\u003e Prince Gremin – Peter Rose\u003cbr\u003e Madame Larina – Diana Montague\u003cbr\u003e \u003cbr\u003e Royal Opera House Chorus and Orchestra\u003cbr\u003e Robin Ticciati, conductor\u003cbr\u003e \u003cbr\u003e Kasper Holten, stage director\u003cbr\u003e \u003cbr\u003e Recorded live at the Royal Opera House, Feburary 2013 \u003cbr\u003e \u003cbr\u003e Picture format: NTSC 16:9\u003cbr\u003e Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e Region code: 0 (worldwide)\u003cbr\u003e Subtitles: English, French, German, Italian, Japanese, Korean\u003cbr\u003e Running time: 154 mins\u003cbr\u003e No. of DVDs: 1\u003cbr\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025570091242,"sku":"809478011200","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/2335526.jpg?v=1778315263"},{"product_id":"bellini-norma-yoncheva-256568","title":"Bellini: Norma \/ Yoncheva, Pappano, Royal Opera House Covent Garden Orchestra","description":"\u003cp\u003eStar soprano Sonya Yoncheva sings the towering role of Bellini's Norma – a priestess torn between love and duty – in a timeless tale of love and betrayal, set in a fanatically religious and war-torn modern society. The spectacular production by Àlex Olle for The Royal Opera also stars Joseph Calleja as Norma's former lover Pollione, leader of the forces occupying her country, Brindley Sherratt as her domineering father Oroveso, and Sonia Ganassi as Adalgisa, her greatest friend and unwitting rival in love. Royal Opera Music Director Antonio Pappano leads this superb cast, the Royal Opera Chorus and Orchestra of the Royal Opera House in one of the greatest works of the bel canto repertory.\u003c\/p\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025571303658,"sku":"809478012474","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3748278.jpg?v=1778298207"},{"product_id":"viscera-carmen-afternoon-of-a-faun-pas-80547","title":"Viscera, Carmen, Afternoon of a Faun \u0026 Pas de deux \/ Royal Ballet","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=2180497\"\u003e\u003cb\u003eAlso available on Blu-ray\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  This outstanding recording features four ballet works: Liam Scarlett’s Viscera, Carlos Acosta’s Carmen, Jerome Robbins’s Afternoon of a Faun, and George Balanchine’s Tchaikovsky pas de deux. Acosta’s Carmen focuses on the dramatic essentials of revenge, jealousy, and love. Not only did Acosta choreograph the production, he also dances a lead role. When Viscera was created in 2012, Liam Scarlett was the Royal Ballet Artist In Residence. Particularly interesting is Balanchine’s Pas de Deux which was based on a newly discovered movement from Swan Lake which had not been performed since Tchaikovsky’s death.\u003cbr\u003e  \u003cbr\u003e Region Code: 0 (All)\u003cbr\u003e  Audio Format: PCM 2.0, DTS 5.1\u003cbr\u003e  Running Time: 118 mins\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025611051242,"sku":"809478012122","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3371565.jpg?v=1778292519"},{"product_id":"puccini-la-boheme-pappano-car-fabiano-royal-80513","title":"Puccini: La boheme \/ Pappano, Car, Fabiano, Royal Opera House [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=2273944\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003eSimply superb in every way - unmissable.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e  A penniless poet, a young seamstress, and a lost key: Puccini’s passionate opera tells the story of a captivating romance set against the background of 19th-century Paris. The luscious score, with its soaring melodies and rich orchestration, brings to life the relationships between Rodolfo, Mimì and their friends, the painter Marcello and fiery Musetta. Acclaimed director Richard Jones stages a fresh and intelligent new production of one of the world’s most popular operas, conducted by The Royal Opera’s Music Director, Antonio Pappano. Extra features on this release include Antonio Pappano speaking about the music as well as a Cast Gallery. ‘‘A startlingly new production’’ (The Independent) ‘‘…fresh, beautiful, and intelligent’’ (The Daily Telegraph) ‘‘Car is so good at the sudden bursts of lyricism’’ (The Art Desk)\u003cbr\u003e \u003cbr\u003e  -----\u003cbr\u003e \u003cbr\u003e  REVIEWS:\u003cbr\u003e \u003cbr\u003e  Pappano is always terrific in Puccini. His pacing and attention to orchestral detail are superb and he draws highly sympathetic playing from his orchestra. Car is a lovely Mimì, with a simple charm to her Act I aria that immediately makes you love her.\u003cbr\u003e \u003cbr\u003e  – Gramophone\u003cbr\u003e \u003cbr\u003e  Simply superb in every way - unmissable.\u003cbr\u003e \u003cbr\u003e  – MusicWeb International","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025611280618,"sku":"809478072485","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3568922.jpg?v=1778387969"},{"product_id":"the-royal-opera-a-collection-84117","title":"The Royal Opera: A Collection","description":"\u003cp\u003eThis outstanding collection contains 6 discs and features some of the most memorable performances by The Royal Opera. The works included in this set include Verdi’s Aida, Otello, and Stiffelio, Strauss’s Salome, Gounod’s Romeo Et Juliette, and Mozart’s Mitridate, re di Ponto. These discs bring together incredible conductors Paul Daniel, Edward Downes, Charles Mackerras, and Georg Solti with world-class stage directors Elijah Moshinsky, Nicholas Joel, Peter Hall, and Graham Vick. These recordings, all taken between 1992 and 1994, are preserved here in Standard Definition and 4\/3 picture format.\u003c\/p\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025611378922,"sku":"809478012139","price":53.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3371564_f6af52c9-ce86-4f2a-bd00-a96df3fe6155.jpg?v=1778306345"},{"product_id":"gala-performances-recorded-live-at-the-royal-opera-house","title":"Gala Performances - Recorded Live at the Royal Opera House,","description":"Two spectacular gala concerts from the stage of the Royal Opera House, Covent Garden, are brought together here in their unforgettable glory. In the 1993 Winter Gala, world-leading singers (including Placido Domingo, Dmitri Hvorostovsky and Kiri Te Kanawa) and dancers (including Darcey Bussell, Lesley Collier, and Irek Mukhamedov) celebrate the music of Tchaikovsky, in highlights from such opera and ballet favourites as The Queen of Spades and Eugene Onegin, The Nutcracker and The Sleeping Beauty. In the famously glittering 1996 gala concert, Domingo is joined by a cast of opera stars including Angela Gheorghiu, Roberto Alagna and Susan Graham. Asher Fisch conducts this programme of great opera arias by composers including Bizet, Massenet, Gounod, Mozart and Donizetti.","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025611903210,"sku":"809478012290","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3551669.jpg?v=1778279120"},{"product_id":"mozart-le-nozze-di-figaro-pappano-schrott-193878","title":"Mozart: Le Nozze Di Figaro \/ Pappano, Schrott, Persson, Finley","description":"\u003ca class=\"links\" href=\"album.jsp?album_id=190576\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e Countess Almaviva: Dorothea Röschmann\u003cbr\u003e  Marcellina: Graciela Araya\u003cbr\u003e  Barbarina: Ana James\u003cbr\u003e  Cherubino: Rinat Shaham\u003cbr\u003e  \u003cbr\u003e  The Royal Opera Chorus\u003cbr\u003e  The Orchestra of the Royal Opera House\u003cbr\u003e  Conductor: Antonio Pappano\u003cbr\u003e  Stage Director: David McVicar\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, Covent Garden, London on 10th, 13th and 17th February 2006.\u003cbr\u003e  \u003cbr\u003e  Plus \u003cbr\u003e  The Magic of Mozart: Interviews with Antonio Pappano, David McVicar and principal cast.\u003cbr\u003e  Cast gallery and illustrated synopsis.\u003cbr\u003e  \u003cbr\u003e  Reviews ‘This sexy, raunchy, romp of an opera is a triumph. Director David McVicar has searched for the essence of the composer and found it; fun filled, sensitive, romantic and serious by turns, all reflected in this production.This is a 'Must See' opera! ...You'll regret it if you don't!’ Musical Opinion\u003cbr\u003e  \u003cbr\u003e  Awards \u0026amp; Accolades: \u003cbr\u003e  'BEST OF THE YEAR' 2008 - Opera News (January 2009)\u003cbr\u003e  BEST DVD OF THE YEAR The Metropolitan Opera (January 2009)DVD OF THE YEAR 2008 Classic FM Gramophone Awards (September 2008)\u003cbr\u003e  \u003cbr\u003e  REGIONS: All Regions\u003cbr\u003e  PICTURE FORMAT: 1080i\u003cbr\u003e  LENGTH: 202 Mins\u003cbr\u003e  SOUND: 2.0 \u0026amp; 5.0 PCM\u003cbr\u003e  SUBTITLES: ENGLISH\/FRENCH\/GERMAN\/SPANISH\/ITALIAN\u003cbr\u003e  NO OF DISCS: 2\u003cbr\u003e  \u003cbr\u003e   \u003ctitle\u003e3334340.zz80_MOZART_Le_Figaro.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"COMPOSER12\"\u003eMOZART \u003c\/span\u003e  \u003cspan class=\"ARIAL12bi\"\u003eLe nozze di Figaro \u003c\/span\u003e  \u003cspan class=\"EXTRAS12\"\u003e\u0026amp; \u003c\/span\u003e  \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e Antonio Pappano, cond; Erwin Schrott (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eFigaro\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Miah Persson (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eSusanna\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Gerald Finley (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eCount Almaviva\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Dorothea Röschmann (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eCountess Almaviva\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Rinat Shaham (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eCherubino\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Jonathan Veira (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eDr. Bartolo\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Graciela Araya (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eMarcellina\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Philip Langridge (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eDon Basilio\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Jeremy White (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eAntonio\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Francis Egerton (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eDon Curzio\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Ana James (\u003c\/span\u003e  \u003cspan class=\"ARIAL12i\"\u003eBarbarina\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e); Royal Op House Covent Garden O \u0026amp; Ch \u003c\/span\u003e  \u003cspan class=\"BULLET12b\"\u003e•\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e OPUS ARTE 7033 (2 Blu-ray Discs: 202:00) Live: London 2\/10,13,17\/2006 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan class=\"EXTRAS12\"\u003e\u0026amp;\u003c\/span\u003e  \u003cspan class=\"ARIAL12\"\u003e “The Magic of Mozart”: interviews with performers and director. Cast gallery and synopsis \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eReviewing the DVD version of this performance, Lynn René Bayley called it “fabulous,” and claimed that “if not definitive, [it is] at least a touchstone against which all future performances can be judged” (32:1). In his companion review in the same issue, Barry Brenesal was slightly less giddy, pointing to a number of flaws but nonetheless concluding with high praise: while “not everything works,” he said, “more than enough does to invest this \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eLe nozze\u003c\/span\u003e  \u003cspan\u003e with a distinctive energy and a level of interaction beyond most DVD versions.” I’m more in Brenesal’s camp here—this is an exceptional release, but it doesn’t quite erase the very considerable competition. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eVirtues first. While this cast may not quite knock out Böhm’s all-star assemblage (Freni, Te Kanawa, Ewing, Prey, and Fischer-Dieskau), it’s as solid, from top to bottom, as any group of singers you’re realistically likely to assemble today. Miah Persson, whose radiant Zerlina was a highpoint in Mackerras’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eDon Giovanni\u003c\/span\u003e  \u003cspan\u003e (33:2), is even more impressive here, where her voice is equally lustrous and dexterous, and where there’s even more opportunity to demonstrate psychological nuance. As but one example, try her act III duet with the Count, where she just manages to hide (from him, although not from us) her palpable disgust (especially when he kisses her) under a veneer of flirtation. Until now, my favorite modern Susanna has been Alison Hagley, but Persson is just as winning. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eFinley is a magnificent foil. From the beginning, he seems a more intellectual Count than most, a man of learning driven less by animal lust than by a kind of intellectual challenge and love of life. At first, I wondered: was I listening to this \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFigaro\u003c\/span\u003e  \u003cspan\u003e through the experience of Finley as Figaro (on the Haitink DVD) and as Robert Oppenheimer in Adams’s \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eDoctor Atomic\u003c\/span\u003e  \u003cspan\u003e (33:2)? Perhaps I was. But the opening of act III—where the Count, in glasses, studies a mechanical contraption that screams out Enlightenment and Scientific Progress—shows that stage director David McVicar, too, was thinking of Almaviva in similar terms. He’s a surprisingly sympathetic character, one who seems truly transformed (although for how long?) in the final minutes. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eBrenesal found Röschmann a bit too uncontrolled as the Countess, but I rather like the variety of moods she expresses: less youthful, perhaps, than Annette Dash on Jacobs’ DVD, she nonetheless does remind us (as the regal Te Kanawa, for all her virtues, does not) that Rosina is not yet the Marschallin, but is rather an inexperienced post-teen still learning how to become a great lady. Schrott’s Figaro is immensely attractive, and Shaham is a bundle of nerves as Cherubino; the minor singers are first-rate, too. Brenesal complained that the old guard folks were treated as caricatures—I, in contrast, found them less slapsticky and more vocally attractive than is usually the case. \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFigaro\u003c\/span\u003e  \u003cspan\u003e depends, of course, more on ensembles than on arias—and the voices fit together exceptionally well, whether in the blend of Susanna and the Countess toward the end of act III or in the balance of the largest scenes. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eThe staging is generally first-rate. Yes, having \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003etwo\u003c\/span\u003e  \u003cspan\u003e doors into Susanna and Figaro’s bedroom makes hash of the plot complications in act I; and—like so many other directors—McVicar has to abandon his impressively detailed realism (down to cracks in the plaster) in act IV, where, even so, it’s just as hard as usual to figure out why neither Figaro nor the Count can see what’s going on. (Generally speaking, the more abstract the production, the less silly the final act seems.) The performers are all skilled actors—and McVicar has drawn the best from them. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eSo what keeps this \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFigaro\u003c\/span\u003e  \u003cspan\u003e from first place? Well, perhaps I’ve been swayed by the period-performance crowd, but Pappano’s conducting—“witty,” “spry,” and “sensitive to his singers” as Brenesal rightly claims it is—still seems just a bit too deliberate to me. It’s not really a matter of tempo by the clock (although Gardiner’s DVD is generally quicker); but the string-dominated sonority, the lack of acid in the winds, the slightly burnished articulation, and the sweetness of the phrasing all serve to suck up energy, particularly in the last act—where the inclusion of both Marcellina’s and Bartolo’s arias only adds to the sense that this \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFigaro \u003c\/span\u003e  \u003cspan\u003eis simply taking too long to wind up. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan\u003eSo my first choices remain: Jacobs’ SACD for an audio \u003c\/span\u003e  \u003cspan style=\"font-style:italic\"\u003eFigaro\u003c\/span\u003e  \u003cspan\u003e, Gardiner’s DVD (with Terfel, Hagley, and Gilfrey in excellent form) for a video version, and Böhm’s DVD as a supplement. Still, those who opt for this version will have little to complain about—especially on Blu-ray, where technical matters are, quite simply, spectacular. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e   \u003cspan style=\"font-weight:bold\"\u003eFANFARE: Peter J. Rabinowitz \u003c\/span\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025612001514,"sku":"809478070337","price":52.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1539246.jpg?v=1778388670"},{"product_id":"birtwistle-the-minotaur-tomlinson-reuter-pappano-blu-140987","title":"Birtwistle: The Minotaur \/ Tomlinson, Reuter, Pappano [Blu-ray]","description":"\u003cb\u003eNote: This Blu-ray Disc is only playable on Blu-ray Disc players, and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Harrison Birtwistle \u003cbr\u003e  THE MINOTAUR \u003cbr\u003e  (Blu-ray Disc Version)\u003cbr\u003e  \u003cbr\u003e The Minotaur – John Tomlinson \u003cbr\u003e  Theseus – Johan Reuter \u003cbr\u003e  Ariadne – Christine Rice \u003cbr\u003e  Snake Priestess – Andrew Watts \u003cbr\u003e  Hiereus – Philip Langridge \u003cbr\u003e  Ker – Amanda Echalaz\u003cbr\u003e  \u003cbr\u003e The Royal Opera Chorus \u003cbr\u003e  The Orchestra of the Royal Opera House \u003cbr\u003e  Antonio Pappano, conductor\u003cbr\u003e  \u003cbr\u003e Stephen Langridge, stage director\u003cbr\u003e  \u003cbr\u003e Recorded live at the Royal Opera House, Covent Garden on 25, 30 April and 3 May 2008.\u003cbr\u003e  \u003cbr\u003e Bonus: \u003cbr\u003e  - Documentary: Myth is Universal \u003cbr\u003e  - Illustrated synopsis and cast gallery\u003cbr\u003e  \u003cbr\u003e Picture format: 1080i High Definition \u003cbr\u003e  Sound format: PCM Stereo 2.0 and 5.0 \u003cbr\u003e  Region code: 0 (All Regions) \u003cbr\u003e  Menu languages: English \u003cbr\u003e  Subtitles: English, German, French, Spanish, Italian \u003cbr\u003e  Running time: 175 mins \u003cbr\u003e  No. of Discs: 1 (BD 50)\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025612132586,"sku":"809478070528","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1612429.jpg?v=1778386901"},{"product_id":"viscera-carmen-afternoon-of-a-faun-pas-80515","title":"Viscera, Carmen, Afternoon of a Faun \u0026 Pas de deux \/ Royal Ballet [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=2180494\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  This outstanding recording features four ballet works: Liam Scarlett’s Viscera, Carlos Acosta’s Carmen, Jerome Robbins’s Afternoon of a Faun, and George Balanchine’s Tchaikovsky pas de deux. Acosta’s Carmen focuses on the dramatic essentials of revenge, jealousy, and love. Not only did Acosta choreograph the production, he also dances a lead role. When Viscera was created in 2012, Liam Scarlett was the Royal Ballet Artist In Residence. Particularly interesting is Balanchine’s Pas de Deux which was based on a newly discovered movement from Swan Lake which had not been performed since Tchaikovsky’s death.\u003cbr\u003e  \u003cbr\u003eRegion Code: 0 (Worldwide)\u003cbr\u003e Running Time: 118 Minutes","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025613050090,"sku":"809478072027","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3373378.jpg?v=1778385229"},{"product_id":"verdi-macbeth-pappano-keenlyside-monastyrska-royal-opera-111310","title":"Verdi: Macbeth \/ Pappano, Keenlyside, Monastyrska, Royal Opera","description":"\u003cb\u003eAn excellent release, altogether, and something that any fan of the opera would enjoy. \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e  Theatrical events in the cinema have become one of the cultural phenomena of the last decade, and opera has led the way. The New York Met went first with their live HD relays, and others like Glyndebourne have followed. It’s exciting to see the Royal Opera House doing the same thing. This is a DVD release of their  \u003cem\u003eMacbeth\u003c\/em\u003e that was relayed into cinemas in 2011. It’s very good all-round, well filmed and well captured in excellent sound but, as it should be, it’s the performances of the two leads that will capture the attention.\u003cbr\u003e   \u003cbr\u003e  Simon Keenlyside and Liudmyla Monastyrska give one of the finest portrayals of the couple that I have come across. In both cases what lifts them into the category of the very special is the way they manage to chart the character’s development. Macbeth is a role that Keenlyside has grown into. He has the depth, the charisma and the energy that make the role complex and interesting; more than a great soldier laid low. His baritone is rounded and complex, just right to capture the many facets of the character’s journey. In the opening scene with the witches he comes across as vulnerable and impressionable into the bargain. However, he noticeably hardens in the second scene, and the dagger soliloquy finds him tougher and less humane. Even in the great duet after the murder his voice has more steel than remorse. This trajectory continues right to his final aria,  \u003cem\u003eMal per me\u003c\/em\u003e, which is extraordinary in its power and its sense of a life wasted. Perhaps he goes a little too far into snarling in the “sound and fury” sequence, but this remains an extraordinary interpretation of the character that I would love to have heard live. He is partnered by an equally exciting soprano in Liudmyla Monastyrska, a new name to me. She, too, charts the character’s development brilliantly, but she does so with quite extraordinary vocal tools. Her opening salvo,  \u003cem\u003eAmbizioso spirto\u003c\/em\u003e, is exhilarating in its gleam, but cold with a palpable edge of steel which she maintains throughout the scene. Her vocal equipment is thrilling to listen to, however, not least in the coloratura of her cabaletta and the Brindisi of the second act. However, she undergoes the opposite journey to her husband so that, by the sleepwalking scene, she has shaded down her vocal colour to be a shadow of what it was. It’s a remarkable transition, and it makes the sleepwalking scene so much more effective, not least when she rises to a remarkable pianissimo in her final phrase. For these two alone this DVD would be required viewing. The others are fine, if not exceptional. Aceto sings Banquo’s aria very well but the character is rather uninvolving. The same is true of Macduff, though he isn’t quite as interesting to listen to. Malcolm’s few stage moments go off well, but there’s no doubt that it’s the Macbeths themselves who are the main draw here.\u003cbr\u003e   \u003cbr\u003e  The production is fine too, stark in its contrasts of black, red and gold. Lloyd adopts a fairly minimalist approach, relying on lots of squares and cubes, most notably as an open cage where Duncan is murdered and the Macbeths plot the future. It’s her use of the witches that is most interesting. For her they are not restricted to the scenes on the heath; they invisibly orchestrate much of the action, most notably assisting the escape of Fleance after Banquo’s murder. The third act begins with a fantastic image of the great cube spinning around, controlled by the witches, with Macbeth and his wife inside. The direction of the two leads is very good and, while there isn’t much to say about the other characters, there is nothing in the production to insult or distract.\u003cbr\u003e   \u003cbr\u003e  The chorus, so important in this opera, are very good indeed, whether playing witches, murderers, soldiers or refugees. The orchestra are fantastic too. Pappano’s direction is thrilling throughout. In one of the short extra films - all fine if unremarkable - he says that  \u003cem\u003eMacbeth\u003c\/em\u003e is one of his favourite operas and you can tell in the way he screws up the tension to a thrilling climax in the chorus following Duncan’s murder. He shapes a compelling, dark vision of the score and has a whale of a time while doing so. The camera direction is always appropriate and the DTS sound comes through very well.\u003cbr\u003e   \u003cbr\u003e  An excellent release, altogether, and something that any fan of the opera would enjoy.\u003cbr\u003e   \u003cbr\u003e  -- Simon Thompson, MusicWeb International\u003cbr\u003e  \u003cbr\u003e  Macbeth – Simon Keenlyside\u003cbr\u003e  Banquo – Raymond Aceto\u003cbr\u003e  Lady Macbeth – Liudmyla Monastryrska\u003cbr\u003e  Servant – Nigel Cliffe\u003cbr\u003e  Malcolm – Steven Ebel\u003cbr\u003e  Lady – Elisabeth Meister\u003cbr\u003e  Macduff – Dmitri Pittas\u003cbr\u003e  \u003cbr\u003e  Royal Opera House Chorus and Orchestra\u003cbr\u003e  Antonio Pappano, conductor\u003cbr\u003e  \u003cbr\u003e  Recorded live at the Royal Opera House, 13 June 2011 \u003cbr\u003e  \u003cbr\u003e  Bonus:\u003cbr\u003e  - Cast gallery\u003cbr\u003e  - Interviews with Simon Keenlyside, Raymond Aceto and Liudmyla Monastryrska\u003cbr\u003e  - Rehearsing Macbeth with Antonio Pappano \u003cbr\u003e  \u003cbr\u003e  Picture format: NTSC 16:9 Anamorphic\u003cbr\u003e  Sound format: LPCM 2.0 \/ DTS 5.1\u003cbr\u003e  Region code: 0 (worldwide)\u003cbr\u003e  Menu language: English\u003cbr\u003e  Subtitles: English, French, German, Italian, Spanish\u003cbr\u003e  Running time: 170 mins\u003cbr\u003e  No. of DVDs: 1\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025614131434,"sku":"809478010630","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1957523.jpg?v=1778332851"},{"product_id":"verdi-la-traviata-pappano-fleming-calleja-hampson-53572","title":"Verdi: La Traviata \/ Pappano, Fleming, Calleja, Hampson, Wade","description":"\u003cbr\u003eR E V I E W:\u003cbr\u003e  \u003cbr\u003e  \u003ctitle\u003e3525240.az_VERDI_La_Traviata_Antonio.html\u003c\/title\u003e  \u003cmeta http-equiv=\"Content-Type\" content=\"text\/html; charset=utf-8\"\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cspan class=\"COMPOSER12\"\u003eVERDI \u003c\/span\u003e \u003cspan class=\"ARIAL12bi\"\u003eLa Traviata \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003eAntonio Pappano, cond; Renée Fleming (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eVioletta\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Joseph Calleja (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eAlfredo\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Thomas Hampson (\u003c\/span\u003e \u003cspan class=\"ARIAL12i\"\u003eGermont\u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e); Royal Op House Ch \u0026amp; O \u003c\/span\u003e \u003cspan class=\"BULLET12\"\u003e • \u003c\/span\u003e \u003cspan class=\"ARIAL12\"\u003e OPUS ARTE OA 1040 D (DVD); OA BD7076 D (Blu-ray: 154:00) Live: Covent Garden 6\/27 \u0026amp; 30\/2009 \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eBack in \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eFanfare\u003c\/span\u003e \u003cspan\u003e 34:1 I reviewed the recent DVD of \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLa traviata\u003c\/span\u003e \u003cspan\u003e 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 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ecomprimario\u003c\/span\u003e \u003cspan\u003e 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 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eLa traviata\u003c\/span\u003e \u003cspan\u003e performances on video. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAt 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eAfter 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eNext 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 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003eforte\u003c\/span\u003e \u003cspan\u003e 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eThe 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 \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003efrisson\u003c\/span\u003e \u003cspan\u003e found in his very best interpretations, and I actually find myself preferring Maazel overall despite his occasional eccentricities. The \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ecomprimario\u003c\/span\u003e \u003cspan\u003e 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eMy 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan\u003eSo, once again, we still await the ideal\u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003e La traviata\u003c\/span\u003e \u003cspan\u003e. In the best of all possible worlds, I would be able to take the La Scala production, replace its wretched \u003c\/span\u003e \u003cspan style=\"font-style:italic\"\u003ecomprimario\u003c\/span\u003e \u003cspan\u003e 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. \u003c\/span\u003e\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  \u003cspan style=\"font-weight:bold\"\u003eFANFARE: James A. Altena \u003c\/span\u003e\u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025622356202,"sku":"809478010401","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/1844809_07f65d0d-8f38-4c0d-8403-9f7feaa590c2.jpg?v=1778329037"},{"product_id":"szymanowski-king-roger-kwiecien-jarman-pirgu-pappano-256592","title":"Szymanowski: King Roger \/ Kwiecien, Jarman, Pirgu, Pappano, Royal Opera House Orchestra (Blu-ray)","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cb\u003e\u003ca href=\"http:\/\/www.arkivmusic.com\/classical\/album.jsp?album_id=2147749\"\u003eAlso available on standard DVD\u003c\/a\u003e\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003cimg src=\"\/graphics\/p10s10.gif\"\u003e\u003cbr\u003e  \u003cbr\u003e  This ravishing production from Covent Garden, recorded in May, 2015, certainly takes its cues from Freud... The score is a stunner, alternately sensual and sumptuous, with dissonant eruptions. It can sometimes overwhelm with its exotic, anointed quality, which makes it seem obvious, but it is certainly one of a kind. It requires, of course, a cast willing to learn Polish, and for that alone we should praise this production – it sometimes sounds as if it has no vowels. I suspect it would not have come to be were it not for Polish-born Mariusz Kwiecien, a remarkable singing actor in foreign languages and now even more remarkable in the comfort of his own. Roger is a veritable garden of uncertainties and hungers, and Kwiecien’s acting and singing give us each doubt, each fear, each unresolved bit of passion. His voice is in wonderful shape as well–a highly placed, bright baritone.\u003cbr\u003e  \u003cbr\u003e  \u003cbr\u003e  There are subtitles in English, French, German, Japanese, and Korean and bonus features including explanations by Pappano and Holten – as well as a blow-by-blow documentary. King Roger is not an oddity or a rarity–it’s a major part of the operatic canon and this is an ideal way to get to know it.\u003cbr\u003e  \u003cbr\u003e--ClassicsToday.com\u003cbr\u003e \u003cbr\u003e \u003cbr\u003e","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46025623994602,"sku":"809478071624","price":42.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3039365.jpg?v=1778387997"},{"product_id":"rossini-william-tell-guillaume-tell","title":"Rossini: William Tell (Guillaume Tell)","description":"Antonio Pappano, Music Director of The Royal Opera, conducts Rossini's epic final masterpiece of French grand opera with an all-star cast that includes Gerald Finely in the title role, alongside John Osborn, Malin Bystrom and Sofia Fomina. The story of the legendary Swiss patrio Guillaume Tell, determined to free Switzerland from Austrian rule, is told through magnificent arias, ensembles and choruses, atmospheric musical evocations of the Swiss landscape, particularly in the famous overture, and dramatic episodes of great emotional power.","brand":"Opus Arte","offers":[{"title":"DVD","offer_id":46025657024746,"sku":"809478012054","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3709264.jpg?v=1778301568"},{"product_id":"puccini-madama-butterfly-pappano-jaho-puente-84179","title":"Puccini: Madama Butterfly \/ Pappano, Jaho, Puente, Royal Opera House [Blu-ray]","description":"\u003cb\u003eThis Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e   \u003ca class=\"links\" href=\"album.jsp?album_id=2274850\"\u003e\u003cb\u003eAlso available on standard DVD\u003c\/b\u003e\u003c\/a\u003e\u003cbr\u003e  \u003cbr\u003e  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) \u003cbr\u003e  -----\u003cbr\u003e  \u003cbr\u003e  REVIEWS:\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  – Gramophone\u003cbr\u003e  \u003cbr\u003e  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.\u003cbr\u003e  \u003cbr\u003e  – BBC Music Magazine","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46028022055146,"sku":"809478072447","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3576296.jpg?v=1778381237"},{"product_id":"cosi-fan-tutte-71076","title":"Cosi Fan Tutte","description":"'The school for lovers', Mozart's alternative title for Cos� fan tutte, is given a playful, theatrical treatment by German director Jan Philipp Gloger, who sets this new production for The Royal Opera in a theatre. The four lovers are performed by a cast of young rising stars, with Sabina Puertolas as the fun-loving Despina and acclaimed German baritone and comic genius Johannes Martin Kranzle as the impresario Don Alfonso, who leads the lovers on a role-playing journey full of picturesque settings. Semyon Bychkov conducts the Orchestra of the Royal Opera House in one of Mozart's most beautiful scores, packed with wonderful arias and ensembles. \"Ensemble singing is strong; the standout is Daniel Behle's gorgeous tenor as Ferrando. Above all, Semyon Bychkov's impeccable balance and pacing in the pit allows it full space to blossom.\" (The Independent) \"Semyon Bychkov gives an enthralling lesson in Mozart from the outset. Conducting his first Mozart opera in 20 years, he has a style might be said to belong (in the best sense) to the old school. But, Bychkov draws glowingly warm playing, and the textures are lithe and lively. The score's darker colours are all brought out in a performance that bristles with dramatic tension.\" (The Daily Telegraph)","brand":"Opus Arte","offers":[{"title":"Blu-Ray","offer_id":46028026872042,"sku":"809478072379","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/3772799.jpg?v=1778380426"}],"url":"https:\/\/arkivmusic.com\/collections\/royal-opera-chorus.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}