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Puccini on DVD and Blu-ray

27K views 160 replies 18 participants last post by  Yashin 
#1 · (Edited)


I've just seen this. You better keep those tissues within reach because if you have a heart it will no doubt be broken when the opera is finished. It's good - very good in my opinion. I'm not as much into opera movies as I am into live performances from the stage, but this one is magical. The setting is traditional but not run of the mill, Villazon and Netrebko are in fine voice (Villazon is outstanding in fact), Netrebko is drop dead gorgeous and the acting is superb. Also - it's often the case in opera movies that you can see that they are not really singing. Even if they get the lip synching right it's clear that they aren't singing for real because you can't see the effort it takes to sing like that. No such problems here. They have actually shot some of the scenes with Netrebko and Villazon singing live while filming took place. So it's all good really. I like it - no, let me rephrase that - I LOVE it anyway.
 
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#2 ·
Also - it's often the case in opera movies that you can see that they are not really singing. Even if they get the lip synching right it's clear that they aren't singing for real because you can't see the effort it takes to sing like that. No such problems here. They have actually shot some of the scenes with Netrebko and Villazon singing live while filming took place.
This was the aspect that worried me most - I knew I wouldn't be able to believe in the performance if they didn't seem to be really singing, but it seems that my only reservation is answered. It goes on my list. Thanks Gaston.
 
#4 · (Edited by Moderator)


Watched the first half of this yesterday. My goodness, what an emotional experience this is - and the most weepy bits are still to come! Almost full marks, so far. In particular unreserved full marks for Villazon who is simply tremendous in this - truly outstanding. In fact, for me, he makes Netrebko seem a bit bland by comparison (though I'm not a particular fan of hers, anyway). Certainly it's Villazon's voice that is still echoing around my head this morning.

If I were to nitpick about the production (and it is nitpicking - I do it because I can't find adequate superlatives to go on talking about Villazon), I'd say that:

1. The synchronising between lip movements and voices isn't always entirely convincing.
2. The outdoor street scenes look very like a movie set (which they obviously are), as opposed to the interiors, which look much more natural. The result, although very beautiful, seems lacking in a certain unity.
3. Much of the falling snow looks computer-generated to me. Maybe it isn't (in which case I accept the egg on my face), but I find myself not really believing in those snowflakes as they drift around.
4. The widescreen format is fine for a movie in a cinema at full scale, but I've never felt comfortable with it on the small scale of a TV, and most particularly with this opera, on its intimate scale, it doesn't feel right - it induces a sort of claustrophobia, as if the ceiling is always too low, or something.

But I'm now feeling guilty talking about such minutiae, when the overall experience is so positive. This will get watched again and again. 95/100. Star rating (out of five): four and three quarters.
 
#5 · (Edited)
Watched the first half of this yesterday. My goodness, what an emotional experience this is - and the most weepy bits are still to come! Almost full marks, so far. In particular unreserved full marks for Villazon who is simply tremendous in this - truly outstanding. In fact, for me, he makes Netrebko seem a bit bland by comparison (though I'm not a particular fan of hers, anyway). Certainly it's Villazon's voice that is still echoing around my head this morning.

If I were to nitpick about the production (and it is nitpicking - I do it because I can't find adequate superlatives to go on talking about Villazon), I'd say that:

1. The synchronising between lip movements and voices isn't always entirely convincing.
2. The outdoor street scenes look very like a movie set (which they obviously are), as opposed to the interiors, which look much more natural. The result, although very beautiful, seems lacking in a certain unity.
3. Much of the falling snow looks computer-generated to me. Maybe it isn't (in which case I accept the egg on my face), but I find myself not really believing in those snowflakes as they drift around.
4. The widescreen format is fine for a movie in a cinema at full scale, but I've never felt comfortable with it on the small scale of a TV, and most particularly with this opera, on its intimate scale, it doesn't feel right - it induces a sort of claustrophobia, as if the ceiling is always too low, or something.

But I'm now feeling guilty talking about such minutiae, when the overall experience is so positive. This will get watched again and again. 95/100. Star rating (out of five): four and three quarters.
I think it's as pretty as a Christmas postcard. I agree that Villazon is brilliant, vocally maybe the best Rodolfo since Pavarotti and he's a much better actor. I like Netrebko too - she and Villazon always have great chemistry. They were born for each other really - like Fred & Ginger. :) Her interpretation is different from Freni's, but valid in my opinion. Freni's Mimi is a sweet and innocent girl - Netrebko's is more a 'woman of the world' so to speak, albeit one with a heart of gold.

Anyway, I'm happy that you like it. Act three will break your heart (it's also Netrebko's best act I think). The lip movements are maybe not 100% perfect, but still the best I've ever seen in a opera movie. And they recorded some scenes singing live while they were filming. O yes, the snow is fake, but I don't think it's computer generated. In the documentary there's a scene where Villazon and Netrebko are having a bit of fun and he pulls her down 'in the snow.'
 
#8 · (Edited)
Yesterday I saw on met player the Manon Lescaut with Domingo and Scotto that's also available on DVD. It's comparable to the one with Kiri and Domingo, both in terms of production and overall quality. I slightly prefer the singers in the minor roles on the Domingo/Kiri DVD and Te Kanawa definitely has a much prettier voice than Renata Scotto, even more so at this point of their respective careers. But Scotto is a good actress and her act four performance especially was so convincing that she made up for it and gave me shivers up and down my spine. Act three was also very intense, maybe even more so than on the Domingo/Kiri DVD. BTW - that third act ranks with the best of Puccini's work in my opinion. In fact, one could argue that dramatically speaking the end of act three would also be the perfect end for the opera. How do they end up in that desert anyway? But anyway - I would call the Covent Garden Domingo/Kiri/Sinopoli vs Met Domingo/Scotto/Levine match-up a draw, meaning that both are very good.
 
#10 ·


I slightly prefer the singers in the minor roles on the Domingo/Kiri DVD and Te Kanawa definitely has a much prettier voice than Renata Scotto, even more so at this point of their respective careers.
I agree with jhar26 about the minor roles (especially Thomas Allen) - in fact having watched the two DVDs in quick succession I think this is a better production overall; the actors, especially in the crowd scenes, are more effectively staged, the sets and costumes are more attractive and the singing and the acting are better. Kiri was dynamite in the last two acts and you could really believe in Manon and des Grieux's love. Fantastic!
 
#13 ·
Don't you love those times when something catches you unawares and against your expectations turns out to be something really special?

The background: my introduction to Puccini in the 70s was via the near-miraculous recording of La Boheme with Pavarotti, Freni, and Karajan (on vinyl originally). For a very long time it was all I had, and I didn't feel the need for any other version. Boheme has been my favourite, most-loved, most-listened-to opera for more than 30 years. I couldn't imagine a better performance, and Pavarotti and Mirella just were Rodolfo and Mimi, so that was that. In due course the vinyl set was replaced by the CD set, and when eventually I did add a new version, it was the slightly earlier (and entirely magical) live recording with Pavarotti and Mirella, this time under Schippers.



I've seen two live Bohemes, one sort of OK-ish, the other dreadful. It was only quite recently that I bought one on DVD (the Villazon/Netrebko movie). And jolly good it is, too - but mostly I just didn't want my imagined pictures spoiling, having built them up over so many years. I knew about the 1980s Pav/Freni DVD but didn't really want to see an old Rodolfo and Mimi. I knew about the 1965 Zeffirelli movie but thought it would be too creaky and in any case Pav wasn't in it.



But the other day I ordered the '65 Zeffirelli movie (see posts above). It arrived this morning. I couldn't resist just slipping it into the player, you know, just to see.... But first, I gave myself a stiff talking to. Expect the sound to be bad, I said. Expect all sorts of audio/visual clunkiness. Expect dodgy lip-synching. Expect to be disappointed. Now, press the button.

I thought it started well, but from the moment Mimi appeared at the door I was in tears. From that point on I sobbed my way through Act 1. I'd imagined Mirella as Mimi for so long - I even had a photo of her as Mimi (see posts above) - but I was quite unprepared for the actuality. My goodness - her eyes!!! The smile!!! It's not surprising Rodolfo is hooked so fast - who wouldn't be? And her singing - there's something about her singing that I can't define but which seems to encapsulate everything that Mimi is. Lip-synch problems? Yes, they're there. Do they matter? Hardly at all. I found I could just dismiss them from my attention.

By the end of Act 1 I was quite literally sobbing into a wet handkerchief, and I switched it off. Discussed the whole business with my wife, and we're going to have a La Boheme 'special' evening tomorrow: fish and chips brought in from the local chippy (we rarely do that these days), a bottle of wine, and Mirella. We all have our favourites, and I'm not in any way suggesting that in some objective sense this is 'the best'. I haven't even seen the rest of it yet. But I've never been so moved by an opera on TV before. I've never cared so little about technical limitations. I've never bought a DVD that I think I'm going to love so much as this one.
 
#20 ·


Finished watching Tosca from this box, with its unusual real-world and very impressive settings. Thoroughly enjoyed it, though I'm left with a few reservations. Domino is tremendous, I think, but I'm less sure about Catherine Malfitano. The closeups (there are too many extreme closeups for my taste) highlight all sorts of grotesque facial expressions that are discomfiting; and her singing gets a bit too hard and harsh, so that overall drama becomes melodrama and so makes me a bit squirmy. No matter - I'm more than happy to own this, even though it won't make it into my list of things I can't manage without.

Can someone tell me what's the best Tosca DVD out there? It's not a particular favourite opera of mine (I find the beautiful music seems at odds with the horribly violent and depressing plot), but I'd like a better one than this, if it's to be had.
 
#21 · (Edited)
Can someone tell me what's the best Tosca DVD out there? It's not a particular favourite opera of mine (I find the beautiful music seems at odds with the horribly violent and depressing plot), but I'd like a better one than this, if it's to be had.


Alan, although it's a film, I think you might enjoy this one with Raina Kabaivanska. She is a beautiful regal dignified Tosca, Domingo is in top voice and Milnes plays a cold bureaucratic Scarpia. The settings are authentic, and the production is in the spirit of the story.

Probably the most famous is the one with Gheorghiu, Alagna and Raimondi. It is very beautiful, but for my taste Gheorghiu overacts horribly (or is she just playing herself?) and lacks the true dignity that Kabaivanska shows.
 
#27 ·
I'm laughing so hard with your posts... This is just to say that I immensily appreciate your contributions to this forum. Your posts are just delightful, and one can tell how smart you are, and how nice you must be in person.:tiphat:
 
#31 ·


Watched the first half of La Fanciulla last night, and to tell the truth I'm finding it disappointing. I suppose that for about 30 years I've suspected this might happen, because I've studiously avoided listening to it - but after my unexpected new-found delight in La Rondine, it seemed worth a try, at last.

But where are the tunes? I mean, there are tunes, but he never allows them to develop into anything, so it's like watching a firework display where each firework promisingly sputters a bit and then fizzles out. So I'm watching this with uneasy restlessness, verging on boredom, and if anyone has any tips for a better way of approaching it I'd be glad to have them.
 
#32 ·
I saw this one yesterday.....



I really enjoyed this mega production from Zeffirelli, it's really a feast for the eyes. Spectacular sets, fantastic costumes and a zillion extras make this visually one of the most attractive productions I've seen. I know that some prefer more intimate settings, but this is not "L'Amour de Loin" or "Capriccio" and as far far as I'm concerned a Turandot production is meant to be mega and over the top is only just about enough.

Eva Marton doesn't exactly look like the type of woman dozens of men would risk getting their heads cut off for, but thanks to spectacular dresses that also hide the fact that she's a bit overweight and the make-up artists she looks reasonably attractive. Eva never had the prettiest voice in opera, but she's always been very loud which suits the role just fine. It's a difficult role, but despite the occasional wobble Marton makes for a fine cold and heartless Turandot in my view. Domingo as Calaf is like he always is: very good. His Nessun Dorma is maybe not as impressive as one would hope for, but that's mostly because whether one wants it or not, you always have Pavarotti in the back of your mind when someone else sings this. Best of all for me however is Leona Mitchell as Liu. Her singing is just beautiful.

Turandot is a great opera, but like has been said countless times before the last ten minutes or so are completely absurd. Turandot is a despicable woman, but Calaf is even worse a character. He doesn't mind that the population of Peking gets slaughtered during the night just as long as he gets to boink the princess in the morning. He even ignores the fact that sweet lovable Liu has just died as a result of his antics. A far more logical conclusion to the opera would have been that in the final scene Turandot in triumph would say to the emperor "his name is Calaf" instead of "his name is love" after which Calaf's head would end up on top of a pole just as was the case with all those that came before him.







 
#33 ·
I saw this one yesterday.....
A far more logical conclusion to the opera would have been that in the final scene Turandot in triumph would say to the emperor "his name is Calaf" instead of "his name is love" after which Calaf's head would end up on top of a pole just as was the case with all those that came before him.
Yeah, off with his head, the horrible heartless creep. It would certainly make for a more satisfying and convincing ending than everybody being all lovey-dovey.
 
#34 ·
#37 ·
Of course Domingo is too old to be a student and Kiri isn't a young girl anymore either in this production from 1983. But it's a beautiful and traditional production and there's really not anything to dislike about this DVD. Not as far as I'm concerned anyway, but I only know what I like myself. I'm terrible at predicting what anyone else will like. Of course, if you really don't like Te Kanawa you're better off with the CD with Freni. Both are very good and generally highly regarded recordings I think.
 
#36 ·
La Rondine



I just had to have a break from all that Mozart and happened to choose Puccini's "operetta", La Rondine. The performance comes from Washington D.C., directed by Marta Domingo, the wife of Placido Domingo, if I understand correctly. The main reason for purchasing this DVD was my curiosity to see Ainhoa Arteta and Inva Mula, neither of whom I couldn't even place geographically. As it turned out, Ainhoa is Spanish and Inva is from Albania.

My first encounter with La Rondine was, of course, "Chi il bel sogno di Doretta" from the first act, sung by Leona Mitchell, one of the most beautiful arias even Puccini wrote! Years later came the recording with Kiri te Kanawa and Placido Domingo, which for me has remained as the perfect one, even if the Gheorghiu-Alagna version comes close.

Here, the most satisfying performance is William Parcher's Rambaldo, and the more convincing pair of lovers seems to be Lisette (Inva Mula) and Prunier (Richard Troxell) - who act as well as sing, completely naturally. Magda (Ainhoa Arteta) has a pleasing enough voice, but it looks like she has to concentrate on the singing so fully that she cannot act at the same time. Ruggero (Marcus Haddock) with his dryish tenor voice and definitely northern looks simply doesn't convince me as a passionate French lover.

The ending felt kind of abrupt, but when I read the booklet, I learned that Puccini made several revisions of the work. Whereas in the CD versions mentioned, Ruggero recieves a letter from his mother welcoming the mother of her future grandchildren and Magda shying away from the confrontation because of her past, here the letter tells about Magda having been sponsored by Rambaldo for years, and Ruggero cursing her and his blindness. I cannot imagine, why this ending was chosen, because so much beautiful music went with it.

I cannot recommend this DVD. Firstly because of the version given, secondly because the protagonists leave a lot to be desired.
 
#146 · (Edited)


I just had to have a break from all that Mozart and happened to choose Puccini's "operetta", La Rondine. The performance comes from Washington D.C., directed by Marta Domingo, the wife of Placido Domingo, if I understand correctly. The main reason for purchasing this DVD was my curiosity to see Ainhoa Arteta and Inva Mula, neither of whom I couldn't even place geographically. As it turned out, Ainhoa is Spanish and Inva is from Albania.

My first encounter with La Rondine was, of course, "Chi il bel sogno di Doretta" from the first act, sung by Leona Mitchell, one of the most beautiful arias even Puccini wrote! Years later came the recording with Kiri te Kanawa and Placido Domingo, which for me has remained as the perfect one, even if the Gheorghiu-Alagna version comes close.

Here, the most satisfying performance is William Parcher's Rambaldo, and the more convincing pair of lovers seems to be Lisette (Inva Mula) and Prunier (Richard Troxell) - who act as well as sing, completely naturally. Magda (Ainhoa Arteta) has a pleasing enough voice, but it looks like she has to concentrate on the singing so fully that she cannot act at the same time. Ruggero (Marcus Haddock) with his dryish tenor voice and definitely northern looks simply doesn't convince me as a passionate French lover.

The ending felt kind of abrupt, but when I read the booklet, I learned that Puccini made several revisions of the work. Whereas in the CD versions mentioned, Ruggero recieves a letter from his mother welcoming the mother of her future grandchildren and Magda shying away from the confrontation because of her past, here the letter tells about Magda having been sponsored by Rambaldo for years, and Ruggero cursing her and his blindness. I cannot imagine, why this ending was chosen, because so much beautiful music went with it.

I cannot recommend this DVD. Firstly because of the version given, secondly because the protagonists leave a lot to be desired.
I love La Rondine. I have 4 commercial DVDs of this opera, my opinion is:

1. The same than you: Ainhoa Arteta, a great version with a different ending, if I remember well
2. The wonderful Ghorghiu, Alagna - gorgeous version, traditional ending - best version in terms of voices
3. The 1958 version (black and white) Rossana Carteri, Napoli) - excellent version
4. the worst mise-en scène ever Teatro La fenice - cond.: Graham Vick - not worth - Buy it if you're drunk! LOL (I wasn't drunk but it is the first Rondine I found)

I do not consider this as an operetta. (we should again make the difference which is not clear for me). But there are no "sprechen" parts in La Rondine and I believe that an operetta should contain at least a part where people speak.
Why operetta, because nobody dies? Rossini as far as I know composed many opere buffe but no operettas...The magic flute is not an operetta either...
There are also operas where people speak...again...what is what?

I should go again to the site where they discuss about the differences. I will go there.

Best

Martin
 
#38 ·
Manon Lescaut



Here we have two performances of Puccini's Manon Lescaut. The earlier from the Met (1980) with Renata Scotto, the newer from the ROH Covent Garden (1983) with Kiri te Kanawa, as the respective Manons. Both share the same Des Grieux, Placido Domingo. The Met version is conducted by Levine (who else?), the ROH version by the late Giuseppe Sinopoli. There is a newer version from the Met with Karita Mattila, but it has been critized so severely, that I have not dared to purchase it. If anyone has it, please, comment! Is it really so bad? Karita herself is reported to have said that she was too old (47) to take the role.

Domingo is his reliable self in both productions. He sings Des Grieux in both of my audio references, too: the older with Caballe, the newer with Mirella Freni.

There isn't much to choose between the productions themselves. I think that the ROH version has a bit better picture and sound quality, but only marginally.

So, we are left with the two ladies: Scotto and te Kanawa. Scotto must have been about the same age as Mattila, Kiri ten years younger. I have always had difficulties with listening to Scotto's voice, although she has this music under her skin (the same goes with my relationship to Callas). Kiri te Kanawa, relatively early in her international fame, is certainly easier on the ears. [Is it on the ear or the ears?]. After having heard them both, my verdict is that Scotto is more of a "Sola, perduta, abbandonata!" singer, Kiri te Kanawa more of a "In quelle trine morbide" singer. Both can sing the role from the beginning to the end, though. Mirella Freni would have been the perfect Manon, her voice lying somewhere in between of these two.
 
#39 ·
There is a newer version from the Met with Karita Mattila, but it has been critized so severely, that I have not dared to purchase it. If anyone has it, please, comment! Is it really so bad? Karita herself is reported to have said that she was too old (47) to take the role.
It's on Met player and I'll watch it one of these days. There's every chance that I will disagree with the general opinion about her Manon Lescaut. Most people seem to hate her Tosca as well, but I really like it. It's mostly that I find the woman such a great actress. In the past I used to be rather indifferent about her - I thought she was good, but virtually everyone who has achieved fame in the important opera houses of the world is at least 'good.' But ever since I saw her amazing Salome she's gone way up in my estimation. She's one of the best singer/actresses of our time in my modest opinion and I can tolerate whatever vocal flaws there may be because overall I'm impressed by her artistry.
 
#41 · (Edited)
La Rondine - Arteta/Haddock



I've just read Herkku's review of this Washington La Rondine DVD (see #5), and feel a need to show it in another light, since this opera, and this DVD in particular, is one of my most treasured discoveries of recent years. So I'm gathering material from earlier posts and collecting it here.

Of the five versions of La Rondine currently available on DVD, two are outstanding: this one, with Ainhoa Arteta as Magda, and the Met production with Gheorghiu and Alagna. If you're wondering which to get, then you need both. I truly can't choose between them. Neither is 'best'. Both offer as fine an interpretation of an imperfect opera as could be hoped for, and both are so different in approach that I just don't know how to compare them meaningfully. Both provide, in their completely different ways, some of the loveliest visual spectacles I've ever seen on an opera DVD. In particular, the use of gesture in the Washington DVD is exquisite. Arteta's Magda is very different to Gheorghiu's. Particularly in Act 1, she moves in ways that suggest carefully studied role-playing - she's playing the part of the courtesan, behaving as expected, but then of course we see the cracks appearing. The scene leading up to the Doretta aria is particularly telling - we see her retreat almost defensively into her courtesan role, at first: she moves over to the couch and reclines on it langourously ... then the cracks begin to show. When she sings Doretta's aria there's a deeply moving contrast between what she's singing and how she looks - she stands almost like a porcelain doll, gradually awakening. It's obvious, then, that my take on this is very different from Herkku's (above, #5). I think this is brilliant acting, in fact; Arteta's performance, both as singer and as actor, is as fine as anything I've ever seen.

Indeed, I find it quite impossible to take my eyes off Magda. Ainhoa Arteta plays her in such a way that each gesture is made with grace and beguilingly expressive effect, whether she's singing, or just reacting with others - so that almost regardless of what else is happening, we know she's the focus of attention even if she's in the background. I find myself imagining that her merest touch would bring shivers down the spine. Look at the way she does 'langour' for instance:



This carefully cultivated grace is a crucial part of the performance.

Taking the broader view, the atmosphere of fin-de-siecle France is evoked exquisitely: there's that strange combination of beauty and decadence, of elegance and melancholy. It's like watching a painting by Tissot coming alive. And in fact the characters do have a tendency to group themselves into beautiful compositions around the stage, as if they were in a painting.





The set for Act 2 is equally beautiful, and the crowd movements very attractively choreographed. The performance of the quartet, however, doesn't have the feeling of lyrical abandon of the Gheorghiu version. In one sense, that restraint seems appropriate for this setting: Gheorghui's swaying and 'I'm-a-party-girl' arm-gestures suit her art deco setting, but wouldn't fit here. Even so, if one were cherry picking favourite 'moments', the Gheorghui version of the quartet would win on points, for me. This is what the Washington set looks like:



Acts 1 and 2 seem to me to be packed with Puccini's most delicious, lyrical music - the leitmotives get everywhere, just when they're most needed for emotional effect. If in Act 1, Arteta's version wins in terms of sheer beauty of presentation and Arteta's singing, Gheorghiu's wins Act 2 on points, general choreography, and a more rapturously sung quartet. If Act 3 lived up to the promises of Acts 1 and 2, then La Rondine would become my very favourite opera. Alas, it doesn't, in either version. The Gheorghui version ends with Magda leaving Ruggero. The Arteta version ends with Ruggero abandoning Magda, who kills herself by walking into the sea. Either way, there's something seriously not right. The final half of Act 3 is like an unresolved problem no matter which I watch. It's a patched-up business, and it feels like that. The whole development of the ending seems unconvincingly random, and the final outcome is that I wish I'd stopped at the end of Act 2. This isn't to say that there aren't some fine moments in Act 3, but it just doesn't hang together dramatically, and everything about it feels that Puccini didn't know how to fix it.

I came to the Gheorghiu version first, and thought it would be hard to beat - and in some ways these two productions are so different in spirit that they can't be compared. But this is one of the finest traditional opera productions I've ever seen, and in recent weeks, while all my other opera DVDs languish on the shelf, this is the one I keep reaching for. On its own, it would justify owning a DVD player.
 
#42 ·
La Rondine - Gheorgiu/Alagna



This DVD was my introduction to La Rondine, and made me recognise for the first time that my list of favourite operas was in for a big shake-up. How very, very nice to approach something new with only limited expectations, and then discover that it surpasses them! Let's set aside at once the disappointing conclusion of the opera - that's Puccini's fault, not the production team's, or the singers' and musicians'. I'm talking mainly about the rest - the first two Acts, and the first half of Act 3.

Acts 1 and 2 are packed with great tunes, woven into the fabric of the drama - I was amazed by how lovely they are. The quartet in the second Act is particularly fine, and these four sing it with a kind of controlled abandon which is deeply attractive - if you're a fan of this wonderful quartet, then you'll want this DVD for that alone.

Speaking of the production as a whole, I love the sets, the costumes, and the whole bearing of the characters. The updating of the setting by a couple of decades doesn't trouble me in the slightest - there's no significant discrepancy between what I see and what I hear. The sets are simply fabulous - exquisitely designed and drenched with the atmosphere of the day, and the characters carry themselves in keeping with that.

The filming is done with great sensitivity. Each shot is carefully balanced - the characters seem to behave naturally, and yet seem to compose themselves in very satisfying ways within the field of view. Some excellent filming and editing there.

And finally there's Gheorghiu, who makes the part of Magda perfectly her own, and unique (Gheorghiu's Magda is nothing at all like Ainhoa Arteta's Magda in the Washington DVD. When I saw this for the first time, I felt that she acts the part so convincingly that I couldn't imagine anyone else doing it so well, and of course her singing is of the head-turning 'OMG what's that??!' variety throughout. Well, it turned out later that Ainhoa Arteta could do it so well - but so very differently that they are effectively not in competition, and as I've said in a previous post - one simply needs both. The four central characters of Magda, Ruggero, Prunier, and Lisette work together beautifully.

When I get to the end of this, I immediately want to start watching the Washington version; and when I get to the end of the Washington version, I immediately want to watch this. For what is normally considered a minor work (and I'd seriously challenge the accepted wisdom in that regard), La Rondine is delightfully well-served on DVD.
 
#43 ·
La Rondine - Carteri (1958)



This is a filmed stage performance recently discovered, made in 1958 with Rosanna Carteri as Magda. It's black and white (of course), the camera work is shaky to say the least - compositionally sometimes the singer is not quite captured in the frame. The sound is obviously not hifi - but listenable without fatigue. And some of the performances are to die for. Carteri is wonderful - as both singer and actress she's a Magda one can fall in love with, but also Prunier is stunning; one can hear the laughter in his voice. Between them they turn Doretta's aria into something extra special, with Magda replacing Prunier at the piano when it's her turn to sing. See here:



In Act 2 the limitations of the filming become more obtrusive - the camera doesn't adequately follow the multiplicity of movements going on at Bullier's, so at times everything gets a bit chaotic, visually. Sound limitations seem a bit more obtrusive too, when lots of people are singing. But somehow none of this seems to matter all that much. Lisette seems a little too old for the part, and Ruggero seems a little wooden, but Prunier and Magda are acted and sung with particular brilliance throughout, and overall this is one of my most surprisingly successful purchases this year.
 
#44 · (Edited)


Watched these Two Turandots recently..........

The 1988 mega spectacle Zeffirelli MET production with Marton/Domingo and the 1983 Marton/Carreras (can't seem to get away from Eva Marton). Between these two I prefer Domingo for a few reasons. Marton plays the icey princess Turandot in both versions perhaps too coldly and brutal making the late change of heart to love Calaf pretty far fetched......with a love like that who needs enemies?

It is really a toss up for Calaf between Domingo and Carreras both sing wonderfully, my favorite character the loyal servant Liu perhaps a bit more tenderly played by Mitchell with Domingo. The Ping Pong boys I don't care too much about in general :)

The death dagger unfortunately for Carreras is the weaker production especially the hideous costumes which all feature various masks and large colorful balls used for tunics and gowns (garish, cartoonly looking), the set was very weak also consisting of a generic set of steps

Zeffirelli much better in his traditional ornate production with a few surprises like when reading the 3 riddles by Turandot long fabric sashes are pulled out of her gown when answerred correctly by Calaf etc



This is close to being a great Turandot and is visually much more interesting than Domingo or Carreras with very good picture quality (available as blu ray) There is a major flaw however with a bland overweight Calaf......

Remaining cast works very well for me, and Mehta perhaps best known conductor for this work. Look at youtube and see all the great details, the black gloss floor reflects the ornate costumes like a reflection in water adding to visual splendor, just one example of many where production excells. I love the ending which shows a more loving and human Turandot than usual, and chorus is very uplifting with a smashing finale

Turandot



One more Turandot......

This is a visually exciting creative production from Opera Australia, several scences look like a Julie Taymor production with flowing fabric streamers and large fan shapes. Unfortunately an overweight Turandot does not help matters (for my taste) and is hard to overlook, but there are some creative scences and unique costumes that are well thought out and give this an edge over other less interesting generic productions. To sum up qucikly I will keep this for the visual creativity shown but nothing here vocally that is a great selling point although Miss Thane is a worthy Lui.

Please see some cool visuals......

Turandot
 
#45 ·


Watched this famous Tosca which has now been released in DVD format for 1st time as part of reduced price 3 opera set shown..........it is one of the very best Toscas, perhaps the best.

Shot on location in Italy often using natural lighting there are some scences where shadows are too prominent and the golden late day sunlight in Scarpias office gets to be overdone. Also who was the fool who dressed Tosca in all grey solid color dress (like a prison inmate) in first act cathedral scences, what a wasted opportunity with someone as beautiful as Catherine Malfitano to model the finest intricate gown

Domingo was solid as a rock (as usual) and Malfitano has all the beauty and fire Tosca character needs, very good actress I though she was just made for the part. There is a unique scence here (mentioned by Natalie aka Mammascarlatti) where Scarpia actually passionately kisses Tosca before writing her letter and Tosca does not resist as strongly as you might think :)

Very dramatic plunge from the ramparts by Tosca with red cape flowing (like blood) in the wind and angel statue presiding over events. On my system picture and sound quality much better than Amazon comments, upscales very nice
 
#49 ·
La Rondine...surprises

I cannot agree with Herkku about the Washington version(*), the girl sings wonderfully and she is beautiful, Prunier is quite better than the Roberto Alagna version (Roberto and his ex-wife are awesome, but Prunier whose role is quite important is bad in the New York version). I was amazed to see the old Rondine somebody posted here, it is GREAT and better than the 3 versions I have. I am jealous!

Martin

(*) I also liked the alternative ending

:tiphat:
 
#51 ·
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