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Massenet on DVD and Blu-ray

20K views 86 replies 16 participants last post by  Yashin 
#1 · (Edited)


A rarity: A modern, non-traditional opera production that works VERY well in my opinion. Whereas Massenet's Manon is set in the 1720's - Vincent Peterson moves it up to the 1950's, but it looks completely natural and for once it actually adds to the enjoyment of the work. I would dare to call this an inspired production.

Any performance of Manon stands or falls depending on who plays the two main characters however. Vocally I prefer Renée Fleming as Manon in the traditional production by Francois Roussillon (which I also have on DVD) although Netrebko definitely holds her own. Visually and in terms of acting it's hard to imagine anyone being more suited to the part as presented in this production than the Russian girl. In the first act she looks like Audrey Hepburn, later on she looks sorta Elisabeth Taylor-ish, in the fourth act she looks like Marilyn Monroe and in the last act she looks, well, sick like she's supposed to. Rolando Villazon as the lovesick des Grieux sings and acts circles around Marcello Alvarez' des Grieux in the Roussillon production.







For a comparison: Here's Renée Fleming's Manon (same aria as Netrebko does in the second youtube).

 
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#2 ·
Just watched your youtubes, Gaston - oh gosh, how much I love this music, how much I love this opera. Just the opening notes of some of these scenes bring tears to my eyes. I see what you mean about the production - it's possible to adjust to the 'updating' very quickly and easily.

Villazon is just superb, isn't he? Everything he touches turns to gold. I've been trying really hard not to keep wishing this were Dessay instead of Netrebko, and to approach hers for what it is - a different approach. I must say she looks fabulous in the white dress and sunhat, and for heaven's sake let me stop this nitpicking and say that this is a very fine version, to judge from these excerpts. If I were going to buy a second Manon DVD (which I might, one day), I can see I'd be struggling to choose between Netrebko and Fleming, and may well end up choosing Netrebko. So thanks very much indeed for this.

For the sake of anyone passing who's unfamilar with the alternatives, here's a Youtube of Dessay and Villazon, for comparison.
 
#3 · (Edited)
I've been trying really hard not to keep wishing this were Dessay instead of Netrebko, and to approach hers for what it is - a different approach.
Well, she's the ideal Manon for this particular production. She's supposed to be this young lady who's obsessed with glamour and movie stars. The opening scene shows her reading some movie magazine. Let's face it, she looks the part. I've noticed that the Dessay/Villazon version also has gotten some great reviews which means that this opera with three more or less equally great versions is extremely well served on DVD. The Netrebko version is probably the best second buy because it's bound to look more different from the one you already have than the one with Fleming.
 
#5 ·
I have both Netrebko-Villazon and Dessay-Villazon DVD's of Massenet's Manon. Both are worth having but I am partial to the Dessay-Villazon version. I simply love the staging of the Spanish production. In fact, spanish staging in general has an attention to detail which simply amuses and delights me. The color of the Barcelona production is so right, the attention to detail so intriguing. Must be the constant sunshine that bathes eveyone in spain which affects the stage directors to pay so much attention to detail.... but I like it. If I were given the choice to move to a city that has a vibrant opera house I would not choose New-York or San-Francisco (I love the Met...) but would choose Madrid. I would see less operas of course but the enjoyment factor would be greater for me.

I was reading some comments on another thread about the greatest operas ever ... (I don't really think a list can be tallied that way... maybe great opera moments or tidbits... but the greatest opera ever? Yes one can't avoid Wagner... but If I was marooned on a deserted Island and if the AUTOHORITY would grant me only 180 minutes of opera to take with me on the island... I would not hesitate to ask if I could bring a mix of my favorite operas? Yeah... I could live with that but couldn't endure just one opera. I would go completly crasy after three weeks of Wagner. But spice my days with some Mozart, some Rossini, some Puccini, some Bellini, a bit of Donizetti and a sprinkle of Wagner and a dash of Donizetti... and I guest I could make it alone with some help from les moments inoubliables of some great opera moments.
 
#6 ·


Synopsis taken from wikipedia......

Act 1
Scene 1
A group of Cenobite monks go about their daily business. Athanaël, the most rigorous ascetic of them all, enters and confesses to the senior monk, Palémon, that he has lately been disturbed by visions of a courtesan and priestess of Venus named Thaïs, whom he had seen many years ago in his native city of Alexandria. Believing these visions to be a sign from God, he resolves, against Palémon's advice, to return to Alexandria, convert Thaïs to Christianity, and persuade her to enter a convent.

Scene 2
Athanaël arrives in Alexandria and visits his old friend Nicias, a wealthy voluptuary. Nicias welcomes him with open arms and reveals himself to be Thaïs's current lover. Upon hearing Athanaël's plan, he laughs and warns him that the revenge of Venus can be terrible. Nevertheless, he procures clothing for his friend in preparation for a feast that evening at which Thaïs will appear. His slaves, Crobyle and Myrtale, dress Athanaël and mock his prudery.

The feast begins. Thaïs arrives and sings a bittersweet love duet with Nicias: this is their last night together. She then asks him about Athanaël, who overhears her and tells her that he has come to teach her "contempt for the flesh and love of pain." Not tempted by this proposition, she offends his sense of propriety with a seductive song. He leaves, angrily promising to come back later. She taunts him with a parting shot: "Dare to come, you who defy Venus!"

Act 2
Scene 1
Exhausted after the feast, Thaïs expresses dissatisfaction with her empty life and muses on the fact that one day, old age will destroy her beauty. Athanaël enters at this vulnerable moment, praying to God to conceal her beauty from him. He tells her that he loves her according to the spirit rather than the flesh, and that his love will last forever, instead of for a single night. Intrigued, she asks him to teach her the ways of this love. He nearly succumbs to her physical charm, but succeeds in explaining to her that if she converts, she will gain eternal life. She nearly succumbs to his eloquence, but then reasserts her nihilistic worldview and drives him away. However, after a long meditation she changes her mind.

Scene 2
Thaïs has joined Athanaël and resolved to follow him into the desert. He orders her to burn down her house and possessions in order to destroy all traces of her wicked past. She agrees, but asks if she can keep a statuette of Eros, the god of love, explaining to Athanaël that she sinned against love rather than through it. When he hears that Nicias gave it to her, however, Athanaël demands that she destroy it. Nicias appears with a group of revelers, who see Athanaël taking Thaïs away. Furious, they begin to stone him. Although Nicias is astonished at Thaïs' decision to leave, he respects it and throws handfuls of money to distract the crowd. Thaïs and Athanaël escape.

Act 3
Scene 1
Thaïs and Athanaël travel on foot through the desert. Thaïs is exhausted, but Athanaël forces her to keep going and thus do penance for her sins. They reach a spring, where Athanaël begins to feel pity rather than disgust for her, and they share a few moments of idyllic, platonic companionship as they rest. Shortly afterwards, they reach the convent where Thaïs is to stay. Placing her in the care of Mother Superior Albine, Athanaël realizes that he has accomplished his mission-and that he will never see her again.

Scene 2
The Cenobite monks express anxiety over Athanaël's antisocial and morose behavior since his return from Alexandria. Athanaël enters and confesses to Palémon that he has begun to experience sexual longing for Thaïs. Palémon castigates him for having attempted to convert her in the first place. Athanaël falls into a depressed sleep and has an erotic vision of Thaïs. He tries to seize her, but she laughingly evades him. Then, a second vision tells him that Thaïs is dying.

Scene 3
Feeling that existence is worth nothing without her, he repudiates all his vows and rushes off to find her. He reaches the convent and finds her on her deathbed. He tells her that all he taught her was a lie, that "nothing is true but life and the love of human beings," and that he loves her. Blissfully unaware, she describes the heavens opening and the angels welcoming her into their midst. She dies, and Athanaël collapses in despair.

Verdict

This one is very much to my liking despite a few (minor) flaws:
-1 The story is supposed to be set in the fourth century, but the producer John Cox (surprise! :rolleyes:) had different ideas. Hard to say which ones because after seeing this I'm still not quite sure exactly which period in history he had in mind, but my guess would be somewhere in the second half of the 19th century.
-2 At the start of act three the two main characters are at the end of a long journey through the desert and are supposed to be exausted. Yet Renée still looks as though she just stepped out of a beauty parlor with not a hair out of place when something close to Kiri's look in the last act of that Manon Lescaut DVD that was reviewed yesterday would maybe have been more appropriate.
-3 It doesn't bother me much, but I can imagine that some don't like to look behind the curtain and see the changes of scenery taking place during the orchestral bits between the different scenes. The short interviews we usually get between acts in Met broadcasts have this time been omitted from the main programme, but they have been added as a bonus feature. The only thing that I personally find mildly annoying are the occasional looks in the orchestra pit when action on stage is in progress.

But never mind - none of this seriously interferes with the overall quality of this DVD. The scenery is attractive and the dresses of Renée are ravishing. To my eyes she looks spectacularly beautiful, but I admit that I've always had a bit of a crush on her :). Anyway, it's easy to imagine any guy in sight falling in love with this Thais, that's for sure. Most important of all, the lady is in top form singing all of the music with great vocal beauty and hitting high notes with the greatest of ease. Thomas Hampson too is convincing as the emotionally disturbed monk who changes from a religious extremist into someone who's obsessed about the girl he just send to a convent. I found the last scene very moving. The dying Thais is sitting on a chair (as opposed to lying in bed) - at the end standing up singing gorgeous music while Hampson's Anthanaél is basically at her feet begging and trying to convince her (but never getting quite through to her) that there is no such thing as heaven and that he loves her. She dies, but comes out the winner - he lives but loses.
 
#7 ·
Massenet: Werther



Werther has been very successfully recorded several times (von Stade/Carreras, Kraus/Troyanos, Domingo/Obraztsova, Domingo/Fassbaender) and I have liked it very much. This is the first time I see a staged production. And I'm disappointed.

First of all, with a staging like this, the act 1 & 2 could as well have been presented as a concert performance. Because there isn't much to look at the stage, we are taken to the wings where the singers wait for their turn to walk to the stage. Also, the changes of the non-existent scenery are shown in detail. In acts 3 & 4 there is the harpsichord and books that are referred to in the sung text and an attic room for Werther to die in.

Despite of the fear that Kaufmann's followers will probably react very strongly I have to say that he just fails to touch me. Yes, he has a decent tenor voice and he can sing lovely pianissimos. Ans he is young and slim and handsome, if I am to understand correctly. But what use do I have for a Werther whose "Pourquoi me réveiller, ô souffle du printemps?" leaves me cold? A Domingo here for me!

Charlotte, Sophie Koch, doesn't touch much more, although she rises to the emotional moments quite well. But all the female singers mentioned above are better all along, even Obraztsova with her peculiar voice, and my absolute favourite in this role remains Brigitte Fassbaender - maybe an odd choice for Charlotte, but the chemistry or electricity or whatever works wonders in a performance that was made for a radio broadcast, if I have understood correctly. For the Charlotte here, a comment by Thackerey on Goethe's novel (quouted from Kobbe's Opera Book) might be apt:

Charlotte, having seen his body
Borne before her on a shutter,
Like a well-conducted person,
Went on cutting bread-and-butter.

Also ran: Anne-Catherine Gillet as Sophie - nothing spectacular, nothing to complain either. And all the rest.

I haven't checked if there are any alternatives on DVD for this, but you could probably wait for one, unless you happen to be a Kaufmann-enthusiast.
 
#8 ·
I haven't checked if there are any alternatives on DVD for this, but you could probably wait for one, unless you happen to be a Kaufmann-enthusiast.
Although I haven't seen this one, I'm prepared to bet that it is better:



I just think that Marcelo and Elina are more likely to do a better job.
 
#9 ·
Other alternatives:







I have only seen the above greenish aberration, and didn't like it.
It may also be due to the fact that I can't stand the whiny wimpy character Werther with his romantic longing for death (admitedly Goethe's fault rather than Massenet's, but still). My impulse is to yell at him - will you please kill yourself already and stop bothering us? Granted that Pourquoi me réveiller is outstanding, but this is definitely not one of my favorite operas. But I'm hoping to get the Elina-Marcelo version some day and maybe I'll change my mind.
 
#10 ·
For me it was the other way around. I had always liked the opera on audio recordings, but seeing it made me almost loathe it! Werther is certainly a wimp as a character. Fortunately Domingo couldn't sound like a wimp, no matter how hard he tried. BTW, I didn't know that my beloved Fassbaender would be in a film also. A "girl" like she could have easily taken the pistol, shot the wimp herself, and got on with her life. Not that Albert would appear so much more likeable, but he is still a man with a steady income. Money talks!
 
#12 ·
Massenet on DVD and Blu-Ray



Lahore being in the news from time to time nowadays as a site of political/religious unrest, I couldn't help myself but had to include Le Roi de Lahore by Massenet. In this opera there is a battle between Hindu and Muslim forces. I don't know what they are fighting about now that Lahore is a part of Pakistan, a Muslim country, exploding mosques and so on. This is best left to other forums.

Le Roi de Lahore was the first new opera performed at the Palace Garnier, Paris. So, quite an honour for the composer. All kind of exoticism was very much in fashion (it was premiered in 1877). Bizet's Les Pecheurs de Perles we have already dealt with (and this performance comes from the same opening season of Teatro la Fenice - although now we are in the actual newly-built opera house!), Meyerbeer's L'Africaine, Delibes' Lakme (Oh! When shall we have a production of it with Dessay?) and so on. Here the exoticism reaches its peak in the headware, otherwise everything is very stylish.

My reference here is the audio recording by Sutherland(already having the distinctive beat in her voice), Lima, Milnes, Bonynge.

Sitâ, Ana María Sánchez, may not be slim, but has a beautiful, strong voice, of course younger than Sutherland's and without a hint of the beat. She may not be the most convincing singing actress, but this is not an opera where it would matter very much. None of the male singers have an opportunity to show off with their acting talents either. Alim (the tenor) is sung by Giuseppe Gipali (?), Scindia (the baritone) by Vladimir Stoyanov, Indra (the bass) by Federico Sacchi, all perfectly accecptable.

The music is beautiful throughout, but not particularly memorable. If there is one aria that catches your attention, it's "Repose, ô belle amoureuse" of Kaled (a minor role), sung by Cristina Sogmaister - very much like the aria of Neris in Medea! Everything is conducted by Marcello Viotti, who died the next year.

So, if you are contemplating the purchase of the La Fenice box, here is another reason. As far as I know, there is no competition on DVD.
 
#13 · (Edited)


Just watched these two Manons..........

First let me say I find the Massenet Manon is much better and more entertaining than the follow up Puccini Manon Lescaut, the Puccini plot has huge holes that disrupt coherent story development and ending is so disjointed and heavy handed it makes me wonder if Puccini was playing a joke on us.....

Renee Fleming
2001 production that initially impressed me greatly, Fleming and Alvarez (Chevalier) worked well together and vocally Fleming was in great form giving us some real thrills receiving several ovations during performance. Stage production was semi modern with period items only added in if story required them, costumes were elaborate period correct and looked very impressive, very entertaining overall. If I had not seen the Dessay McVicar production I would have thought this was about as good as it gets for Manon.

One problem I was not thrilled with the stark bare stage treatment in final act where Manon "magically" walks in to meet Chevalier Des Grieux seemingly out of thin air and do her farewell death scence.......need to at least make some effort to set circumstances of this important scence with some stage production

Natalie Dessay
This 2007 McVicar production is easily my favorite Manon, this had levels of detail and development that the Fleming version only scratched the surface of. McVicar is a wizard at keeping action developing at all times, during overture and between acts there is still activity to see on stage. There are things going on with crowd scences that are just as interesting as main event, very creative developments. The elaborate dance numbers were way ahead of any other version I have seen. The decadance and sexual debauchery at the gambling house is taken to typical McVicar visual extremes.....which is why we love him so! :)

Typical McVicar touch watch Dessay sing the "table song" bidding farewell to her life in the apartment with Chevalier, she caresses the table gets on top and relives some intimate memories, excessive - perhaps but definitely entertaining and deeply emotional

Table Song

I love how Dessay starts dressed as this tomboy ragamuffin and evolves into this vain self absorbed dark creature of high society who brings ruin on those around her......this dark side development is much more emphasized than in the Fleming version which makes the story tragedy work much better for me. At last the final scence is set up properly with soldiers and wagon of girls in route to ship yard, because the story was so carefully and fully developed by McVicar her remorse and sense despair actually makes perfect sense, bravo

I love this version, if only there was a Blu-ray available

I would change one thing, cut off that silly hair extension on Rolando Villazon and use full wig or just short hair! Looks like the worst ******* mullet haircut you have ever seen from the 1980s :lol:

My next Manon to watch is a modern remake (Villazon returns without mullet)

 
#16 · (Edited)
My next Manon to watch is a modern remake (Villazon returns without mullet)

This was a very successful modern adaptation of Manon appoximately 1950s Paris, lots of fun and Netrebko - Villazon partnership are a proven great pair in many operas. Some clever touches like the pole dance by Netrebko in the gambling parlor looking very much like a Marilyn Monroe and foreshadowing a similar dark fate for Manon seeking riches and the glamourous life......also the church scence with Manon reaching through bars to touch Chevalier who locked himself in to resist her was a clever touch.

I think the Dessay McVicar Manon set in correct time period is more effective telling the story and the opulant period clothing add more visual impact to the corrupting lifestyle of high society and dark consequences leading to Manons tragic downfall, some scences did not quite work as well in 1950s setting, and McVicar dance numbers were much better

Hollywood Movie Theme
I was a bit puzzled at how a hollywood movie theme was introduced in opening scence during overture and closing death scence was a parody of hollywood movie with Villazon carrying dead Manon off into the sunset......a cliche reference. Yet rest of opera left this theme and just told the normal straight Manon story in more modern 1950s setting. I thought Manon was going to be struggling actress and other characters were going to be movie directors, actors, producers, showgirl dancers etc. I think the whole story could be told in that way.......but I guess that was not the plan
 
#17 · (Edited)
Liceu Manon

I last watched the Dessay/Villazon Manon over a year ago when I started getting back into opera and thought it was OK. About 100 opera DVDs later I realise what a wonderful production this is, as other reviewers above have said. Interesting, well sung and fully exploring all the emotions on this opera's roller-coastal ride.

I'm sorry, Alma, but Dessay's version is better.

(Runs and takes cover
)
 
#19 ·
The Dessay/Villazon Manon



Reading these comments above set me searching the forum, and I'm amazed that I've said so little about this Dessay/Villazon Manon. It was one of the crucial catalysts that set the whole 'Opera on DVD' ball rolling, for me. I've often talked about the disappointing lack of artistic coherence in opera productions (usually the result of apparently thoughtless anachronism), but the integrity and intensity of this production really shook me. There's no attempt to shift the time period, thankfully (the characters look as if they've walked out of a painting by Watteau), and yet this is by no means a 'straight' traditional production. There are seats around the back of the stage, from which people are always watching the proceedings. This gets across very successfully one of the central factors in eighteenth century society: that everything is for public consumption; for show (and often for sale). (Think of the way Beau Nash actively discouraged private entertainments, in eighteenth-century Bath - another country, but the same era, and similar principles.) So all the time we get this sense of a watching presence (as we in our turn are watching) responding independently as the drama unfolds. It's unsettling, and has a distinctly dark side, but it provides a kind of unifying theme throughout the production, I think.

Set against this backdrop is the brilliant acting we're offered, supremely by Dessay, and very good indeed by Villazon. Dessay becomes Manon unforgettably for me, changing throughout the drama to match the role, from the wide-eyed, sitting-with-her-legs-swinging young girl that we first meet, to the ravishing belle-dame, to the defeated and destitute dying woman at the end. And there's another thing in her favour too: in her manner, her look, and most compellingly when she sings, she is so wonderfully French.

What this production achieves, through sheer insight and ingenuity, is to present Manon in her time, and yet manage to do so with a modern outlook (almost as if we're looking through a window onto a window - we see the watchers as well as the watched); and most importantly, it actually helps us to engage with the unfolding tale in ways that are new, yet which I'm sure Massenet would have wholeheartedly approved. My library of DVDs has grown a good deal since I bought this, but I've not seen many since that can equal its power, drama, and deeply satisfying artistic integrity.
 
#20 ·


Reading these comments above set me searching the forum, and I'm amazed that I've said so little about this Dessay/Villazon Manon. It was one of the crucial catalysts that set the whole 'Opera on DVD' ball rolling, for me. I've often talked about the disappointing lack of artistic coherence in opera productions (usually the result of apparently thoughtless anachronism), but the integrity and intensity of this production really shook me. There's no attempt to shift the time period, thankfully (the characters look as if they've walked out of a painting by Watteau), and yet this is by no means a 'straight' traditional production. There are seats around the back of the stage, from which people are always watching the proceedings. This gets across very successfully one of the central factors in eighteenth century society: that everything is for public consumption; for show (and often for sale). (Think of the way Beau Nash actively discouraged private entertainments, in eighteenth-century Bath - another country, but the same era, and similar principles.) So all the time we get this sense of a watching presence (as we in our turn are watching) responding independently as the drama unfolds. It's unsettling, and has a distinctly dark side, but it provides a kind of unifying theme throughout the production, I think.

Set against this backdrop is the brilliant acting we're offered, supremely by Dessay, and very good indeed by Villazon. Dessay becomes Manon unforgettably for me, changing throughout the drama to match the role, from the wide-eyed, sitting-with-her-legs-swinging young girl that we first meet, to the ravishing belle-dame, to the defeated and destitute dying woman at the end. And there's another thing in her favour too: in her manner, her look, and most compellingly when she sings, she is so wonderfully French.

What this production achieves, through sheer insight and ingenuity, is to present Manon in her time, and yet manage to do so with a modern outlook (almost as if we're looking through a window onto a window - we see the watchers as well as the watched); and most importantly, it actually helps us to engage with the unfolding tale in ways that are new, yet which I'm sure Massenet would have wholeheartedly approved. My library of DVDs has grown a good deal since I bought this, but I've not seen many since that can equal its power, drama, and deeply satisfying artistic integrity.
But Anna's version is better.:D
 
#25 ·


Synopsis for those interested can be read here. The action consists of approximately 1 part Tristan, 1 part Traviata and 1 part Byzantine Egypt.

So I just spent the evening watching this on TV, and I was thoroughly pleased.

To start off, no, this is not a traditional performance set in 3rd or so century Egypt, it is more modern, although I found it very hard to say when this was set in the production. It did not bother me at all, really, but it does bother some, and so now you know.

The singers, especially the two main characters, Thomas Hampson and Renée Fleming both shone in their parts, playing the Cenobite monk Athanaël and the courtesan-turned-nun Thaïs respectively. Both their acting and singing were top-notch. The only thing I didn't like about the singing was that the diction had a tendency of disappearing. Especially in the big, shouty, high parts and in the larger ensembles. I particularly disliked Thomas Hampson's diction, but it was not off-putting in any way.

I had some issues with the character of Nathanaël in the beginning. He is convinced himself that he is on a holy mission from God to save Thaïs from her sinful ways. He is rather preachy in the beginning, changing between the roles of a caring almost fatherly figure for Thaïs who he secretly loves (though he doesn't realize it until the end of act 2) and an angry preacher scolding Thaïs for her sinful ways. During the opera, as Thaïs gets more and more Christian, he gets more and more doubtful, and he finally discovers that he loves Thaïs, a feeling not particularly suitable for a monk. During the first two acts, I found that I liked Nathanaël more and more, just because of that change of mindset. But I have a problem with liking very preachy, loud people, so the problem might be there.

I did have some initial problems with the second scene of the third act, especially in the beginning, as I felt the opera could have ended with Athanaël leaving Thaïs in the convent. But, as the third and final scene rolled along, I realized that the second scene of the third act totally made sense, and that I should stop complaining. The final scene of the opera, easily my favourite, was really spectacular. In it, Athanaël confesses his love for Thaïs as she (presumably) lies on her deathbed. In this production, she sat on a chair, almost like a throne, awaiting being carried into heaven. Athanaël comes to beg her not to die, but she does not listen to him and awaits the angels that will carry her to heaven. This was beautifully done by both Fleming and Hampson, and it resulted in a thoroughly moving scene. The only thing I did not like about the scene, was the way it ended. It ends with Nathanaël shouting that Thaïs has died, something I really don't like. I do think the opera should have ended peacefully.

All in all, this was a thoroughly enjoyable performance with some spectacular moments, like the final scene of the third act. A must-watch by any standard!
 
#26 ·
Don't worry too much about the plot. Opera has a way of engaging in far fetched plots.
But the music in Thaïs is very beautiful.
Especially in the Méditation.
Here is the alternative DVD, from Venice (warning: lots of nudity):
 
#32 ·


For those who voted Renee Fleming in soprano builder.........
I can think of no better proof than the 2008 MET Thais performance, that Christian Lacroix gown with red ruffled crushed velvet cape is the most stunningly beautiful opera costume I have ever seen.......a modern masterpiece that belongs in an opera museum!

The tragedy is no blu ray available, even the DVD upconverted to 1080p on 55" screen will knock your socks off......:)
 
#36 ·


I've been wondering about getting a version of Thais for a while now, and I'd pretty much assumed that I'd go for the Fleming one. But then I saw the Youtube that Almaviva posted above, from the Venice production with Eva Mei (thanks Alma); and then I found another one of the finale, and the outcome is that I've ordered one of those instead of the Fleming. I found the single figure choreography during the 'Meditatation' very compelling: that slow transformation from eroticism to religious sacrifice (with the implied question about whether it's really a fundamental change at all) is a masterly interpretation, it seems to me, and if the rest of the opera is presented with similarly powerful symbolism, then I think I'm likely to find it a spine-tingling production.
 
#40 ·


Watched these two Thais......

Renee Fleming
Won't say much about this since we already have many comments for this MET production, Fleming is a more beautiful Thais and her gold designer gown is amazing, she sings with great passion and plays Thais wonderfully......but the production is a bit generic, there is no moments when you think wow that is a stunning visual and the dance elements are very weak to non existent

Eva Mei
Is not the main attraction here it is the P.L. Pizzi production, stunning visuals with artistic religious symboligy, many fine elegant choregraphed dance sequences, and the dream sequences dwarf the MET versions. Watch this video of the Act II "meditation" where Thais struggles with her secular desires and the new ideas of faith and redemption, skip ahead to 4:45 watch the dancer assume the "Christ pose" on the cruciform and then the roses drop from Thais bed of seduction to form a "crown of thorns" completing her transformation, this is some amazing production work, Pizzi is a real artist....



This is just one example of many great scence, this Thias is a visual feast.......but again Eva Mei is not my idea of a dream come true goddess of love so Fleming does have that advantage. One other detail seemed a misstep to me, final scence where Thais is dying and describing her vision of heaven Athanael is begging her to love him and forget religion......but he is not right next to her or holding her, he is some distant off and not looking at her which seemed very strange to me

For people who value creative visual artistry this is one you need
 
#41 ·


Watched these two Thais......

Renee Fleming
Won't say much about this since we already have many comments for this MET production, Fleming is a more beautiful Thais and her gold designer gown is amazing, she sings with great passion and plays Thais wonderfully......but the production is a bit generic, there is no moments when you think wow that is a stunning visual and the dance elements are very weak to non existent

Eva Mei
Is not the main attraction here it is the P.L. Pizzi production, stunning visuals with artistic religious symboligy, many fine elegant choregraphed dance sequences, and the dream sequences dwarf the MET versions. Watch this video of the Act II "meditation" where Thais struggles with her secular desires and the new ideas of faith and redemption, skip ahead to 4:45 watch the dancer assume the "Christ pose" on the cruciform and then the roses drop from Thais bed of seduction to form a "crown of thorns" completing her transformation, this is some amazing production work, Pizzi is a real artist....

This is just one example of many great scence, this Thias is a visual feast.......but again Eva Mei is not my idea of a dream come true goddess of love so Fleming does have that advantage. One other detail seemed a misstep to me, final scence where Thais is dying and describing her vision of heaven Athanael is begging her to love him and forget religion......but he is not right next to her or holding her, he is some distant off and not looking at her which seemed very strange to me

For people who value creative visual artistry this is one you need
I did like the several nice naked boobs. Do they count as creative visual artistry?;)
 
#50 ·
Thaïs - Frittoli



I cannot deny the technical mastery, beauty of voice and musicianship of Renée Fleming, who excels in the role of Thaïs, too. If I had to order the three performances of this opera on DVD by the singer of the title role alone, I would nominate Fleming the first, Frittoli the second, and Mei the third.

This may be completely beside the point, but I was quite surprised to hear that Fleming, who gave a concert in Helsinki last november and sang the Mirror aria (Dis-moi que je suis belle) from Thaïs among other things, could not even pronounce the name of the composer correctly in her TV interview. It came out as something like Massëneï... I mean, a singer of this calibre, who has sung so many French roles!

The reason I like this production from Turin more than the other two is its visual beauty. Everything is mainly black or white, as the juxtaposition of sexuality and religion that we are dealing with in the opera. Great use of dancers/silent actors is made of and a lot of bare skin is displayed. I do not understand all the symbolism of the production, but it is very impressive to watch. For example, I do not know what the followers of the religious sect (that Athanaël is supposed to belong to) in their G-strings are suddenly doing in the cursed city of Alexandria, when they should live in the desert having abandoned all worldly pleasures and possessions...

Barbara Frittoli has a different kind of voice than Renée Fleming, more southern as opposed to the northern of Fleming. After all, Frittoli is an Italian. Her highest notes may not come as effortlessly as Fleming's, but she has a voice of a great beauty and warmth that really comes alive above the stave, and she can cope with the role well enough. I know that the role of Thaïs was composed an American soprano, Sybil Sanderson, in mind, but that should not be a deterrent for others.

Lado Ataneli has at least his surname to suggest that he should sing the role Athanaël. Actually, he sings very well. Someone, somewhere called him a rather wooden actor, but as a man of God, he perhaps has a right to some reticence. Unlike his co-believers, he wears a full clergyman's robe, and even refuses to take it off in the house of red lights, while asking for something more inconspicious to wear.

Alessandro Liberatore as Nicias is good enough, as are Eleonora Buratto as Crobyle and Ketevan Kemoklidze as Myrtale.

Preferring this version is very much a matter of taste. I like all three!
 
#51 ·


Although I've wanted this ever since it was released I did approach it with some trepidation.

Firstly the only Werther I've heard or seen up until now is my much loved



The story affected me deeply (& still does) and even with his dodgy French accent, Carreras was my Werther and Frederica von Stade has always been Charlotte.

Secondly, Natalie's first impressions of the DVD production worried me. (I can't find her initial review)

Well I've watched it through twice now and the performances of Kaufmann & Koch are beyond amazing. In time they can replace Carreras & von Stade in my imagination but the production has left me with tears of anger.

There were times when it was like watching a concert performance & I didn't know if I was watching a singer or a character. As Werther contemplates suicide & tries to justify it to God, the camera pans back & it's Jonas singing to the orchestra. As Charlotte re-reads Werther's letters the orchestra takes centre shot again & it's Sophie singing.

The off stage shots were odd. There's one shot where I thought I was watching a contemplative Charlotte, only for a wardrobe person to approach Sophie to adjust her dress. The only time where I would have welcomed some 'in-the-wings' scenes were at curtain call & there weren't any.

I will watch at again & now I know what to expect I'll try to ignore these aberrations but I can't help feeling that what could have been one of the greatest ever opera DVDs has been almost ruined by an egotistical producer.

I was impressed with Anne-Catherine Gillet (Sophie). She's beautiful and has a beautiful voice. I also liked Ludovic Tézier (Albert).
 
#52 ·
[I will watch at again & now I know what to expect I'll try to ignore these aberrations but I can't help feeling that what could have been one of the greatest ever opera DVDs has been almost ruined by an egotistical producer.
Exactly. BENOIT JACQUOT IS A COMPLETE JERK AND SHOULD BE BANNED FROM DVDS. He's deliberately sabotaged his own production (he was responsible for the filming).

Nevertheless this is the greatest Werther ever. I just wish I had been in the audience of the live performance.
 
#54 · (Edited)
He keeps cutting backstage in the middle of the music (so you can't even FF) and interrupting the flow. I don't need to see stagehands, Jonas Kaufmann warming up, wardrobe assistants and miscellaneous crap in the middle of my opera. How the hell am I supposed to get engrossed in the action and suspend disbelief?
 
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