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Monteverdi on DVD and Blu-ray

11K views 41 replies 13 participants last post by  mamascarlatti 
#1 · (Edited by Moderator)


Now - I know nothing about Monteverdi. But this came with jhar26's strong recommendation, so I watched a few youtubes, and took the plunge. It arrived today and I've watched the first two Acts.

It's a winner from the start - the unusual camera perspective showing the conductor striding down the aisle; the musicians in the boxes as well as the pit. The music so exciting... and then - the sets. What a stroke of genius this was - to take the landscapes of Claude Lorrain and use them to provide the backdrop; so right from the start there's an visual atmosphere of late-afternoon wistfulness in a classical landscape setting, and once the characters emerge, it's like a Claude painting come to life.

The visuals get even better when the dancing begins. Whoever designed the costumes (and for Pete's sake, take a good look at their colours, which harmonise with the kind of mastery I'd associated with a colourist like Paulo Veronese) was brilliant. When the dancing starts, the folds of the costumes are so gracefully dynamic that it's the movement of the costumes, not the dancers, that ravish the eye.

Much of the singing is done with the characters quite static, and although there are times when I wished for a bit more movement, it does have the effect of making a big contrast as soon as the danced sections begin. I think I am really going to enjoy this - thanks Gaston. Off, next, to the Underworld ....

Here's a Youtube snippet of the intro.
 
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#2 ·
And what a work of genius from Monteverdi. There had only been a few operas before this one, and they were completely made up of recitative only. And here we have these Monteverdi guy creating a masterpiece of the genre out of nowhere - amazing achievement.

BTW - that intro with Savall walking in is a great idea since he looks a lot like Monteverdi in my opinion. It's as though Monteverdi himself is entering to conduct his own work.
 
#3 ·
And what a work of genius from Monteverdi. There had only been a few operas before this one, and they were completely made up of recitative only. And here we have these Monteverdi guy creating a masterpiece of the genre out of nowhere - amazing achievement.
I think what surprises me most - naively, I admit - is how much it's a work of musical and dynamic contrasts, suddenly revealed. One moment everything is quiet, uneventful - one might say, veering towards the monotonous - when suddenly without warning the music leaps up about 20 gears, and in come a bunch of dancers cavorting about with the energy of spring lambs. As if he knew we might just be starting to nod off, so he'd jolly well put a stop to that!
 
#4 ·


I've now seen/listened to the whole thing. My response after just this single experience of it is mixed. I accept all the stuff about the brilliance of the groundbreaking concept, etc; and I've already commented on some of the most striking aspects of its first impact on me.

All those things being said, I found myself wondering about the pacing of it, and the musical dominance of Orpheus as a character. After the variety of both visual and musical impacts in the first two acts, it seemed to get bogged down in places later on. Orpheus's conversation with Charon is an example - where the singing became a kind of endless drone that raised thoughts such as 'For Pete's sake, Orphie - just kick him into the water, grab the boat and be done with it'. This may of course improve with more exposure to it; it may just be the result of unfamiliarity.

So at the moment I have this feeling that it's one of those works which I shall always want to return to, but which I shall probably wish I could edit a bit. I don't think I'd want this on CD, for instance; or, if I did, it would be so I could edit it to compile a set of highlights. I know, I know. Sacrilege. But this isn't my last word on the subject; I'm well aware things can change.
 
#5 ·
I've now seen/listened to the whole thing. My response after just this single experience of it is mixed. I accept all the stuff about the brilliance of the groundbreaking concept, etc; and I've already commented on some of the most striking aspects of its first impact on me.

All those things being said, I found myself wondering about the pacing of it, and the musical dominance of Orpheus as a character. After the variety of both visual and musical impacts in the first two acts, it seemed to get bogged down in places later on. Orpheus's conversation with Charon is an example - where the singing became a kind of endless drone that raised thoughts such as 'For Pete's sake, Orphie - just kick him into the water, grab the boat and be done with it'. This may of course improve with more exposure to it; it may just be the result of unfamiliarity.

So at the moment I have this feeling that it's one of those works which I shall always want to return to, but which I shall probably wish I could edit a bit. I don't think I'd want this on CD, for instance; or, if I did, it would be so I could edit it to compile a set of highlights. I know, I know. Sacrilege. But this isn't my last word on the subject; I'm well aware things can change.
Well, 'L'Orfeo' is almost 150 years earlier than Rameau of course so it's a much earlier link in the evolutionary chain of opera. In fact, it's the first proper opera of any sort. And as you know French baroque is quite different from Italian or German baroque also. I agree that it can get a bit monotonous in the second half, but this is a five act opera. It's not supposed to be listened to in one go really. Maybe a break or two between acts to go have a smoke in the garden (or whatever) might do the trick.;)

Still, good to know that for the most part you enjoy it, and it's considering it's historical importance also a good opera to have in ones collection I think.
 
#7 ·
I am dragging a month behind you guys on this, but I have just watched the first two acts, having rented it from Netflix, and I'm finding it exhilarating. This is only my third opera to experience - or maybe the 6th. I counted the Ring cycle as one very long opera.

This is the first one that actually seems to connect me with the past. I think that's what I'm looking for, not modern day costumes and weird interpretations - at least not yet.

It is my understanding that Monteverdi and friends were trying to remake something like the original Greek dramas that they felt were really sung, and that this explains some of the slow pacing in this early experiment in the genre.

I rather like the slower pace. I only have to glance at the libretto translation once in a while to catch the drift of what is happening and be free to enjoy the magnificent music, a luxury I did not have with the Ring, or with Fidelio. I was already well hooked on Monteverdi from the 1610 Vespers so the music alone is enough to carry me. But those dancing nymphs - ! I want to fall into some idyllic or dionysian dreamworld. And here I thought Monteverdi was all about the sacred.
 
#8 ·
This is the first one that actually seems to connect me with the past. I think that's what I'm looking for, not modern day costumes and weird interpretations - at least not yet.
Yes, it does that wonderfully well, I think. I'm still very much feeling my way, like you, into this area. I think the Claude Lorrain backdrops are a stroke of genius: they alone create an expectation of Arcadia before even a nymph sets foots on stage.

But those dancing nymphs - ! I want to fall into some idyllic or dionysian dreamworld. And here I thought Monteverdi was all about the sacred.
Yes yes - and the way the costumes move as they dance, as if the drapery itself can hear the music - exquisite.
 
#9 ·
I'm glad you like L'Orfeo, Weston. Monteverdi is a bit, well, not underrated but maybe not given as much attention as should be because early baroque is not the most popular era in musical history. He's nevertheless one of the giants though.
 
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#10 ·
I finally ordered this:


I had seen the trailer on youtube but didn't know if I'd like the opera as a whole. However lately I've been listening to a radio recording of Poppea from Teatro Real in Madrid (with Danielle De Niese as Poppea, Philippe Jaroussky as Nerone and Max Emanuel Cencic as Ottone) and I love it. :D That production will probably be on DVD too but not for a while.

Anyway it was a very stressful process. I had planned to buy it from amazon.co.uk, had even saved it in my favourites, but now it said it was "currently unavailable". Then I went to amazon.com and almost bought it but discovered it was region 1 and that it might not play even on region free players :( So I ended up buying it on amazon.de through a verified seller. P&P cost 13€ but it's worth it.:D

I'm very excited to see Richard Croft as Nerone, I have never heard of a tenor cast in that role.
 
#16 ·


Took this version of L'Orfeo to work tonight, to listen to again and watch with half an eye (I have the office to myself on Thursdays nights). Bad idea, every time Mr Delectable Keenlyside appeared on stage I got totally distracted with his beauty and lovely singing and graceful dancing.

This production would not be to everyone's taste, no set to speak of, lots of dancing and stylised gestures, and the chorus in some truly atrocious loose-fitting white suits that look like a cross between Miami Vice and Pierrot costumes.

Despite the latter I found it quite mesmerising, the movements aptly illustrating the beautiful music and the singing faultless (better in my view than on the Savall version which I also love).

Annie, I think you should check it out on YouTube, you'd love SK in this (he comes on at about 4.50).
 
#18 · (Edited)


Watched these two Monteverdi Orfeo DVDs (not later Gluck opera)

Jordi Savall
Most people are familiar with the Savall, great orchestral music using original instruments and very good picture quality, but a very traditional production and group of singers (outside of Sara Mingardo as the messenger) is pretty average, nothing really inspiring for me. Singers include Savall's wife and daughter which is perhaps part of the problem, ha ha. Some of dance numbers are very entertaining and well staged but also some spots drag on mainly dealing with Orpheus lamenting his fate.......need some more ceative thinking here for the production IMO

Rene Jacobs
We have a real breath of fresh air here combining modern abstract dance elements into modern stage production. The group of singers is of higher quality as you might expect with Jacobs singing background and his orchestral sound is very similar to Savall, both very good. Packaging is deluxe 2 DVD four panel foldout with slipcover, nice!

From the first scence the radical rethinking is evident, the prologue featuring goddess of music setting the scence of opera story for Savall is stationary static person holding a gold lyre (traditional cliche) For Jacobs we have an etherial floating goddess (alla cirque de soliel wires) like music notes themselves floating in the air able to go anywhere......costumes are all modern looking similar to David Byrne (talking heads singer) oversize suit in his video days, visually very striking and the final scence appearance of sun god Appollo is very bold. Orfeo never holds a gold lyre and entire stage is bare, but there is always movement and flow onstage, you must see it to appreciate what is happening here.

Trisha Brown the modern dance guru is mainly responsible for these new visuals and there is a bonus dvd with long documentary about making of this opera which I found very informative, if you don't like modern dance this will all seem very strange and un-natural, but early baroque seems very well suited for modern dance style, to me is works quite well, a beautiful synthesis as shown in sample:

Orfeo

Keenlyside
A special mention here for Simon, what a stellar performance both singing and his modern dance moves and stage presence.....is there anything this guy can't do well, bravo! Annie (sospiro) must own this because he is especially handsome looking here

Bottom line I prefer the modern Jacobs version if I could keep only one......
 
#19 ·
Jordi Savall
Most people are familiar with the Savall, great orchestral music using original instruments and very good picture quality, but a very traditional production and group of singers (outside of Sara Mingardo as the messenger) is pretty average, nothing really inspiring for me. Singers include Savall's wife and daughter which is perhaps part of the problem, ha ha. Some of dance numbers are very entertaining and well staged but also some spots drag on mainly dealing with Orpheus lamenting his fate.......need some more ceative thinking here for the production IMO
I go along with some of this, DA, but I feel I should mention some of the great highlights of this production. First, there are the sets, based on Claude Lorraine's landscapes, which are not only a delight to the eyes, but are also very atmospheric. If the music does drag a bit from time to time (and I agree that it does), they've at least provided us with something extremely beautiful to look at, and let our imaginations loose on. Secondly, I'd want to add to the descriptions of the dances. The key here lies in the costumes, which appear to have been designed specifically with the dances in mind. The movements of the costumes during the dances are both fascinating and very beautiful, so that when one dance ends, I immediately find myself looking forward to the next.
 
#22 ·
My favourite of the two is the Jacobs version too, the combination of dance and singing is just facinating and Keenlyside dominates every seen he's in.

But I do love the opening to the Savall version, the trumpets ringing as he comes striding down the aisle looking like Monteverdi reincarnated.
 
#23 · (Edited)
My favourite of the two is the Jacobs version too, the combination of dance and singing is just facinating and Keenlyside dominates every seen he's in.

But I do love the opening to the Savall version, the trumpets ringing as he comes striding down the aisle looking like Monteverdi reincarnated.
Yes that is a classic scence.......perhaps promoting Savall's image more than Monteverdi :lol:

Another scence I liked in Savall version is the very end where Apollo comes down to console his son Orfeo and invite him to join the gods above........it was so perfectly retro looking I feel like I am seeing a real performance back in 1607, and the dance to close out was very nice with period dresses instead of the togas



This also in response to Elgarian's post......and give credit to some good things in Savall version
 
#24 ·
Cannot abide the wooden acting and lackluster voice of Furio Zanasi, a man who, it seems, has hitched his star to the Jordi Savall bandwagon. Which is a shame, for Maestro Savall does otherwise splendidly in presenting the works of Monteverdi. He should learn, though, that Zanasi can't be trusted to supply any icing to a cake.
 
#25 ·
Cannot abide the wooden acting and lackluster voice of Furio Zanasi, a man who, it seems, has hitched his star to the Jordi Savall bandwagon. Which is a shame, for Maestro Savall does otherwise splendidly in presenting the works of Monteverdi. He should learn, though, that Zanasi can't be trusted to supply any icing to a cake.
Much prefer Keenlyside performance as Orfeo.......entire cast of Savall is pretty average except for baroque veteran Sara Mingardo as the messenger
 
#26 ·
Il ritorno d'Ulisse in patria



Monteverdi is a genius - the way the music reflects so accurately the characters' emotions is unsurpassed. The cast is very fine, good singing and acting. I am particularly struck by the extraordinary deep contralto of Marina Mijanovic as the long-suffering Penelope. The reunion scene between Ulisse and his son Telemaco was so tender and beautiful it moved me to tears. William Christie shows himself to be a real singer's conductor and the orchestra and singers are perfectly cooordinated and balanced.

The production is simple but appropriate - a simple sand covered stage with some large earthenware jars in a corner, and the costumes look have a slight touch of generic oriental which works well with the theme.

I believe the prologue is rather controversial as it shows the singer playing Human Frailty nude - following Monteverdi's intructions to have him "ignudo". To me it just emphasised his vulnerability as Time, Fortune and Love torment him.

Here's a rather inadequate taster:

 
#28 · (Edited)


Monteverdi is a genius - the way the music reflects so accurately the characters' emotions is unsurpassed. The cast is very fine, good singing and acting. I am particularly struck by the extraordinary deep contralto of Marina Mijanovic as the long-suffering Penelope. The reunion scene between Ulisse and his son Telemaco was so tender and beautiful it moved me to tears. William Christie shows himself to be a real singer's conductor and the orchestra and singers are perfectly cooordinated and balanced.

The production is simple but appropriate - a simple sand covered stage with some large earthenware jars in a corner, and the costumes look have a slight touch of generic oriental which works well with the theme.

I believe the prologue is rather controversial as it shows the singer playing Human Frailty nude - following Monteverdi's intructions to have him "ignudo". To me it just emphasised his vulnerability as Time, Fortune and Love torment him.

Here's a rather inadequate taster:
This is a really great production, I really loved it also. The clever use of minimal stage props as shown in your sample, especially impressive is that scence of goddess Minerva and son Telemaco flying through the sky simulated by undulating large blue cloth behind them lighted to emphasize motion, so simple yet visually stunning scence, why don't we see more of this intelligent production in other operas, bravo!

Marijana Mijanovic
What a performance of queen Penelope by Mijanovic, incedibly expressive facial and body movements tell so much of the story visually along with her heartfelt singing, you could feel her lonely pain and intense love for her missing husband I was so pleasantly impressed. Also liked her tasteful well design wardrobe which complimented her nicely, so graceful and fluid in her body motion.

Not sure why in opening prologue the god of time has crutches, I don't recall seeing them used at curtain call so it wasn't a real injury to singer and seemed a glaring misstep that made no sense to me.....other wise the production was almost always impressively done and should be used as a template by others to emulate. Another clever touch was when Ulisse strings the bow and goes about killing the suitors for his wife Penelope the goddess minerva actually carries a golden arrow over to each one and strikes them down, nicely done!

This opera has very large cast of characters so some singers play multiple parts, must keep this in mind so you don't get too confused. Although Ulisse singer (Spicer) was OK couldn't help thinking how much more I would enjoy this with Simon Keenlyside in that role, I was so impressed with his unforgetable performance in Monteverdi's Orfeo, just thinking out loud......my fantasy cast

plus
 
#27 ·
Christie - Il ritorno

I've loved this production for many many years.....and have yet to see one surpass its brilliance.

My first introduction to Marijana Mijanovic......lovely lady. Adrian Noble created a magical space onstage. Monteverdi was never more deliciously served than here.
 
#30 · (Edited)


Just watched these two Poppeas.......

Danielle De Niese
I was hoping and praying for a great modern version of Poppea with excellent picture and sound quality.......despite a couple great things overall this is a real disappointment, upsets me that great talent is squandered here

The two great things, De Niese is a wonderful lusty dramatic Poppea she is joy to behold and Emanuelle Haim provides outstanding original instrument orchestral support conducting from keyboard continuo........can hear every nuanced detail, exciting dramatic, wonderful!

Many big problems however, Alice Coote is big let down for me, don't like to say bad things but I would almost rather have anyone else playing Nero, such a shame to waste De Niese's dazzling work here......if you check youtubes you will see other Poppeas with De Niese and Jaroussky that I take in a nano second over Cootes bland Nero, Jaroussky oozes decadance and sexual obsession (all that good stuff)

Jaroussky

The modern dress production (often a red flag, danger!) is also big let down, very little imagination used unless you consider bed in front of red curtains brilliant, nothing of visual interest or memorable impact, this is just not up to the standards I expect, it takes a lot for me to sell a DVD with my adorable Danielle De Niese but mission was sadly accomplished here

Maria Ewing
A traditional production featuring a naturally seductive temptress Maria Ewing who is a very natural Poppea, every move and sultry glance evokes sexual prowess. The male Nero here is also not that great, but some memorable visual touches like the three gods on a small gallery ledge overlooking stage visiable and always interacting with each other. The prologue is very silly, three gods arguing in outer space like a "star wars" out take, but in general this is better than the heavy handed even more literal Ponnelle/Harnoncourt DVD, still I am looking for an updated more abstract modern Poppea to go with this traditional version with better sound and picture quality.....

I have two more Poppeas to check out, anyone seen these:

 
#31 ·
I liked the Ewing version, I think she's a rather sexy woman, even though her voice wasn't at her best (and even at her peak, her voice wasn't anything to write home about). But yes, I'd love to see a better quality DVD or blu-ray Poppea. I haven't seen the two you've mentioned, but the second one looks visually good.
 
#36 ·


This is the most wonderful visual production I've ever seen and perhaps the greatest ever made. So much of kitsch and poverty in romantic opera DVDs, one could think that there is nothing else to turn for but surprisingly the most imaginative, magical and fabulous production comes with renaissance work. It's perfect, not ridiculous, nor rigid. A movie version couldn't be better. From customes, through acting to the staging, everything combines into the incredible charm.

Part starting about 4:20 (O mighty spirit) is stunning:

 
#38 ·
As per sospiro suggestion I repost here ( I thought it was strange it wasn't on the Opera section* ).

So recently I've bought a few Opera ( on CD ) that I never listened before.
Bartok' Bluebeard Castle, Tchaikovsky' Eugene Onegin, Purcell' King Arthur and Monteverdi' Orfeo.
Must admit that the latter was a revelation for me.
Listened to Poppea after a while but I didn't enjoy much...

Have you some more Monteverdi recommendation ? ( not confined to Opera Lirica )

*but in alien terrain :-D
 
#40 ·
With Monteverdi, like Wagner, the text and the music are inseparable. I definitely recommend either reading the libretto, or approaching it through a DVD.

My favourite Monteverdi opera (there are only three surviving complete ones to choose from) is Il ritorno D'Ulisse in Patria:



Meanwhile I leave you with this - if you didn't finish Poppea you never got to the best bit, when Nerone and Poppea finally sing of their love:

 
#41 ·
@Mamascarlatti
Agree that's one of the better part ( although I don't like much the rendition in that video ).
I've listened to the whole Poppea while only bits of Ulisse and for the little I've heard Ulisse seems to resonates better with me.

But before digging Ulisse I was thinking to try Madrigali and Vespro della beata Vergine (along with Handel Giulio Cesare and Gluck Paride and Elena ).
But after the holiday to much to listen can waste the listening experience.
 
#42 · (Edited)
@Mamascarlatti
Agree that's one of the better part ( although I don't like much the rendition in that video ).
he he I have a feeling that my very favourite version will really freak you out then. But I think it really captures the erotic longing that is truly the basis of this particular short-lived relationship.



But before digging Ulisse I was thinking to try Madrigali and Vespro della beata Vergine (along with Handel Giulio Cesare and Gluck Paride and Elena ).
But after the holiday to much to listen can waste the listening experience.
Giulio Cesare is my very favourite Handel opera, and Handel is currently my favourite opera composer - I don't the man ever wrote a dud, although some of the plots are a little far-fetched.
 
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