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Renée Fleming | |
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List Price: £19.99
Our Price: £11.99
Rated: Exempt
Staring:
Plácido Domingo, Renée Fleming, James Morris, Jane Bunnell, Richard Croft
Director:
Brian Large
 Very strongly recommended!, 2008-11-16
This superb production is a stunning success. The entire cast sings and acts with total authority and conviction. Fleming sings beautifully (even if she does look a bit like she's walked straight out of an American soap opera), my only reservation is over James Morris, whose acting is a bit hammy (he should have made less use of his (very strange) eyebrows). Domingo overwhelms. Levine gives the music all the ferocious power it needs, with a fantastically disciplined Met orchestra. Sets and costumes strike an ideal balance between traditional and modern, sumptuous and understated. One tiny gripe - not every line in the opera is subtitled. There are some serious gaps in the subtitling. Overall verdict though: excellent - the five stars richly deserved. I cannot imagine this opera better presented.
List Price: £19.99
Our Price: £12.79
Rated: Exempt
Staring:
Renee Fleming, Dmitri Hvorostovsky, Ramon Vargas, Valery Gergiev, Elena Zaremba
Director:
Robert Carsen
The "exercise in reverse"...!, 2009-12-04
Amazingly, what we have here is an `exercise in reverse'...
Since the collapse of the Soviet Union, we have quite a successful group of singers born bread and trained there, aspiring to take the world's centre operatic stage; those include in no particular order: Vesselina Kasarova (Mezzo-soprano/alto), Elina Garanca (Mezzo-soprano), Dimitri Hvosostovsky (Baritone), Anna Netrebko (Soprano), Angela Georgiou (Soprano), and not to forget the forerunners of those artists, the magnificent Elena Obraztsova (Mezzo-soprano), the superb Ghena Dimitrova (soprano), the great NIcolai Ghiaurov (Bass), and more.
All of these artists which initially were trained in the former Soviet Union schools of music, took to the Italian and French repertoire - and here was the `straight forward exercise' which they took upon themselves; to try (to various degree of success) to overcome their inherent Slavonic culture-of-the-voice, and without the hinder of the Slavonic trained singing voice to shine in the Italian and French repertoire...True, many of them got their voices trained farther with Italian and French singing teachers later on in their fledgling careers.
The `exercise in reverse' now, is, that two of the greatest western cultured operatic voices, born, bread and trained in the best of the Italian and French culture tradition of the voice, namely, Ramon Vargas (tenor) and Renee Fleming (lyric soprano) would dive nose down into the core of the Russian operatic repertoire - Tchaikovsky's Eugene Onegin...
Right from the start there is a magnificent sense of correctness in the way by which Renee Fleming
enters the scene as a the romantic teenager, expressing her lines in pure Russian diction and pure lyric-vocal-tone and with the right Russian syllables.
From there on, Tatiana becomes Renee Faming - and Renee flaming on stage becomes Tchaikovsky's and Pushkin's Tatiana...
Most rendering is the `letter aria': this is a complete encompassing scene that demands a command of the singing voice, expressiveness and an amazing ability to act - all of which is greatly fulfilled by Renee Fleming. (One might imagine that Tchaikovsky dedicated the vocal lines here to this singer, to her range of colors and registers - no piercing the stratosphere with high notes above the B flat...)
And mind you - the whole of Tatiana's roll the key to Tatian's character and reasoning hinge on this single impressive scene.
The voice here has a successful mixture of the lyricism, timbre, and correct Russian vowels pronunciation, and the degree of shading of the voice that goes into the lower register here, is correctly tinted with a Slavonic hue.
This scene is guaranteed to make your heart break, and give you a goose-bumps, this, along-side Fleming's (garden scene) where her the acting and facial expression are aimed at giving you a heartache when Onegin lectures her and returns her letter while rejecting her.
Onegin's roll sung by the Russian Baritone Dmitri Hvorostovsky (the prime winner of Cardiff-singer-of the-world-competition of some years ago), comes to him naturally and without obvious effort, fitting his physique, stage presence, and his `cool' acting, to the teeth.
Still, there are moments in the last act where Onegin have a change of heart, which asks for just a tad more `remorse', passion, naked laying of emotions - in which Hvorostovsky is a tad too stingy.
One should compare this closing scene between Tatiana and Onegin, with the James Levine 25th anniversary DVD at the Metropolitan - where dramatic baritone Dwayne Croft practically stops the show with his full throat out-burst and breath-control in: "what humiliation, what anguish, what a tragic fate!" - to fully understand what is (slightly) missing here with the Russian baritone Dmitri Hvorostovsky.
Ramon Vargas, which we associate with Puccini and Verdi tenor rolls emerges here as a fine fit to the Russian roll of Lenski dealt to him. His soave tenor voice carries on into the Russian vocalizations and vowels very successfully. His pronunciation is clear and with no obvious hindrance. His acting abilities are equally satisfying in this roll.
The Russian alto/mezzo-soprano Larisa Shevchenko,- gives a specially impressive performance, in the roll of the old nanny; very believable, well sung and well acted and very reliable, specially so, in her duet with Tatians's mother at the very beginning of the opera and later on in the `letter scene' where her interaction with Renee Flemig/Tatiana, at the start of the scene end - when morning breaks in - gives her part a very special sad touch and a great meaning.
The stage set-up - sparsely decorated, clear and almost empty but colorful (the falling leaves that carpet the floor) has an extra edge: it makes the viewer concentrate on the action and draws the viewer into the plot and the mood more easily. It is extremely functional and gives the actors an `instrument' with which to interact (Tatiana playing with the leaves, using a leave in the embarrassing moments of her lake-side scene with Onegin. her letter-scene, and so forth). Everything on the sparsely decorated stage is functional and has its purpose (a rare phenomenon with modern staging).
The stage illumination too has a clear un-exaggerated function which greatly contributes to the filming and details that the cameras capture (this is no half shading `camera obscura' - the way some Blu-ray is made; in semi darkness...)
The sound recording is as perfect as it gets - it capture the orchestral sound and dynamics and the singers voices in a greatly focused proportional way and with a frequency range that is clear, extended - in the best of the Decca tradition.
The conducting, the tempi, the breath and pause, is a marvel:
What a great conductor we find here for the Metropolitan Orchestra and the Tchaikovsky score in the figure of Valery Gergiev...!
The Tchaikovsky musical theme are quite known and melodic - the lines are easy to memorize, but it might take the novice to Tchaikovsky's operas and the manner by which Tchaikovsky takes to the singing voice score and orchestra, a second hearing/viewing of this DVD - just to get it all to sink-in and enjoy.
No doubts that this is one of the very best (possibly THE VERY BEST) of the Blu-ray DVD opera as yet; One of a great stage production, singing, sound - all in all, a marriage of the best possible assemblage of artists which gives meaning to it all.
The `exercise in reverse' - courtesy of the Metropolitan Opera House, is a mile-stone.
List Price: £29.99
Our Price: £21.26
Rated: Exempt
Staring:
Renée Fleming, Larissa Diadkova, Sergei Larin, Franz Hawlata, Eva Urbanova
A Reissue of Fleming's 'Rusalka', 2009-06-20
[This is a reissue on the Arthaus Musik label of a production of 'Rusalka' previously issued on TDK which I reviewed in 2004. It is, as far as I can tell, identical with the earlier DVD. I append my earlier review.]
Dvorák's 'Rusalka' is by far his most effective opera and the only one that has made its way in the non-Slavic world. Based on de la Motte Fouqué's fairytale, 'Ondine,' but with additions from Hans Christian Andersen and the Czech ballads of K. J. Erben, and with a symbolist libretto by Jaroslav Kvapil, Dvorák's music captures the story's ecstasy and anguish perfectly. Briefly, it is the story of a water nymph who falls in love with a Prince who visits the lake where she, her three sisters and her father, the Water Spirit, live. She wishes to become mortal so she can be with him and implores the witch, Jezibaba, to grant her that wish. Jezibaba does so but with two provisos: she will become human but lose the power of speech, and if her lover rejects her she will be forever cursed. Well, the Prince initially loves her but, dismayed by her muteness, is soon won over by the blandishments of the evil Foreign Princess, so Rusalka, with her father's help, flees back to the water world. Jezibaba tells her that her only way of extracting revenge is to kill human males by kissing them and when the Prince, who has seen the error of his ways, comes to reclaim her, she warns him (having gotten back her voice) that she cannot come with him because her kiss would be fatal. He says that to 'die upon a kiss' would be the only way he could ever attain peace. They sing a rapturous duet, she kisses him and he dies. Curtain.
Rusalka is a signature role for Renée Fleming; her audio recording of the opera six years ago was a huge hit. This production, from the Paris Opéra, conducted by James Conlon, followed in 2002. The direction of Robert Carsen and set and costume design by Michael Levine emphasize the duality and symmetry of the mortal and fairy worlds. In Act I, which takes place at the bottom of the enchanted lake, the stage set is designed with a vertical symmetry, rather like the reflections seen at the water's surface when one is submerged. In Act II, which occurs in a stylized palace, there is left-right symmetry with the singers on the left side and mute actors mirroring them on the right side. Quite effective, if sometimes unintentionally reminiscent of the famous mirror act done by Groucho and Harpo Marx. Still, it conveys visually the mirroring of the real and fairytale worlds whose inability to merge leads to the final tragedy.
The musical presentation is spectacularly good. Fleming, of course, is superb. Her two main arias, the famous 'Hymn to the Moon' and the Act III 'Vyrvana zivotu" ("I am torn from life") are stunningly beautiful. Her ecstatic final duet with the Prince, sung by Sergei Larin, is equally marvelous. Larin is in very good voice and has the requisite heft to manage the almost Wagnerian tenor role as the Prince. There is not a single weak member of the rest of the cast. Huge-voiced basso Franz Hawlata is touching as Rusalka's father, the Water Spirit. Larissa Diadkova is properly impish as the comic witch, Jezibaba. Eva Urbanova, strangely the only Czech in the cast of this quintessential Czech opera, is scary as the evil Foreign Princess. The three Wood Nymphs, as Wagnerian a trio as one can find outside the 'Ring,' are well done by Michelle Canniccioni, Svetlana Lifar and Nona Javakhidze. The Kitchen Boy, a pants role, is well-done by Karine DeHayes. It is particularly gratifying to see and hear the venerable French tenor, Michel Sénéchal, as the Gamekeeper. The Act II ballet, neatly carrying forward the mirror-image theme of the production, was crisply choreographed by Philippe Giraudeau and danced by the corps of the Opéra Ballet. The video direction was by François Roussillon; it is unobtrusive and natural.
I was both charmed and intrigued by this production. 'Rusalka' is slowly becoming better known throughout the world and I suspect this DVD of the Paris production will help further its spread.
Recommended.
Total time: 155 mins; Sound: PCM Stereo, DD 5.0, or DTS 5.0; Subtitles: English, German French, Spanish, Italian, Chinese; Menu language: English; Picture format: 16:9; Region 0 (worldwide)
Scott Morrison
List Price: £19.99
Our Price: £12.85
Rated: Exempt
Staring:
Renée Fleming, Keith Miller, Tony Stevenson, Marcello Giordani, John Relyea
Director:
Gary Halvorson
Edita Camm Opera collector, 2010-04-03
I have been collecting Operas on Video and now on DVD since 1980. I have been eagerly waiting for this production of THAIS to appear on DVD imagining that it must be fantastic! It is more than fantastic it is beyond my ability to express my appreciation! Thais is supposed to be the most beautiful women in Egypt. Something which is very difficult to portray especially as the role is a difficoult one that could not be taken on by any young inexperienced singer. Renee' Fleming is stunning!!! Looking every bit like the most beautiful women in the world. HOW does she do it!!? She was not nearly as beautiful when she was 20 years younger! Her acting too is impeccable, so believable. Moreover Tomas Hampson's is also perfect: in looks, singing and acting. So is everybody else. The set, the costumes the choreography everything is just perfect: of my 4 or 500 videos/DVD this is the most perfect in my collection. An absolute MUST for those who in an opera look for something they can believe in. Such a rare thing in many modern productions where ...so called "thought provoking" weirdness spoils even the greatest masterpiece. I know I am not the only one to think so! so why do opera companies carry on spending huge amount of money on productions which nobody likes and that are not as the composer intended.
List Price: £24.99
Our Price: £16.02
Rated: Exempt
Staring:
Juliet Stevenson, Debbie Arnold, Sean Barrett, John Davies, Renée Fleming
Director:
Phil Grabsky, Phil Grabksy
Does just what it says on the pack, 2009-08-02
I first saw this DVD at a weekend course which included a talk by its creator, Phil Grabsky, and a Mozart chamber concert. It's an excellent account both of Mozart's life and his music, with numerous contributions from performers showing how great the music is, and why.
Grabsky has done a similar film of Beethoven's life which comes out on DVD in September. We had a preview and will be snapping up the dvd at the first opportunity.
List Price: £19.99
Our Price: £13.99
Rated: Exempt
Staring:
Gerald Finley, Alison Hagley, Renée Fleming, Andreas Schmidt, Mandred Röhrl
Director:
Derek Bailey
Mozart's immortal adaptation of Beaumarchais' satirical tale has always been a Glyndebourne staple, so it was appropriate that this delightfully traditional production of Le Nozze di Figaro was chosen to reopen a refurbished Gyndebourne in May, 1994. Here, John Gunter's set design is airy and uncluttered, leaving the actors plenty of breathing space, while director Stephen Medcalf likewise allows the characters to speak (and sing) for themselves. Gerald Finley's Figaro and Alison Hagley's Susanna make a charming central pairing; Renee Fleming and Andreas Schmidt are a formidable aristocratic duo, while Marie-Ange Todorovitch fills Cherubino's trousers with pleasing playfulness. Haitink and the London Philharmonic sparkle, as of course they should. Unfussily filmed, this is as close to the real thing as you are likely to get without a Glyndebourne season ticket.On the DVD: This is a double-sided disc requiring a changeover between Acts 2 and 3. With a running-time of 189 minutes, the disc is no longer than some epic Hollywood movies, so such flipping is hard to justify. But at least opera lends itself to natural breaks like this. The sound options are Dolby stereo o...
Heaven on earth, 2009-11-04
I've had this around 10 years now, and it's still transporting me in safe and legal ways!
Given that this is a live performance, with scenes in semi-darkness, I'm astounded by the audio and video quality, even allowing for the fact the recording is 15 years old.
The production is just so good with no major weaknesses to my eyes & ears, that any minor imperfections, or I would have done that differently, just fade into insignificance. It really doesn't matter, this is so wonderful, enjoy.
List Price: £24.99
Our Price: £24.99
Rated: Exempt
Staring:
Renée Fleming, Marcelo Álvarez, Jean-Luc Chaignaud, Michel Sénéchal, Alain Vernhes
This Top Opera DVD has a companion, 2007-09-22
Bernard Shaw said something like "I would exchange all of the Brandenburg Concertos for Massenet's Manon and felt I would have profited by the deal". Similarly I would not exhange any of my opera DVDs for this one. It may be no surprise that Thais by the same composer is of the same merit. ( get this too!) Powerful unashamed expressions of pure romantic art. All the positive things other reviewers say is true. Massenet hauntingly beautiful music stays in the memory for always. The composer is the one the French should be the most proud of!
Technically perfect DVD
List Price: £15.99
Our Price: £11.86
Rated: Exempt
Staring:
Renee Fleming, Bryn Terfel, Welsh National Opera Cho And Orch
Very entertaining and nicely produced, 2009-12-06
The stars are two of the best ever opera singers. If you like Fleming and Terfel, you will enjoy this production. It is not meant to be heavy but enjoyable and it succeeds. Good value!
List Price: £19.99
Our Price: £12.99
Rated: Exempt
Staring:
Renée Fleming, Rolando Villazón, Renato Bruson, Lauran Doverspike, Suzanna Guzman
Director:
Brian Large
Vocally and visually a treat, 2009-02-12
I love this opera and have the Placido Domingo 1982 and Netrebko/Villazon Salzburg versions as well as this one, all great concepts. Renee Fleming brings a natural youthful charm, warmth and dignity to the role and the 'traditional' setting for the melodrama is sumptuous. The opening night garden scene works very well for the comings and goings of the chorus into the house and later when we hear Alfredo singing outside the garden walls. Renee Fleming and Rolando Villazon are just beautiful to look at and listen to. Villazon is perhaps the most touching and believable Alfredo ever, a young passionate man struggling to cope in a world he barely understands. Villazon has described Alfredo as being very young and it is the first time he has felt these emotions. You can see why he is drawn to Violetta and why she finds him irresistible. His gift of a book seems to hint at the fact that the courtesans of Paris often presided over 'salons' frequented by artists and writers as well as their aristocratic 'patrons'(see Renee Fleming's research into the role on the Met site). Renato Bruson as Germont Pere is a little older in looks and voice than one might expect at first and although his voice is past it's prime he husbands it's resources well to portray the 'rash old man', set in his ways, unbending, determined not to let Violetta be involved with his family and not emotionally close to his son. His manipulation of Violetta, working on her insecurities by suggesting that the age gap will become a problem later on, and appealing to her motherly noble feelings towards his young daughter is believable because of the presumed ages of the two leads. Highly recommended.
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