Filmed on location in Italian Renaissance landmarks including the Castello di San Giorgio in Mantua the Piazza Duomo in Cremona and the Teatro Farnese in parma Jean-Pierre Ponnelle's lavish production of Rigoletto captures all the tenderness and tragedy of Verdi's heartbreaking drama. Luciano Pavarotti in his formidable prime is the dashing dissolute Duke of Mantua who seduces fair innocent Gilda - a virtuoso performance by Edita Gruberova - away from her protective father the hunchback court jester Rigoletto sung and acted with indelible pathos by Ingvar Wixell.
La Cenerentola is Rossini's version of the popular Cinderella story an entertaining mixture of comedy pathos coloratura fireworks and masquerade.
For those with any interest in Vivaldi's operas Orlando Furioso is essential viewing, being a 1989 San Francisco Opera revival by Pier Luigi Pizzi of his own 1979 production which was largely responsible for beginning modern interest in Vivaldi's stage work. The composer first premiered Orlando finto pazzo in 1714, but the Orlando Furioso finalised in 1727 was so heavily reworked as to be virtually an entirely new opera, and so successful Handel set the same epic poem by Aristo under the title Alcina in 1735. Vivaldi's opera is not of that calibre, offering rather too much functional recitative and only a handful of truly memorable arias. However, the cast perform with such commitment and style as to make the work thoroughly enjoyable. It is a tale of romantic and magical intrigue on a small island, inevitably echoing Shakespeare's The Tempest, and the classically elegant set-design and colourful costumes evoke a suitable sense of fantasy. Mezzo-soprano Marilyn Horne makes the title role her own while Susan Patterson is a characterful and strong-minded Angelica. William Matteuzzi makes a sympathetic Medoro, notably outmanoeuvred in love, while as the sorceress Alcina Kathleen Kuhlann is a appropriately complex and powerful in revealing the loneliness at the heart of her corruption. On the DVD: There are no features other than the two trailers which appear on almost all Arthaus releases. The production is presented in the original television 4:3 and the image is little better than a good video. The picture is not especially detailed and too often the performer's faces are slightly out of focus while the sets are pin-sharp. Overall the image suffers the usual problems from originally being shot on professional video, in addition to which some compression artefacting is noticeable. The prologic sound is fine, though appears simply to down mix the main stereo signal to the rear channel and the result is more accurate if switched to straight stereo. --Gary S Dalkin
Monteverdi's L'Incoronazione di Poppea (1642) marks one of the very foundations of opera. Revolving around real historical characters, the Roman emperor Nero, his love for Poppea, the betrayal of the empress Octavia, and death of the philosopher Seneca, Monteverdi pits human love, ambition and intrigue against the fates. The set, a symbolic part-globe, and the costumes drawn from various ages suggest--very much in the way of the surreal film of Shakespeare's Titus (1999)--that the concerns of ancient Rome are timeless. With the emphasis on the text (the music alone does not hold the attention for 150 minutes) conductor Jacobs depends upon an excellent cast to bring the production alive. Patricia Schumann dominates the stage, her Poppea is warm, sensual and likeable, without being entirely trustworthy, an effective counterpart to Richard Croft's Nero. Darla Brooks brings just the right degree of vivacious gullibility to Drusilla, while Curtis Ryam offers eccentric comedy as Arnalta. As Ottone Jeffrey Gall is a man acutely tormented by love. Recorded at the 1993 Schwetzinger Festspiele, there is no sign of an audience, the many close-ups suggesting this performance was specially given for video. On the DVD: There are subtitle options for English, French and German, but no special features. The booklet is well documented but does not contain the libretto. The sound is good PCM stereo while the 4:3 image (not 16:9 as stated on the packaging) is better than video but otherwise unremarkable. --Gary S. Dalkin
Featuring extracts from Carmen Idomeneo La Cenerentola Orfeo ed Euridice Il Barbiere di Siviglia and L'Incoronazione di Poppea.
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