A Mountain of Mozart

There are a lot of really good video recordings of the Mozart operas.  So many that they risked swamping the other categories so I decided to pull them out into a separate post.  What I’ve tried to do is select the best recording for each of the major operas.  Same rules as the all time best category.  To be considered the disk must be a worthwhile production, excellently performed and filmed and with better than average sound and video quality.  So herewith the three da Ponte operas, the two major Singspiels, La clemenza di Tito and Idomeneo.

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Going for Baroque

Well not strictly baroque.  I wanted a category for pre-Mozart rep since so many houses (and audiences) ignore it and there are some very odd ideas about performing it.  So we are going to cover ground from the earliest days of opera to the late 18th century here, including staged versions of oratorios, because I rather like them.  Here, in rough order of composition, then are my picks; from Monteverdi to Rameau. Continue reading →

From the Archives

The opera video recording is in some ways a rather recent phenomenon.  Before the DVD there really wasn’t  a very satisfactory way of distributing a product with a decent sound though there were TV broadcasts and some have been preserved in the catalogue.  Most of the extant recordings are “made for TV” and tend to show the limitations of the technology of the time.  Interestingly, most pre 1980 recordings are of films made in the studio and lip synched to a pre-recorded track.  There are only a handful of recordings of live performances in the opera house plus some pioneering BBC recordings of Britten works where the singers are “live”.

Here then, in reverse chronological order, are the pre 1980 recordings I find most interesting. Continue reading →

Subjective picks on DVD and Blu-ray

I’ve reviewed over 600 Blu-ray and DVD recordings on this blog. So I thought I’d have a crack at picking some favourites.  There’s a problem, of course, in comparing recordings made over the course more than 80 years.  There is just no way that “made for TV” recordings pre 2000 can stand up against modern HD productions when it comes to sound and, especially, picture quality so I’ve tried to invent some categories to allow mention of some of the best of them.  It’s going to take a while to sort through all the categories so let’s start with a highly personal set of choices for best overall recording.  Some of them even surprised me.

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Ariadne goes to war

Katherina Thoma not unreasonably chooses to set her 2013 Glyndebourne production of Ariadne auf Naxos in a country house in the south of England (though I suppose equating the Christies with a rather boorish Viennese bourgeois might be thought a touch unkind).  She also chooses to set it in 1940 which sets us up for an almost Marxian dialectic not just between high art and low art but between art and life; especially where life and death are concerned.

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The Met’s Maria Stuarda on DVD

Donizetti’s Maria Stuarda featured in the MetHD series in January 2013 and has now been released on DVD.  My review of the cinema broadcast is here.  It’s always a bit different watching the DVD rather than the cinema version but in this case I think my somewhat different reaction has a lot to do with having recently seen various versions of the other Schiller/Donizetti Tudor queen operas, especially Stephen Lawless’ Roberto Devereux at the COC.

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Katerina Izmailova

Shostakovich’s The Lady Macbeth of the Mtsensk District has become a modern classic but only after it was the cause, or at least purported cause, of his disgrace under Stalin in which the work was criticised both for the subject matter and the “bourgeios formalism” of the music.  A revised version of the work was made into a film under the title Katerina Izmailova in 1966 as part of Shostakovich’s formal rehabilitation in the Soviet Union.

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The Harnoncourt show

Unusually, the Theater and der Wien’s 2011 production of Handel’s Rodelinda features a father and son team.  Philippe Harnoncourt directs and Nikolaus conducts.  It’s an interesting production with great acting, very decent singing and the always excellent Concentus Musicus Wien in the pit. 1.wardrobe Continue reading →

All star Carmélites

The 2013 recording of Poulenc’s Dialogues des Carmélites from the Théâtre des Champs Elysées has a cast that reads like a roll call of famous French singers; Petitbon, Piau, Gens and Koch are all there.  Throw in Rosalind Plowright and Topi Lehtipuu and one gets some idea of the star power on display.

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Intermezzo

It has been said that the best music in Richard Strauss’ Intermezzo is in the orchestral interludes that link the various scenes.  It’s probably true and certainly the singers don’t get much interesting to sing with the best music given to the orchestra even during the scenes.  That said, all of the music is vastly better than the truly cringe-worthy libretto, also by Strauss.  It’s in prose, much of it is spoken and there are odd interjections of more vernacular German for the servants, rather in the manner of the random cockney in ancient Ealing films.  The plot is based on an, aaparently real life, episode in the married life of the Strausses, here thinly disguised as the Storches, in which Frau Storch gets the wrong end of the stick about suspected infidelity by her husband and threatens divorce.  If Frau Strauss ever saw the piece, which is apparently unlikely, she might reasonably have seen the portrayal of herself by her husband as much sounder grounds for dumping him.  Christine Storch is the sort of woman one wants to tie up in a sack and drown!

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