Category Archives: DVD review

Haydn’s Il Mondo della Luna

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Haydn’s operas aren’t performed much but he has a champion in Nikolaus Harnoncourt In 2009, to celebrate the 200th anniversary of the composer’s death and his own 80th birthday, he was asked by der Theater an der Wien to pick a Haydn opera for performance. He chose the 1777 work, Il Mondo della Luna. It’s a quirky comedy composed for the marriage of one of the Esterhazys. Given it’s unfamiliarity, here’s a plot summary. The fake astrologer, Ecclitico, and the young gentleman, Ernesto, are in love with the daughters (Clarice and Flaminia) of the extremely misogynistic but rich, Buonafede who refuses to agree to the matches. Buonafede has designs on his maidservant, Lisetta, who is in love with Ernesto’s servant, Cecco. Ecclitico claims to have built a telescope that can see into the world of the moon and uses it to show Buonafede the “delights” of that place( i.e. how women are properly subordinated to men). Buonafede is entranced and when Ecclitico tells him that he has been summoned to the moon to serve the emperor he is easily able to persuade Buonafede to come too as long as the girls can come along later. An elaborate charade is played out in Eccletico’s garden whereby Buonafede is convinced by the open and honest dealings pf the moon people under their benevolent emperor (Cecco) to allow the marriage of his daughters. Cecco takes Lisetta as his empress. When the fraud is revealed Buonafede, after much huffing and puffing, takes it in good grace and they all live happily ever after. It’s silly but no more so than most Mozart operas and given its fine music its very enjoyable.

The Vienna production is directed for stage by Tobias Moretti and it’s given a modern setting. The “telescope” involves lots of computer screens and a “total immersion” helmet and so on. The sets help make it clear what is going on without being fussy. In places effective use is made of video projection. The video is particularly crucial during the telescope scene which is played out on two levels. Upstairs Buonafede is wired up to watch and, I think, what he thinks he is seeing is projected behind him. Meanwhile downstairs what he is “seeing” is being acted out in front of a camera. There seems to be a significant disconnect between the two but it’s almost impossible to be sure from the DVD which rarely gives us the whole picture at once. The videos also make a crucial appearance in the “ballet” at the start of Act 2.  Here’s the scene with the Nymphs.In the accompanying interview Moretti is very clear that his production concept is driven by the music and I think he does a really good job of realising a pretty tricky piece for a modern audience.

I don’t think I’d seen any of the cast before but they are all young, attractive and very good physical actors as well as very decent singers. The exception is Dietrich Henschel who plays Buonafede. He isn’t young but ypu wouldn’t know it as he throws himself into some of the toughest physical acting in the piece while singing in a very solid bass and being very funny. Bernhard Richter plays Eccletico and he, too, is excellent. He’s almost, but not quite manic, and he has a very pleasing lyric tenor voice. Cecco is played tenor Markus Schäfer. It’s a very broad, perhaps too broad, buffo interpretation with lots of eye rolling and the like. It might not look so extreme in the theatre as it does on DVD. The castrato part of Ernesto is taken by American mezzo Vivica Genaux. She’s technically very assured, especially in the coloratura passages, but the voice has a reedy quality I don’t much care for. Lisetta is sung by Maite Beaumont who manages to be very funny without being as eye rolling as Schäfer This is a Despina sort of role that relies more on acting skills than singing though she sings well enough. Flaminia (the good, dutiful daughter) is well sung by Anja Nina Bahrmann. She has one fiendish display aria, Ragion nell’alma siede which comes off pretty well but without perhaps the assurance that say, Schwarzkopf brought to Come scoglio (and it is that sort of aria!). Christina Landshamer gets to be the disobedient daughter, Clarice. She is very good especially in the first act where she is caught by her father escaping from the house (though we don’t get to find out why he is carrying a wooden coat hanger all through his confrontation with her). So all in all it’s a solid ensemble cast with really good acting and more than adequate singing.

Harnoncourt of course conducts and I imagine he’s also playing the harpsichord for the recitatives but it’s not credited. He gets just the right sound out of the Concentus Musicus Wien. The natural string tones and blaring horns are exactly right. This is not polite court music. This is mature Haydn experimenting at the boundaries as ever and Harnoncourt doesn’t duck bringing this out. I can see how conducted by someone like Karajan this could be a pretty dull score but not here!

The video direction by Felix Breisach is problematic. This cannot have been an easy production to film especially if the director were imagining it being watched on a fairly small screen. There’s a lot happening and yet a good deal of close in action going on too. As I indicated above there are crucial points where I don’t think the video allows us to follow the director’s intention which is unfortunate. For example, here’s one of Buonafede’s “fantasies” from Act 1.That said, it’s better filming than many opera DVDs. The picture itself is very good. It was filmed in HD and it shows. Sound options are PCM stereo and DTS 5.0. The latter is very good and sounds naturally balanced to me. The documentation is good and there’s a useful bonus interview with Morretti and Harnoncourt. It’s available as a 2xDVD9 package (which is what I watched) or Blu-Ray.

I’m converted. I want to see more Haydn operas.

Mozart and sheep puppets

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When the Salzburg Festival decided to do all 22 Mozart operas for the 25th anniversary in 2006 there must have been a fair amount of thought put into to what to do about the lesser works. I have to say that the solution they came up with for Bastien und Bastienne, written when Mozart was twelve, and Der Schauspieldirektor is most ingenious. The director, Thomas Reichert, came up with the ingenious idea of combining the two singspiels and performing them with puppets in the Salzburger Marionettentheater. The work breaks into three parts; a largely spoken prologue based on Der Schauspieldirektor where Frank (Alfred Kleinheinz) and Buff (Radu Cojocariu) audition the puppets for the roles in Bastien und Bastienne. The puppetry in this section is quite wonderful. The decision is made to split cast Bastienne which sets up the soprano rivalry for the final part of extracts from Der Schauspieldirektor. In between we get the performance of Bastien und Bastienne with Cojocariu singing the magician Colas on stage with the puppets while Bernhard Berchtold, Evmorfia Metaxaki and Aleksandra Zamojska sing from the pit. It’s charming complete with puppet sheep. The finale well exploits the difference in voice between the fuller, more mature Zamojska and the brilliant coloratura of Metaxaki. It’s lots of fun with some good gags and excellent singing from the young cast, especially Cojocariu. The orchestra is the Junge Philharmonie Salzburg conducted by Elisabeth Fuchs.

The video direction is by Stefan Aglassinger. He does a good job of producing a coherent video which is not easy because the action takes place on stage, in the pit and around the auditorium. It was filmed in HD and the picture is an excellent 16:9. Sound options are PCM stereo and DTS 5.1. There are English, French, German and Spanish subtitles. The disc includes a reasonably interesting “Making of” documentary.

Curiously bland Brecht/Weill

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Brecht and Weill’s Rise and Fall of the City of Mahagonny is an awkward work for an opera company. It’s been said, rightly I think, that one can/must situate it in a triangle of which the vertices are opera, musical theatre and Brechtian theatre. John Doyle’s 2007 production for Los Angeles Opera is strong on the opera and musical theatre dimensions but decidedly unBrechtian. Despite a good idiomatic translation by Michael Feingold this production seems unwilling to skewer capitalism in the manner Brecht intended. It’s the polar opposite of the Salzburg recording that left no Marxist cliche unexplored. Maybe it’s a failure of nerve. Maybe capitalism in LA is already such a parody of itself that further skewering is impossible. Who knows? Even Act 2, which is all about the commoditization of basic human pleasures doesn’t really fire. Sure we get excess and commoditized sex but there’s no sense that the commoditization is dehumanising or transgressive. Sex for sale? Of course! It does get a bit darker in the final act with the trial and execution of Jimmy and finishes strongly on “Still we only built this Mahagonny” but by then it’s very much too little, too late. The lack of edge is reinforced by the orchestra under James Conlon. It’s all just too civilized. There’s none of the spiky dissonance one is used to in the score and the brass, in particular, sound like they are playing in the Palm Court of the Hilton.

It’s a shame because the singing performances are mostly very good. The leading female roles are played by Patti LuPone and Audra McDonald who both have Broadway backgrounds. LuPone sounds like that’s where she’s from too though McDonald manages a much wider range and pretty much steals the show. It helps that she is very good looking and practically naked. The guys are mostly from opera backgrounds; notably Anthony Dean Griffey as Jimmy McIntyre and Donnie Ray Albert as Trinity Moses. Both sing well and idiomatically. The sets are sort of Vegas lite with none of the inexplicable weirdness of the Salzburg production but not much interest either. Again things look up a bit in the last act with effective use of a giant video screen in the trial scene and moving slogans over the finale. Blocking is very Broadway, especially the big chorus numbers that look more Rodgers and Hammerstein than Brecht and Weill.

Video direction is by Gary Halvorson and it’s judicious. There’s often not much set to look at so we might as well have close ups of Ms. McDonald. The technical package is solid. The picture is high quality 16:9. The sound choices are PCM stereo, DD 5.1 and DTS 5.1. The last is nicely balanced and clear There are French, German and Spanish subtitles. There’s a useful essay in the booklet which gives full track listings and a 20 minute interview with the director.

Dido as dance

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I guess another way of dealing with the dance elements in baroque opera is to dance the whole thing. That’s what Mark Morris Dance Group do with this 1995 version of Purcell’s Dido and Aeneas. The work is performed as a modern dance piece with the singers off stage. As it’s a film rather than a record of a live performance, the singers can be, and are, occasionally pulled into the visuals.

The piece is played out on an elegant blue and grey stage and backdrop with a (very) few white props as required and all the dancers are dressed very simply in black so the look is very spare but very elegant. The choreography (by Mark Morris) is of a school of modern dance that I don’t really understand. It’s almost like a parody of one’s idea of modern dance. At times overly literal, at others very jerky and inelegant. It certainly doesn’t have much in common with ballet, even of the more abstract modern variety. In this case it’s not helped by Morris himself dancing both Dido and the Sorceress. Some might find this bold and exciting. I think he just looks like a very unconvincing transvestite and I’ve see more than a few of those! So, no, this approach doesn’t work for me.

Musically it’s not bad. Jennifer Lane sings Dido and the Sorceress. She’s fine as Dido though not in the same class as Connolly or Ewing. She, along with the two witches, witch it up more than I care for in the witchy bits. Russell Braun is Aeneas and he’s more lyrical and less gruff than is often the case. The Belinda is Ann Monyious and, to be honest, she doesn’t sound entirely secure in the role. Mercury is sung by a soprano (uncredited) which is a bit odd and jarring. Tafelmusik supply the orchestra and chorus and are as good as you might expect. I think Jeanne Lamon is conducting but it’s not entirely clear from the disc or the package.

The filming is very good with the singers and chorus being effectively, if infrequently, inserted into the picture. The video quality is standard DVD with hard coded English subtitles. Dolby 2.0 is the only sound option. Documentation is minimal.

I think this one is strictly for the Mark Morris fans.

Burnt Toast

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So this has to be the weirdest opera related thing I’ve seen in a while. It’s a 2005 CBC production of eight very short comic operas (the whole thing only lasts an hour) going through the stages of a relationship from Attraction to Starting Over via Marriage and Murder. The characters are mostly played by actors lip-synching while someone else sings. The music is by Alexina Louie and the libretto by Canadian comic, Dan Redican. Each piece is introduced by Redican as a mad toast scientist and the cast includes some of the best known names in Canadian theatre and opera including Colm Fiore, Isabel Bayrakdarian and Russell Braun. It sounds like a great idea but unfortunately it’s pretty ordinary. The music is mostly dull but it livens up a bit when it’s more obviously pastiche. The humour is a bit lame though the piece about a woman slicing her husband’s head off then disembowelling and liquidizing him for leaving the toilet seat up has its moments; especially her acquittal by an all female jury. Also you get to hear Isabel Bayrakdarian sing about kitty litter and Russell Braun do a version of Der Hölle Rache.

All in all, it’s as Canadian as moose jokes and about as funny.

toast

ETA February 1, 2016

So it’s been four years since I last watched this and the funny thing is that in that time I’ve come to know, one way or another, most of the singers involved in this thing who include Michael Colvin, Krisztina Szabó, Shannon Mercer, Peter McGillivray, Barbara Hannigan and Doug McNaughton.  It does make it more fun but I guess that doesn’t really work for a general audience.  It also makes me a bit baffled about who got to be played by an actor and who got to sing and act.  There are some pretty good actors involved here who never get seen.

Dido on film

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Long before I got my hands on the Royal Opera House/Royal Ballet Dido and Aeneas, the film version from 1995, directed by Peter Manuira and with Maria Ewing in the title role, was my go to version. How does it stack up today?

Some things that strike me.  It’s very naturalistic. It seems to be set in and around a Tudor mansion and the costumes are vaguely that way too. The interludes that are normally danced are filled in with “busy” scenes that try to inject some feeling but aren’t nearly as effective as Wayne McGregor’s dancers. The hunt scene has dogs and spears and a real boar’s head (which Aeneas touchingly present to Dido in her bath). There is a lot of fire including a full blown pyre at the end. For all that it doesn’t seem any more “true” than Wayne McGregor’s much sparer vision. It’s also very emotionally restrained. It’s not really until the final confrontation between Aeneas and Dido that any real emotion intrudes and even then it’s quite restrained This is actually very effective and Maria Ewing is truly affecting in the final couple of scenes. Ewing is good throughout both in the singing and acting department and her looks help (OK I know not everyone goes for Ewing but I think she’s gorgeous!). Karl Daymond is fine as Aeneas. We get a sort of composite Belinda/Second Woman set up with some of Belinda’s music given to the Second Woman and them doubling up on other bits. While Rebecca Evans and Patricia Rosario are fine there really isn’t enough musical or emotional contrast between them and Ewing. Richard Hickox conducts the Collegium Musicum and it’s all a bit low key in common with much else. It’s worth watching for Ewing’s performance in the final act but is otherwise a bit of a snooze.

Technically it’s very 1995. The 16:9 picture is hard letterboxed in a 4:3 frame and it’s pretty soft grained. Sound is adequate LPCM stereo. There are English, French and German subtitles.

Let the triumph of love and of beauty be shown

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One of the trickiest things about opera productions; baroque opera anyway, is what to do about the dance elements. Time was when opera and ballet were joined at the hip but not so much nowadays beyond sharing premises. In 2009 the Royal Opera House made the bold decision to have choreographer Wayne McGregor direct the combined forces of the Royal Opera and the Royal Ballet in a production of Henry Purcell’s pocket masterpiece Dido and Aeneas. The result was broadcast by the BBC and subsequently released on DVD and Blu-Ray by Opus Arte. It’s a fascinating and rewarding production.

Sets and costumes are very spare. Aeneas and the chorus are in greatcoats and wide trousers. The ladies are in unfussy gowns. The dancers are in singlets and booty shorts (both sexes). Carefully detailed direction of the singers and their gestures, bold choreography and imaginative lighting carry the visual side of the production. The use of top quality dancers and a top notch choreographer allows the dance elements to realise their full potential (and not a castanet in sight!). The result is visually stunning.

Now add a superb singing cast. Lucy Crowe almost steals the show as Belinda. She’s fresh and vivacious and her clean sound is just right for Purcell. But it is “almost” because we have Sarah Connolly’s monumental Dido to set against it.(1) She is one of the great Didos. I have heard Kirkby, Te Kanawa, Ewing and Baker in the role and even Flagstad but none exceed the combination of searing intensity and pathos that Connolly brings to the role. She is superb. Other elements of the singing are also admirable. Lucas Meachem is a hunky Aeneas and manages the tricky low notes better than most. The sorceress and witches; Sara Fulgoni with Eri Nakamura and Pumeza Matshikiza playing Siamese twins, don’t do the camped up distorted thing that is so often inflicted on the role. Fulgoni sings with quite a lot of vibrato which is sufficient to create some musical distance between her and the non infernal characters. The minor roles are all pretty good too. The regular Covent Garden orchestra is replaced by the Orchestra of the Age of Enlightenment under Christopher Hogwood. This is a move that other large houses might think about for earlier repertoire.

All this goodness builds to a searing climax in which Dido slits her wrists with the “tushes far exceeding those that Venus’ huntsman slew” and dies while a haunting projection of a horse plays back of stage. All in all it’s an hour of magic.

Video direction is much better than average. Close ups are minimised and we get to see the choreography in its broadest sense. The picture is superb 16:9 anamorphic (1080i on the Blu-Ray) and sound options are PCM stereo and DTS 5.1 (PCM 2.0 and PCM 5.1 on Blu-Ray). There are English, French, Spanish, German and Italian subtitle options.

Highly recommended.

(1) I do think the balance of voice types between Belinda and Dido is important. It’s like Carmen and Micaëla. If the voices are too similar much texture is lost. Crowe and Connolly are an ideal combination.

Kupfer’s Der Fliegende Holländer

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I was really impressed when I first watched the DVD version of Wagner’s Der Fliegende Holländer recorded at Bayreuth in 1985.  It’s been some time since I last watched it so another look seemed in order.  The production, directed by Harry Kupfer debuted in 1978 to both applause and brickbats.  The concept is that the Dutchman exists only in Senta’s imagination.  She is fixated on the Dutchman as her route out of the repressed bourgeois environment she is trapped.  It’s a tormented, even hysterical, version of Senta that finds a fine interpreter in Lisbeth Baltslev.  Kupfer reinforces this idea of Senta by having her on stage all the time.  During the overture she retreats to a sort of cage at the top of a staircase with her precious picture of the Dutchman which she will hang onto throughout the drama.  She will remain in this cage high to one side of the stage watching the action below her throughout the first act.

It’s a very strong first act musically and visually  The Dutchman’s ship makes a spectacular entrance and the finger like timbers of the bow open up to show the Dutchman chained in a crucifixion pose.  Simon Estes as the Dutchman is suitably elemental.  His singing and acting have a frightening intensity without ever becoming unmusical.  Matti Salminen’s Dahland is perfectly adequate and conveys the grasping bourgeois rather well.

Act 2, of course, opens in the Spinning Hall.  Anny Schlemm’s Mary exemplifies the dull conventionality of the place.  We are in the world of Strindberg or maybe Babette’s Feast.  The intensity of Balslev’s performance cuts right through this.  Johohoe! Truft ihr das Schiff im Meere an is as eerie as it is powerful.  Against this obsession the rather dull Erik of Robert Schunk is doomed from the start.  Things warm up with the arrival of Dahland and the Dutchman.  Salminen is in very good voice with Mögst du mein Kind, den fremden Mann willkommen heißen.  Senta is pinched looking or frightened almost throughout this scene.  There is great ambiguity while the Dutchman sings Wie aus der Ferne längst versangner Zeiten.  The Dutchman of Senta’s imagination sings from the gorgeous fantasy hold of his ship while the shadowy figure who arrived with Dahland is still on stage.  Senta is slow to buy into what is happening but she finally dissolves into a state that is more madness than delight.

Act 3 opens with Senta watching her own wedding feast from the cage.  The townspeople and Dahland’s crew are almost as unnatural as the Dutchman’s.  It’s quite chilling and sinister all through until the Dutchman’s crew drive everyone off stage leaving Senta alone for her confrontation with Erik.  Then we get the big scene where the Dutchman, chained up again in the infernal version of his ship,  thinks that Senta has betrayed him and leaves her.

This is, obviously, crucial to the plot but it has never really made much sense to me in a normal interpretation.  Here it does.  This obsessed Senta needs to be “faithful unto death” not to have a happy ending.  It’s equally apt that her suicide is just that.  There is no hint of redemption for her or the Dutchman.  It’s the end.  The people turn their backs on her corpse leaving only Erik, in despair, still with her.

So dramatically it works as a piece held together by really intense performances by Balslev and Estes and, lest I forget, Woldemar Nelsson conducts and keeps things moving along briskly.  At times the orchestral playing is quite thrilling and the chorus is excellent too.

A couple of other things about the production are worth pointing out.  Although the booklet sets the scenes out in the conventional three acts it is actually played through (as I understand Wagner intended and as it was played at the COC a couple of years ago).  Scene changes are dynamic and slick.  There’s some real stage craft here.  It’s also very dark, as I recall most 1970s productions being.  This makes on stage detail hard to pick up and, I’m sure, affected the video direction.

This production was directed for video by Brian Large (surprise!) and it seems to have gone straight to video with no TV broadcast.  That said it looks like it was directed for the “small screen” which one might expect in 1985.  This is problematic given the crucial role of the spectating Senta, as most of the time she is out of shot.  Large tries to compensate for this with superpositions, fades and dissolves and is fairly successful.  All in all, I think he gives us as good a picture of what Kupfer put on stage as one could reasonably expect.

Picture quality is a bit soft grained as you might expect for the time and it’s 4:3.  Sound options are PCM stereo or DTS 5.1 which is a post process of the original stereo capture.  It’s very good indeed.  There are English, French, German, Spanish and Chinese subtitle options.  There’s nothing much in the way of bonus material but the booklet has a full track listing and an informative essay by Erich Rappl.

All in all I think this disc can be highly recommended. It’s a landmark production, well executed on stage and captured for DVD remarkably well for its era.

If you want a preview the whole thing is available in ten minute chunks on Youtube but the quality is a bit off putting.

Authentic? Opera Atelier’s Persée on DVD

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I’ve been attending performances of Opera Atelier for over twenty years off and on but until viewing this recording of Lully’s Persée I’d never seen them on DVD. I was curious to see how the unique Opera Atelier style would come over on DVD and to what extent watching a recording, which I could compare fairly with other DVD performances, would affect my views of Opera Atelier’s strengths and weaknesses.

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Another edition of the Armida and Rinaldo show

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I really don’t know how many operas there are more or less based on Tasso’s story of the Christian knight Rinaldo and the Muslim sorceress Armida. Certainly there are versions by Rossini and Lully which I’ve seen. Then there’s Handel’s Rinaldo which I watched in David Alden’s production for the Bayerischer Staatsoper in 2001. Alden at least manages to avoid obvious Monty Python and the Holy Grail references which is more than either the Metropolitan Opera and Opera Atelier managed with the Rossini and the Lully. In fact Alden manages to avoid all the usual cliches of both Handel in general and this piece in particular though at the expense of giving us a version that is quite hard to interpret. The action is moved to maybe the 1950s to judge by the costumes and the Christians are decidedly wimpy and ostentatiously pious (except for the Rinaldo of David Daniels). Crucifixes, surplices and bibles crop up at odd times and in the final scene the Christian army is a line of Jesus statuettes of the kind one can pick up at Honest Ed’s or one’s friendly neighbourhood Catholic tat store. The Muslims are much earthier and in Act 1 Argante (Egilis Silins) seems to terrify the Christian trio of Goffredo (David Walker), Almirena (Deborah York)and Eustazio (Axel Köhler). Also Noëmi Nadelmann’s very sexy Armida is much earthier than Deborah York’s rather etiolated persona. Note that by casting Goffredo as a countertenor we end up with four countertenors which is more than I’ve seen on stage at one time for sure.

Whatever the overall concept, Alden does pretty much what Handel did with the original production; give us a succession of arresting visual images and effects and some very funny moments. There’s probably more flesh on display too than Handel could have got away with in 1711. There is, as the cliche would have it, never a dull moment with giant dolls dropping their pants, an army of aliens, severed limbs and a David Lynch like giant face. It all puts considerable demands on the athletic and acting abilities of the cast and here Nadelmann has the toughest time and does really, really well. Her physical acting and timing are excellent and she’s not at all hard on the eye which helps. Everybody else is pretty good too. David Daniels face, as he gets felt up by both the girls, is a picture.

Musically, the stand out is David Daniels. No surprise really. Here he sings stylishly throughout and delivers a really lovely “cara sposa, amante cara”. Nadelmann gets full marks for being accurate and musical even while acting her head off. She sings “Furie terribili!” with Argante’s head clasped between her thighs! At least for “Lascia ch’io pianga” York is stationary though in quite an awkward pose. I think she sounds a bit over challenged by some of the high passage work in act 1 but she seems to improve as things progress. As the one low voice on show Silins is a good contrast. I’ve heard more agile bass-baritones in Handel but his fairly bluff reading is appropriate to the way the part is portrayed here. Harry Bicket directs the Bavarian State Orchestra and plays continuo. No worries there.

Brian Large directed for the small screen and does his usual thing of giving us lots of close ups which is a shame as there is lots going on that we miss and it’s obvious that Alden and his designer, Paul Steinberg, have put a lot of thought into the overall composition of scenes which is mostly lost on the DVD. The DVD itself is pretty basic. It’s on the Kultur label in North America though it originated as a Euroarts release in Europe. Kultur have stuck the original two DVDs onto a single disc and while they have included the useful documentary essay Handel, the Entertainer it means the only sound option is Dolby 2.0 and the only subtitles are English. The picture (16:9 anamorphic) and sound quality is perfectly OK but not stunning. The only documentation is a chapter listing.

All in all well worth a look