Humperdinck Hansel und Gretel 1981

Humperdinck Hansel und Gretel 1981

User Ratings and Reviews

5 Stars Music Education
I used this CD to teach 1st -8th graders a German Opera. The kids loved the story and the Nibblewitch slowly transforms right before your eyes so the scare is minimal. The subtitles also rhyme so it is fun to read in English.

5 Stars Musically perfect
This is a fantastic video. Great orchestra and a wonderful cast, all conducted with great energy. These performers understand and interpret the music exactly right–perfectly within a great tradition, but not jaded by it. There are more radical productions out there (which some might translate as “interesting,” or “imaginative”), but there isn’t a better one.

Highest recommendations!

4 Stars Hansel & Gretel
Pleasantly surprised with Humperkinck’s music. The dvd is a movie, not a stage production, but a movie can make the fantasy more believable. Wonderful voices and acting. It was interesting to see children in the audience, along with their reactions to the movie/opera. Again, the music makes the entire production most enjoyable. I cetrainly look forward to viewing it again soon.

3 Stars Nicely Done, but
I had seen this production on PBS years ago. Its a nicely staged production, but I had forgotten how annoying it was when the camera would move from the action on stage to pan the faces of children in the audience. Its like someone throwing a bucket of water on you while you’re in the middle of a nice dream.

5 Stars Enchanting
Before watching this, put aside your critical eye and relax so you can be carried along with the magic. It is, as the other reviewers have said, beautifully done. But you watch this opera to be enchanted - let it happen. It starts with the overture - the camera takes you to the beautiful opera house, past the poster announcing the opera and sweeps you along with the children who are flooding into the hall. Then Georg Solti is seen closeup conducting the orchestra and then the scene shifts to the beginning of the opera. Throughout there are occasional cuts to the children’s faces so you can see they are as transfixed as you - if you will just relax and let it happen as a child does. Scene changes are done magically without pause in the music. You will be moved emotionally when the fourteen angels appear as Hansel and Gretel sleep in the forest. The forest is just scary enough to send shivers through small bodies but not so frightening they will not want to watch. The witch is bad but not the kind of bad that makes for nightmares in children. Unless, of course, the watching child is sweet and plump enough to make good gingerbread. The language is a problem at first because it is so NOT like children would talk - ever. But - remember it’s opera, remember it’s translated from German, remember it’s supposed to be a little high falutin’ and remember - most important - remember you are watching this opera because you decided to be enchanted. Just let it carry you and you’ll be happy. It’a beautifully staged, beautifully costumed, beautifully sung, beautifully played and utterly enchanting. “mousy, mousy, who’s nibbling on my housy?” says the gingerbread making witch as Hansel tears off parts of the roof. It’s for kids. All of us kids.

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Donizetti Don Pasquale

Donizetti Don Pasquale

This 2006 Zurich Opera production of Donizetti’s popular Don Pasquale captures not only the opera’s high-spirited comedy but also its underlying cruelty. Featuring veteran bass-baritone Ruggerio Raimondi in the title role and a fine supporting cast, this DVD has what no other version of the opera has–tenor Juan Diego Fl

Berliner Philharmonic Simon Rattle Mussorgsky Pictures at an Exhibition Borodin Symphony No 2

Berliner Philharmonic Simon Rattle Mussorgsky Pictures at an Exhibition Borodin Symphony No 2

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Brandenburg Concertos Freiburger Barockorchester

Brandenburg Concertos Freiburger Barockorchester

No Description Available.
Genre: Music Videos - Classical
Rating: NR
Release Date: 18-APR-2006
Media Type: DVD

User Ratings and Reviews

5 Stars Beautifully done
I agree with all of the above- a beautifully photographed, recorded and presented Brandenburg. This is the closest you will ever get to actually being there at a concert. Excellent in every way.

5 Stars I cried….
….this is SO gorgeous!

I have reveled in the Brandenburgs for decades, but never had I heard — much less SEEN — such a performance! Absolutely marvelous!

I am still battling with my new Yamaha DVD-C950 — it’s more persnickety than any of my ex-wives — but I put on this disc and I was transformed! It is just total delight — as well as making me much more aware of the potential of DVD Audio.

5 Stars Brandenburg concertos played on original instruments in Cothen
These recordings of the Brandenburg concertos are simply superb. This is a recording of the Freiburger Barockorchester playing original instruments in the Spiegelsaal of the Palace of Cothen, a place where Johann Sebastian Bach likely arranged the performance of these same pieces while he was living there (1717-1723). Bach went to Cothen from Weimar. Prince Leopold, head of the principality of Anhalt-Cothen, had arranged to have his mother, Princess Gisela Agnes (He was still underage!), obtain the services of eight virtuoso musicians from the Prussian court orchestra when it was disbanded by Friedrich Wilhelm I of Prussia. Bach inherited a virtuoso group of 16 players. In this recording of the first Brandenburg concerto, there are 18 performers. The sound is probably close to what Bach heard when he conducted his orchestra. Yes, this is likely where they were performed after Bach had composed them.

Cothen appears in this DVD as a beautiful place. It was clearly a place of great importance to Johann Sebatian Bach. The only child born to Johann Sebastian Bach and Maria Barbara Bach in Cothen, Leopold Augustus, was born in 1718 and died before his first birthday. The couple had had twins die shortly after birth in 1713. In July,1720, while Johann Sebastian Bach accompanied Prince Leopold to Carlsbad for a second trip, Maria Barbara died and was buried before he and the prince returned.

Anna Magdalena Wilcke was an outstanding singer in Cothen and had gained the prestigious title of chamber musician in mid-June 1721. Johann Sebastian Bach made acquaintance with her family in August, 1721. Anna Magdalena, then 20 years old, and Johann Sebastian were married on December 3, 1721. A little more than a year later, the family moved the forty miles to Leipzig, where Johann Sebastian took up the position of Cantor of the Thomaskirche. Bach retained his position in Cothen and returned for New Year and birthday festivities.

In Cothen, Prince Leopold had married the 19 year old Frederica Henrietta, princess of Anhalt-Bernburg, on December 11, 1721. Bach felt that the prince was less interested in music after his marriage. Bach still returned to Cothen at least once a year. The New Years festivities of 1728 was his last. Prince Leopold died on November 19, 1728.

Johann Sebastian Bach’s greatest outpouring of instrumental music was in Cothen. The Brandenburg concertos stand among the best and most well-known. They are performed impeccably by the Freiburger Barockorchester.

It is delightful to see as well as hear the separation of voices in Bach’s counterpoint. Although Freiburg is not exactly “in the neighborhood”, they perform Bach as if they are members of the home-town musicians in Cothen. It is difficult to imagine a performance superior to this one. The recording as well as the camera work is done with great skill and understanding.

5 Stars Excellent Bach Brandenburgs filmed where they premiered in 1721.
Unlike Karl Richter’s recent DGG DVD Brandenburg Concertos, which are a hybrid mixture of old and new, these Brandenburgs are the latest generation period-style performances. They were filmed at the Hall of Mirrors, Palace of Cothen, 23-26 March 2000. Bach served as Music Director (Kapellmeister) at the court of the Prince of Anhalt-Cothen from 1717-1723. He wrote the Brandenburgs between 1717-1721: dedicating them to the Margrave Christian Ludwig of Brandenburg. They were probably performed in this very Hall of Mirrors, giving this DVD a nice touch of historical continuity. The Palace is beautiful, the sound reverberant and well-focussed. This was an inspired choice for filming these concertos. No matter how often I listen to the Brandenburgs, there is always some new discovery to be made, some fresh insight into Bach’s genius to be gained.

These are superb performances: fresh and fleet, filled with poetry yet hard-edged and crystalline in their purity of sound. The recording is so clear that even the innermost voices leap out at you if you focus your attention on them. The Freiburger Barockorchester wear their polyphony lightly, concentrating on Bach’s amazing melodic gifts and his lyrical rather than his analytic side. Bach absorbed all of 18th Century Western European music, including Opera. The Freiburger Barockorchester, from all appearances a 3rd generation period instruments ensemble, are not afraid to approach some of the concertos with the arioso quality of opera while giving others a propulsiveness that is very close to “swing” in its rhythmic drive. All of the musicians are excellent. Friedemann Immer, who plays the fiendishly difficult high trumpet part in the 2nd Brandenburg, must be singled out for praise. These are wonderful performances of some of the finest instrumental music ever composed.

The picture format is NTSC filmed in true 16:9 anamorphic widescreen. The picture is crystal clear. Sound formats are PCM stereo and Dolby Digital 5.1 Surround Sound. Both formats are clear and lifelike with the Dolby Digital 5.1 providing a wider and deeper soundfield with nice ambiance from the rear speakers. It makes it slightly easier to hear Bach’s stunning polyphony. The Region Code is 0 worldwide. The disc format is DVD 9. There are the usual menus in the usual translated languages. Several very cute, very inventive short films are available as extras that are well worth seeing. Bonuses total 14 minutes. The concertos total 95 minutes.

Superb, fresh performances on period instruments of Bach’s Brandenburg Concertos filmed in the Palace they were first performed. Strongly recommended.

Mike Birman

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Bach Performance on the Piano DVD Video

Bach Performance on the Piano DVD Video

User Ratings and Reviews

5 Stars Excellent resource for players
I try to play some Bach at the piano every day for about an hour. I’m finding the first disc of this set really helpful and challenging, even though I’m only about half way through it. There’s a lot of advice-some of which I hadn’t heard before, some of which I hadn’t heard expressed and demonstrated in quite this way. There’s a lot of conflicting information floating around about how you’re supposed to play Bach, and its great to have an interpreter of this caliber lay out her knowledge and opinions so thoroughly and clearly. Even if you aren’t a player, Hewitt’s lecture will increase your understanding of her approach and the challenges of playing Bach generally. Highly recommended.

5 Stars She has added much enjoyment to my listening!
There are two discs–a series of lessons on disc 1 (see Mr. Lekan’s list) and a live performance on disc 2. What Angela Hewitt does on disc 1 is set forth her approach to playing Bach. Even though I am not a musician–or perhaps because of it–I got more from disc 1 than from any other single Bach record I own. The reason is that Ms. Hewitt not only tells you what she thinks is the way to play Bach, but she does the telling from a piano bench, and then she turns to the piano and plays to illustrate exactly what she is talking about. She illustrates how a singing tone is achieved; she illustrates how she modulates timing and emphasis to achieve an effect similar to the way we modulate our voices as we talk or sing; she brings in the ‘voices’ one by one to show what happens as polyphony is built up. What Ms. Hewitt is really after, it seems to me, is to avoid monotony in her playing, and add the equivalent of color, light, and shadow. I will admit some of the lecture was beyond me. However, what I could follow is already adding immensely to my enjoyment of Bach–and not only her playing, but that of others. I am now enjoying listening and comparing Hewitt’s playing of a particular piece with Gilels’ playing or Gould’s or Perahia. In short, I am hearing the music better now because of her instruction. Also, I take it as given that Ms. Hewitt is explaining her playing and her understandings, and that other Bach masters would differ with her. It matters not–let them come forth with their DVD and I may buy it too. Her explanations have meant much to me already.

Highly recommended!!

F. Horne

5 Stars Terrific insights, nothing condescending
Curiously enough, I was moved to purchase this video by one of the less-than-stellar reviews on this page; I already knew Angela Hewitt to be a fine artist, and though I strongly doubted that there would be any basis for claims like “It’s all about Angela” and so forth, this disparaging review added to the interest I already had about this DVD set.

It is my pleasure to opine that such criticisms are unjust. Indeed, I am put in mind of the words of Erasmus in “The Praise of Folly,” when he (as Folly) observes that no accomplishment is possible unless a person has some measure of self-love and of thinking well of one’s self; without these, the orator goes silent, the musician hangs up the instrument, etc.. Ms. Hewitt has as much confidence in her own opinions as any artist of her eminence should have. She thinks she knows how to play J.S. Bach, and she thinks she has something to teach others about the subject. But I found nothing at all condescending about her presentation (nor am I quite sure why the reviewer felt Glenn Gould’s name needed to be invoked; as fine a musician as I concede he was, did Bach playing start and end with him?).

The first disc is a 2 1/2 hour presentation where Ms. Hewitt speaks on different aspects of Bach performance, sometimes with touches of humor (e.g., her amusing facial expressions when trying to play something as a beginning student would; her comment that the Schirmer edition of Bach, except for Ralph Kirkpatrick’s Goldbergs, should be “banned”). This is rich in information, but I must concede that the technical nature of the presentation will be daunting to many, especially non-performers who are more taken with Ms. Hewitt’s artistry than the ‘nuts and bolts’ of her technique.

However, the second disc is an hour’s worth of her simply performing Bach: the Fourth Partita, the Italian Concerto, and the Chromatic Fantasy and Fugue. This portion of the release will be accessible and delightful to music lovers no matter what their level of technical knowledge.

I found this DVD set quite wonderful, and not at all what I would have been led to expect by the uncomplimentary reviews that called this “all about Angela” and condemned her as “snooty.” I personally find no basis for such criticisms, and I doubt the average viewer will either. With only the caveat previously mentioned of the technical nature of much of Ms. Hewitt’s lecture–which may not be as interesting to some as it was to me–, I would highly recommend this release.

3 Stars A Bit Snooty
Her tone of voice in the masterclass portion rubs me the wrong way. She makes it sound as if she alone can intuit Bach properly. And much of her masterclass–though somewhat informative in terms of performance and historical practice–is a bit sophomoric in scope and ultimately a waste of time and DVD space.

The performance portion is only slightly more enjoyable. I guess after sitting through her seemingly endless masterclass I’m not much of an Angela Hewitt fan. I’m probably gonna review my Hewitt CDs and decide if I need to replace them with other bach interpreters.

For the record, I’d enjoy the DVD a lot more if there was no masterclass (and a slightly longer concert program) attached. Currently I can’t finish viewing it, knowing her approach to Bach performance and interpretion.

My two cents.

3 Stars It’s all about Angela…
Angela Hewitt in her bid to out do Glenn Gould must be commanded for her bold undertaking even if one wonders about the motives. Playing Bach live is a very courageous endeavor.

In this well filmed but quite long DVD, Angela Hewitt is kindly condescending to teach us, common mortals, about Bach but mostly to make us understand why we would not be able to reach her pinnacle: at the top of the Bach mountain, there is only room for one and even Glenn would have to concede… Not once, he is mentioned! Considering that Bach’s playing in the XX century truly exploded with him, it is somewhat surprising in my opinion. Not that Gould’s playing should not be exempt of criticism, but his contribution to Bach music is invaluable, like it or not.

Of course the basics, the backgrounder about Baroque music style and Bach in particular is presented and this is good: the various editions, the ornementation, the parallel with string players, the differences between Harpsichord and modern piano -she really hates these harpsichordists doesn’t she?-. All this is fine.

But after 148 minutes filmed in the Fazioli factory, the equivalent of a surgery block clean manufacturing grounds compared to the Steinway digs for instance, one really wonders what they’ll take home and work on.

Did we learn about how to play Bach, the rules of articulations or did we learn about Ms. Hewitt own cooking and given her tone, how unlikely we would come close to having the imagination, taste, talent she possesses in order to approach this music.

She mentions Ottawa Canada, but one feels she is now safely back from the “colony” to the civilized motherland…

The problem is that Ms. Hewitt is unaware of some recent developments that have exposed rules of small speech like articulation and their reasons, their relations with the symbolism of Bach music (Teregulov 1993, Nosina 1991, 1993 re-issued in 2006).

Therefore she presents her own interpretation of rules -my father did this…- and often goes against the grain. For instance she explains that Bach’s markings are supposed to be taken as rules in a piece when they appear at one spot while in fact, his markings were signaling a particular character, even an exception to the known rules, those very rules known to Kappellmeisters and thus never written on keyboard scores but clearly indicated on orchestral scores or string scores. Dear Daniel Muller-Shott is obliging with an overdone Baroque sound inflating and deflating and his eyes betray the devotion to the great priestess of the cult…

So as a result Ms Hewitt often brushes over rules and talks more about her own figuring out what works for her than truly offering students regardless of their level, real, workable rules that universally enhance the polyphony in their playing.

Thus in her bid to become the Bach interpreter of our troubled time, Ms. Hewitt indeed in this DVD reveals herself to non musicians something her playing anyway does to musicians who know the rules.

It is well filmed although sometimes the reflection of the scripter can be seen on the gleaming Fazioli.

A curiosity but one to consume with moderation…

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Berg Wozzeck

Berg Wozzeck

The DVD includes an audio track on which you can hear the score without dialogue or sound effects, making all the more apparent the influence of Berg’s operas on the intricate, heavy-panting, expressionistic language of Rosenman’s orchestral writing, something the Juilliard-trained composer readily acknowledged.

User Ratings and Reviews

5 Stars Wow, what a Wozzeck!
I first saw this as a film in the 1970s when it was shown here in Australia by the

Goethe-Institut and thought it magnificent. My opinion has not changed. This is a

dramatic masterpiece. Being freed from the confines of a stage production makes it

more than just an opera. Toni Blankenheim is superb in the title role and the close-up

shots of his hang-dog face just add to the overall impression of a downtrodden man.

Hans Sotin (then still young and slim) is perfect as the sinister Doctor and Richard Cassilly

impressive as the swaggering Drum-Major. Sena Jurinac is well cast as Marie.

There are one or two blemishes in the DVD but these are understandable since it has

been recreated from old film. The sound, although only mono, is really quite good.

I would recommend this to anybody. In a word - magnificent!

5 Stars extraordinary production
I first saw this film in the 70’s I thought it was wonderful and have long awaited its commercial availability. The singing acting is first rate overall. I am still impressed how the entire cast, especially Unger (the Captain) refrain from the exaggerations and histrionics that normally accompany these roles. For me, however, the real superstar of the performance is Bruno Maderna, a composer-conductor who consistantly projects a complete grasp of Berg’s music and how it should be performed. Anyone who loves Berg should not hesitate to pick the audio CD of his Lulu. It’s only the two Act version, but he EASILY beats out all recorded competition. One more thing: the Italian Wozzeck with Gobbi, Dow…etc is also incredibly good. Nino Sanzogno, a student of Hermann Scherchen, is nearly as good as Maderna! One CD manifestation contains as act from the BBC broadcast with Boult conducting from the mid-30’s which Berg heard before he died and was very impressed by its quality.

5 Stars A Grabber
Ever since I first watched one of Petr Weigl’s opera/movies I have been a fan of that type of treatment — when it is done well. For example, a major problem is lip-synching, but this can easily be taken care of by having the actors sing on set while the sound track is playing. The freedom of the setting and camera treatment add a new dimension. There have been many extremely successful movie versions: in addition to those of Weigl, there are, for example, Ponnelle’s “Rigoletto”, Karajan’s “Pag & Cav”, Simerda’s “The Greek Passion” to name but a few.

I have often wondered what goes on in the imagination of composers and librettists. My suspicion is that they “see” their production very much as a movie, in the real world — such as in a well crafted movie.

All this preamble leads me to this “Wozzeck”. Everything seemed so right about the cinematic treatment. I felt that I was there. Mind you, by the end I wish I wasn’t. This is one powerful production. It grabbed and held me from beginning to end. It is very moving and unforgettable. If this is what you are looking for in an opera, do not miss this production.

5 Stars Wonderful Masterpiece!
I’m a fanatic of Alban Berg’s music. His unique style of composing atonal music and his brilliant ideas for his operas made him one the most known avant-grade composers of modern music.

I can say this performance of Wozzeck is one of the best ever filmed.

This is an entirely different way of experiencing operas. you’ll be transmited to the story in a such vivid way, is amazing.

But you may think this might not be a good perdomance because it was filmed in the 70’s, or because it audio format is Mono. But this is nothing to do with the experience it grants. The sound is clear and deep.

The singers play and exellent role and the location is perfect for the dramatic story. You will not be dissapointed.

An applause for Arthaus Musik.

5 Stars A Gripping, Beautifully Filmed and Performed ‘Wozzeck’
Rolf Liebermann, the legendary Intendant of the Hamburg Opera, filmed a number of operas but always said that this film of ‘Wozzeck’ was his favorite and I can see why. It is beautifully filmed in claustrophobic style in the grounds and buildings of a decrepit Bavarian castle, and sung gloriously. Of course, since it is a film, not a studio or stage production (although it was based on a stage production of the Hamburg Opera), the musical score was recorded in a studio and the singers lip-synched their parts while acting in the opened-out setting, much of it outdoors (as in the willow-cutting scene, or Marie’s murder). The lip-synching is nigh perfect and the acting is really quite wonderful. I was especially impressed by the acting (as well as the singing) of Toni Blankenheim as Wozzeck. His face, often shot in close-up, is perfect for the part, with his hangdog, suffering look. He conveys Wozzeck’s puzzlement and despair with graphic immediacy. Marie, played by a the ripe-figured and beautiful Sena Jurinac, is also extremely well-done. Richard Cassilly, a wonderful tenor but usually a so-so actor, is terrific as the strutting Drum Major. And possibly best of all, is Hans Sotin, still quite young in 1970, as the cruel and sardonic Doctor. And his singing is hors de concours.

Each scene, of course, is followed by an interlude; in the opera house each is often played with a closed curtain or a static tableau. In this production the interludes accompany silent scenes that add much to the development of the drama. For instance, after Wozzeck’s murder of Marie is filmed from a distant vantage point looking through some sparse woods; in the interlude that connects it with the final scene — the one with the children gossiping about Marie’s murder and about finding her body on the path by the water — we come closer and closer to Marie’s corpse lying on that path. Visually this helps accentuate the almost unbearably tense music that accompanies it, thus heightening the horrific effect.

I have not seen the other two currently available DVDs of ‘Wozzeck’ but I can’t imagine abandoning this one. Musically it is wonderful. Scenically it is spectacular. And though it was filmed in 1970, the sound is quite good, although in mono. Bruno Maderna, a thoroughgoing modernist if there ever was one, understands the score completely and the Hamburg Opera orchestra play brilliantly for him.

Sound: Mono; Subtitles: English, German, French, Spanish, Italian; Picture format: 4:3; Region code: 0 (worldwide); TT=106mins; No extras

Strongly recommended.

Scott Morrison

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Wagner Tristan und Isolde

Wagner Tristan und Isolde

As for the long awaited debuts of Meier and Jerusalem, the audience was ecstatic.”

User Ratings and Reviews

5 Stars The Definitive “Tristan”
There is just no better “Tristan” on the market, to my knowledge. Only fault, the curtain calls between the acts, which must be the Italian way, but very distracting to this production. Waltrud Meier IS Isolde, her Liebestod is the very best of the best. A must recording for any serious collector of Wagner.

3 Stars Fiery performance betrayed by frigid production
You could say this about any number of Eurotrash productions today - of which this is not one. But the whole point of Tristan is passion and the attempt to merge. The lovers sing in Act 2 about the word “and” which separates them and how they might overcome it. How then a production in which they almost never touch? Muller constantly betrays the music. Tristan’s entrance in Act 2 is breathless music. Yet Muller has him come on in a slow processional walk. Isolde waits motionless and when Tristan is almost upon her he utters her name. I expected her to jump out of her skin since he was almost at her back and she was totally focused in another direction. Same thing goes with her entrance in the last act. The music surges and yet Isolde greets her dying lover not with passion but with a ritual like advance. Muller bleeds the passion out of the piece in spite of the most passionate music ever written.

Then there are the incomprehensible elements. What’s with the fallen haloes that the characters are saddled with? The lovers haloes drop off when the drink the potion. But King Marke loses his from the second to the third act. Why? What are they? Meier’s hair changes color from act to act. She starts off red, then in the second act she is dark with a hint of grey. And who knows what non color she is in act three. Why? Does love age one over night. I thought love gave us life. And what’s with the phalanx of armor in the second act? Is this the world that threaten to keep the lovers apart? Only Muller knows and he ain’t telling. A symbol that doesn’t communicate is not a symbol but a puzzle, and more than that, a distraction.

Meier’s other performance of Tristan on DVD has come in for a lot of criticism. And yes there are the shaving cream, the polka dot dress and yes, that famous sofa. But Konwitschny probes the text and music - he doesn’t ignore it or go against it. In that production Tristan does not die (at least to Isolde) and the lovers are reunited. Against the standard view? Yes. But the text and music are open to such an interpretation.

What finally gives this Tristan redemption is the performance. This was the first Tristan for both Jerusalem and Meier and they are wonderful. But again they are restrained by the production. Look at Meier in the Munich DVD. She brings the role to vibrant life. Here she is forced to do it all through her voice. This would make a better CD - after all Tristan is “radio drama” as Chereau said when they tried to get him for this production. Jerusalem is very good, but if he looked like Danny Kaye in the MET Ring here he has a distracting resemblance to Bernstein. Barenboim shows that this early on he is already one of the truly great Tristan conductors. Finally I found the sound lacking here. It tends toward stringy and strident. It is certainly not the lush orchestra Tristan needs. And the balance favors the singers more than it should. Barenboim knows how to play for them without any help from the engineers.

In conclusion: wait for La Scala and hope.

2 Stars Staging will make you THINK way too much
I have been waiting for a good Tristan on DVD forever…Unfortunately I didn’t get it with this one…I don’t understand why someone won’t just create a production that is TRADITIONAL as Wagner wanted it? Instead all we’ve gotten so far are modern abstract concoctions trying to blend the new with the new…

For this production we get some very weird stuff that highlights the “psychology” of the drama…it works sometimes but mostly it makes you think too much, and for Tristan, you want to be taken away all the time…you don’t want to think!

I mean the staging works at conveying hidden intentions in the story and characters, but I was left with a feeling of wanting to see more camera movement different scenery almost all the time.

The singing is a bit hard to interpret…they hit all the notes perfectly, but they are almost cold in their delivery…like someone told them not to express any feeling! Their body movements are minimal and whenever they do move they do it so slowely! The only thing I liked about ths production was Baremboim’s conducting…I say that it is inspired! But overall I wouldn’t invest in this production unless you don’t mind all the things I talked about.

Take care,

Ryan

5 Stars A devastating pronouncement!
Tristan and Isolde is one of the most emblematic Operas ever made along the history of the Western music, because among other facts, carves in relief the impossibility to achieve the love as supreme bliss for a long time.

Tristan is the epitome of the noble, valorous, bold and courageous hero who suddenly finds himself literally trapped between his duty and his bliss, between the loyalty and his most intimate desires.

But also, there` s not other Opera that reveals with chilling reality these inner contradictions immersed into the human soul and those unexplored labyrinths of the human physique.

This version reflects and captures with magisterial precision this complex universe of never felt before feelings, the supreme bliss of love against the legal duty that should be kept before a superior authority.

The mesmerizing, original and fabulous stage illustrates and conveys us about this state of existential anguish and febrile desperation about these two lovers. The extraordinary participation of both principal figures - Waltrud Meier and Sigfried Jerusalem plus the enraptured spell of the Orchestra superbly conducted by Daniel Barenboim have become this recording a must have and one of the most treasured musical documents ever recorded.

Don’t even doubt or hesitate about if you have to acquire or not this essential DVD. On the contrary, ask yourself if you can live without having it.

5 Stars Yet Another Wonderful Tristan
In July, 2007, I started my review of the Barenboim/Ponnelle Tristan und Isolde with the following: “Tristan Und Isolde is doubtless one of the greatest operas ever written. Unfortunately it has been very badly served by the currently available productions on DVD.” I then listed the previous ill-conceived and/or incompetent productions before writing about that production to which I gave 5 stars (and which still remains my favourite).

I then gave 5 stars to the Belohlavek/Lehnhoff Tristan which came out in March and thought that there was an embarasse de richesse. Now, we have yet another excellent (and different) production which, for my taste, has now taken second place.

As with the Barenboim/Ponnelle production (as well as others from Bayreuth), this was recorded on stage, but without an audience. As a result, everything is as intended, very clear and with the performers not fatigued. Some might worry about a possible lack of immediacy, but that is not a problem here.

Barenboim’s conducting (and the orchestra) seems better than in his previous DVD. The power and the passion of the score is very much in evidence. The acting and singing of Waltraud Meier and Siegfried Jerusalem (both singing these roles for the first time) are superb and, in my opinion, unsurpassed on DVD, although Johanna Meier certainly is just about as good.

According to the liner notes, the direction was offered to Chereau, but he declined stating: “Tristan cannot be staged, it is a radio play”. It was then offered to Heiner Muller. And what came out was, in many respects, very static in action. The set is minimal (a sunken area stage front for Isolde and Brangane with a raised area in back for Tristan and Kurwenal in Act I, rows of breastplates for Act II, and an armchair on ragged crushed stone in Act III. But the colours set the mood and enhance the action (such as it is) with many abstract Rathko-like rectangles for the preludes in the colours of the acts: red, orange and yellow in Act I, dark shades of blue for Act II, and washed out sand-grey for Act III until the Liebestod when Isolde is in silver/gold before a warm coloured backdrop.

But despite the absence of much vigorous action, the body language of the performers makes everything very clear. I was at first puzzled at the lack of physical contact between Tristan and Isolde, particularly during the very erotic/romantic music of Act II. But that surely is what Wagner wrote the opera about — yearning, frustrating, unconsummated love which can only find fulfillment in death. Tristan, self absorbed, led up to the idea of death while Isolde, Wagner’s woman, tried to make contact but had to follow Tristan’s lead. Their continual coming close and then separating, hardly touching, added considerably to the tension to the point where I wanted to call out to them to get on with it. The only time there seemed to be any mutual tenderness was finally when Isolde agreed to follow Tristan, just before he allowed himself to be stabbed. Quite disturbing, but a successful execution of a director’s concept.

However, when a director uses symbols there can be misinterpretation, particularly for a cross-cultural viewer. He can do what David Alden did in his somewhat bizarre “Tannhauser” and throw in scores hoping that some will be able to be interpreted. But Muller in this spare production has very few. I can understand (I think) the shoulder yokes on (and off) the characters — but if anyone can come up with a plausible interpretation of he rows of breastplates in Act II, I would be grateful for an explanation.

My only other (personal) reservation is that I have never liked the voice of Falk Struckmann. He is younger here (as Kurwenal) than in the other DVD’s which I have seen; but he still sounds harsh, cold and dry.

All told, one of the best productions of this great opera. Highly recommended.

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Return of the Firebird Petrushka Firebird Scheherazade

Return of the Firebird Petrushka Firebird Scheherazade

User Ratings and Reviews

5 Stars Return of the firebird
Very well produced spectacular representation of the treasures what Russian ballet can offer to the world.

1 Star Error message
Wouldn’t play on two DVDs. Just provided error message. Did play a bit on my computer. What I saw was an “over artistic” version of Firebird, so highly elaborate as to interfere with the dancing. The good news - got a refund quickly!

5 Stars A feast for the eyes and ears.
I bought this DVD because it states that it is a reconstruction of the original ballets based on the original choreography by Fokine and sets and costumes designed by Leon Baskst for the original productions by the Ballet Russes at the beginning of the 20th century.

Although there is a little cinnemagraphic special effects added, they are few and judiciously used to enhance the overall effect. The sets and costumes are breathtaking and as colorful as a Faberge Egg. The music is equally rich and exotic. There are interesting and varied camera shots unlike sitting in an audience viewing a stage from the same angle the entire time.

I was a little dissapointed that the storyline of Scheherazade did not follow Rimsky-Korsakov’s original, however, that would not be practical to exicute on stage with all the original different scenes. Since, of the three works, it was not originally intended as a ballet, some compromises are to be expected.

The best recommendation I can make is to report that in addition to the original copy I bought, I have subsequently given out 2 more as gifts: one to a professional musician who has played all of these works many times, and the other to non-musicians, who probably have never heard all three works. I feel this is an excellent way to introduce someone who is not familiar with classical music to these masterpieces, by having them in so accessible and enjoyable presentations. It is also a excellent gift for anyone who already knows these scores, as I did. I strongly recommend this production which appears to have been produced with the intention to be the most difinitive performances as well as the most lavish, with no expense spared.

4 Stars A reconstruction of Fokine’s choreography for Ballets Russes
In 1909 Serge Diaghilev founded the Ballets Russes in Paris as a venue for Modernist ballet. This DVD presents reconstructions of three of his earliest productions: “Petrushka” and “The Firebird,” both commissioned from Igor Stravinsky, and an adaptation of Rimsky-Korsakov’s 1888 symphonic suite “Scheherazade,” all dating from 1910-11. These three works were choreographed by Michel Fokine. The original sets and costumes for “Petrushka” were designed by Alexander Benois, for “The Firebird” by Alexander Golovin and Leon Bakst, and for “Scheherazade” by Bakst.

Here the “Russian Seasons” (”Les Saisons Russes”) Dance Ensemble, led by Andris Liepa, use Fokine’s original choreography, with the assistance of Isabelle Fokina as a consultant; the sets and costumes for each ballet are “revived on the basis of the original sketches” by Benois, Bakst and Golovin. Thus this DVD gives us important insight into Diaghilev’s artistic vision of a century ago, a time when radical Modernism was breaking loose from 19th Century convention in music and the visual and performing arts. (The title “Return of the Firebird” is meant to signify the resurrection of these ballets in something close to their original form. Liepa spent several years working on their reconstruction, finally mounting them in 1992 first at the Maryinsky and then at the Bolshoi.)

However, this is very much a film rather than a stage performance, and while I generally prefer a roving camera for ballet, when done skillfully, I feel that under Liepa’s direction the camera angles and distance are frequently not used to best effect. There’s also too much offstage interpolation, such as horseback scenes, and many omitted staging transitions, and he shares an unfortunate tendency in some Russian ballet films for indulgence in cheesy and distracting special effects; overall both the directing and editing feel gimmicky at times. It would have been far preferable to have filmed an actual onstage performance, which would have earned it a solid 5-stars. (There’s an obviously tacked-on segment of applause with bows from the principals and troupe at the end.)

In contrast, I felt that the troupe itself is superb; the dancers turned in uniformly excellent and beautiful performances. (Ilze Liepa, in the role of Zobeide, is Andris’ sister, and the stunning Ekaterina Liepa, as the Princess in “The Firebird,” is his wife.) As another reviewer has mentioned, the Eunuch seems overdone, but I’m not otherwise familiar with this production of “Scheherazade,” and assume the costuming and choreography are taken directly from Diaghilev. I agree somewhat with a different reviewer that Andrey Chistiakov’s conducting of the Bolshoi State Academic Theatre Orchestra could have been more understanding of Stravinsky’s uniquely astringent and urgent sound, but still it’s quite well presented. Judging from a few other reviews, it seems important to remember that while these ballets may or may not follow one or another familiar folk tale, they are significant in representing the artistic vision, at a supremely important time of change in the arts, of Diaghilev, Stravinsky (Rimsky-Korsakov’s widow objected to this adaptation of “Scheherazade”), Fokine, and the set and costume designers.

Both video and audio quality are fine on the DVD. This is a Mosfilm production, released with English titles by Universal/Decca. I note that Amazon also lists another 3-DVD set, “The Magic of Russian Ballet,” on the Philips label, appearing to credit the Kirov Ballet. I haven’t seen this set, but it cannot be a different production performed by the Kirov. Philips is another Universal label, and a close-up of the cover shows “Kirov Ballet Gala, Covent Garden” (which must be the listed “Nutcracker”), and “Russian Ballet Gala, Red Square” (which would be these three short ballets); the pictured Firebird character is obviously the same Nina Ananiashvili. Following Liepa’s lead, the Kirov however does have its own productions of just the two Stravinsky ballets on the Immortal label (again starring Liepa, this time with Gabriella Komleva, with choreography credited to Boris Eifman and Oleg Vinogradov), and another containing yet different productions of “The Firebird” and “Scheherazade,” among others, on a Kultur DVD. It’s probably also worth pointing out that although this “Return of the Firebird” film was shot in Moscow and employs a Bolshoi orchestra, this is *not* a production of the Bolshoi Ballet; Andris Liepa’s Russian Seasons Dance Ensemble is an independent troupe, performing at both the Bolshoi and the Maryinski, and other venues. In addition to the three ballets, the DVD includes a dialog-free behind-the-scenes rehearsal film, and a rather long ad for a special-effects graphics company.

Addendum: Amazon also lists another version of both “Firebird” and “Rite of Spring,” together with Bartok’s “Miraculous Mandarin,” performed by “Moscow Classikal Ballet of N. Kasatkina and V. Vasilyov” on a Videoland DVD that doesn’t show up under the English titles; search for “Sacre du Printemps,” “Feuervogel,” or “Wunderbare Mandarin.” I’ve never seen this, but it might be of interest.

5 Stars Middle School Kids are Spellbound
I teach in a very racially diverse district in a city. My kids have seen The Firebird and Petrushka. I labeled the Moor character as the Moor-clown puppet. They didn’t have any problem with that at all. In fact, in the opening sequence of Petrushka some of my little girls were saying “I’m her” “No, I call her”. They were dancing vicariously through the TV. Some of them actually got up and tried some turns and spins in the dancing space of the music classroom.

My 6th Graders studied the Firebird in depth. They loved the effects and costumes.

Scheherezade is actually the story of the Prince who eventually married Scheherezade. The story is great, but the Princess’ lover is like the extreemly efeminate Cuban character from Sex in the City. Once you get past that in a sparkled turban it’s good. Very erotic costumes. I’m not showing it below 7th Grade.

Cheers

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Tchaikovsky The Sleeping Beauty Semizorova Fadeyechev Speranskaya Kopilov Bolshoi Ballet

Tchaikovsky The Sleeping Beauty Semizorova Fadeyechev Speranskaya Kopilov Bolshoi Ballet

User Ratings and Reviews

5 Stars An appliance repairmans point of view.
So what does an appliance repairman know about ballet? The girls all run around in tutus, don’t they? I loved classical music long before I learned to love washers and dryers, or ballet for that matter. I’ve only been collecting them for less than six months but fell in love with the art form when I got a copy of “Sleeping Beauty” by the Australian Ballet Company with Christine Walsh and David Ashmole.

This performance of “Sleeping Beauty” is not the best one I have (I have five versions) but it is a good one. The music sounds good, the sets are fair, and the lighting is OK. The moving scene in front of and behind the Lilac Fairy’s boat when she and the Prince were on their journey to find Sleeping Beauty was impressive. I did not like Carabosse. I like a woman in that role. After all, it is a woman’s role, and in all the versions I have, a woman fits the part better. Nina Semizorova doesn’t fit the role of a sixteen year old happy, flighty, full of vitality girl, especially in a 1930ish style hairdo. I know I am not supposed to look at the age characteristics of a ballerina, but I am not the the only one who does. In every review on The Sleeping Beauty with Margot Fonteyn and Nureyev, the reviewer commented on the close-ups on Fonteyn showing her wrinkles.

This is the first “Sleeping Beauty” I’ve seen that shows the extent to which the King went to ban needles of all sorts from his kingdom.

This copy of the ballet is worth owning but for the very best look for the Het National Ballet version with Sofiane Sylve and Gael Lambiotte.Tchaikovsky - The Sleeping Beauty / Sylve, Lambiotte, Florio, Dutch National Ballet, Amsterdam

5 Stars Long awaited
I have waited so long to find a copy of The Bolshoi at the Bolshoi series version of ‘The Sleeping Beauty’ that I am blind to the faults that Marc points out in his review. (Most of the rest I have as videos.)

I enjoyed it thorougly. The choices of A. Vetrov as the Bluebird (if you like him, look for ‘Swan Lake’ and ‘Romeo and Juliet’ from the same series), and Y. Vetrov as Carabosse were so appropriate.

I cannot top what Marc said about Fadeyechev as Prince Desire.

[It was Marc who told me that the DVD was out.]

5 Stars Excellent traditional Sleeping Beauty by the Bolshoi
This Sleeping Beauty was filmed at the Bolshoi Theatre in Moscow in 1989 and is a re-release of the Japan-produced “Bolshoi at the Bolshoi” series previously available on VHS. The films were shot without an audience, but are presented with overdubbed applause.

The Bolshoi dances Tchaikovsky’s second and grandest ballet in the traditional staging completed in 1973 by then director Yuri Grigorovich, after Marius Petipa and with sets by Simon Virsaladze. At the time Grigorovich’s staging was much closer to the original Petipa than the Kirov’s own production (available on DVD with Kolpakova/Berezhnoi or Lezhnina/Ruzimatov). This production is still performed by the Bolshoi today.

The DVD features some of the foremost principal dancers of the day: Nina Semizorova as Princess Aurora, Nina Speranskaya as the Lilac Fairy, and Alexei Fadeyechev - easily one of the finest male dancers of the Moscow School from the 1980-90’s and a danseur noble if ever there was one - as Prince D?sir?. Yuri Vetrov appears as Carabosse, while Maria Bylova and Alexander Vetrov dance the Blue Bird pas de deux. The Bolshoi Theatre Orchestra is conducted by Alexander Kopylov.

As with all titles in this series, this disc is obviously a video transfer, leaving some of the movements blurred. The sound is offered in simple stereo.

The DVD release doesn’t include any bonus material, but comes with a handsome three-language 20-page booklet, introducing and situating the work and the artists. An effort like this needs to saluted, however it will take a bit more accuracy than the Arthaus Musik writers are able to provide at this stage. For example, Kirov dancer, choreographer and artistic director Konstantin Sergeyev is not a son of Nikolai Sergeyev, as the booklet claims. Konstantin Sergeyev staged The Sleeping Beauty for the Kirov Ballet in 1952, but it is of course Nikolai, not Konstantin, who staged it for London’s Sadler’s Wells Theatre in 1939 and 1946.

Yet, to see the outstanding dancers of the Bolshoi, ballet enthusiasts needn’t hesitate.

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Artur Rubinstein in Concert

Artur Rubinstein in Concert

First DVD release of this legendary performance by a legendary artist. “Rubinstein’s superb form is matched by the incredible musical sensitivity of Haitink and the orchestra…Sounds and images are expertly cued to the split second… Rubinstein’s face, body and hands are captured in a smooth flow of shots and reflections…The Beethoven takes on an almost Mozartean delicacy, the Brahms is infused with all the power it requires.” –The New York Times A vibrant and revealing interview, “Rubinstein at 90″ conducted by Robert MacNeil, is included as a bonus. Filmed in the Concertgebouw, Amsterdam, August 1973 (concert) and at Rubinstein’s home in Paris, 1977 (interview) Artur Rubinstein, piano Concertgebouw Orchestra, Amsterdam Bernard Haitink, conductor Directed by Hugo K

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