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Richard Strauss - Capriccio / Runnicles, Te Kanawa, Hagegard, Troyanos, San Francisco Opera

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Richard Strauss - Capriccio / Runnicles, Te Kanawa, Hagegard, Troyanos, San Francisco Opera
Starring: Kiri Te Kanawa , Håkan Hagegård , Tatiana Troyanos , Victor Braun , and David Kuebler
Director: Peter Maniura
Manufacturer: Kultur Video
ProductGroup: DVD
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Richard Strauss - Arabella / Thielemann, Te Kanawa, Brendel, Metropolitan Opera
Richard Strauss - Der Rosenkavalier / Solti, Te Kanawa, Bonney, Howells, Haugland, Covent Garden
Richard Strauss - Ariadne auf Naxos / Levine, Norman, Battle, Troyanos, Metropolitan Opera
Richard Strauss - Die Frau Ohne Schatten / Solti, Studer, Terfel
R. Strauss - Elektra

ASIN: B00009PY2C
Release Date: 2003-06-10

Amazon.com

The last and most subtle of Richard Strauss's operas gets a finely nuanced interpretation in this San Francisco Opera production. A generally excellent cast is highlighted not only by the radiant presence of Kiri Te Kanawa but by the deceptively robust performance of Tatiana Troyanos in her last operatic appearance before her untimely death from cancer.

The composer described Capriccio as a "conversation piece for music in one act," and he put a lot of effort into it, not only the music but the words, on which he collaborated with conductor Clemens Krauss. His verbal input was particularly appropriate in this work, because the real subject (symbolized by a conventional love triangle) is the competition (and alliance) between words and music in opera, a subject naturally close to the composer-librettist's heart. The conversation runs through the whole opera in various forms. It begins immediately after the curtain goes up, with a quarrel between the poet Olivier (Simon Keenlyside) and the composer Flamand (David Kuebler) over the respective merits of their arts. They are rivals for the hand of the widowed Countess Madeleine (Te Kanawa); she is to choose between them (i.e., between poetry and music) but she is still undecided as the final curtain descends. The intervening two hours are rich in artistic shop talk and backstage situations that will enchant sophisticated opera-lovers, as well as the love interest for the rest of us.

David Runnicles conducts with a sure sense of Straussian style; and Mauro Pagano's 18th-century set creates the right atmosphere. Keenlyside and Kuebler are eloquent and believable, Te Kanawa sweet, regal and ambiguous. Håkan Hagegård and Victor Braun give particularly vivid performances in supporting roles. --Joe McLellan

Description

Richard Strauss's last opera, includes some of the composer's most elegant and sumptuous music. The deftly woven vocal ensembles, detailed orchestral writing and light-handed parodies of eighteenth century music show the hand of the master. Stars Kiri Te Kanawa, Hakan Hagegard, Tatiana Troyanos, and Victor Braun.

Handel - Alcina / Naglestad, Coote, Schneiderman, Romei, Hacker, Stuttgart Opera

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On the contrary. . .(about the production)
Decent singing - too much heavy petting
Baroque Opera with a Twist of Erotica
Seeing is Distracting
Musically beautiful. Choreography stinks

Handel - Alcina / Naglestad, Coote, Schneiderman, Romei, Hacker, Stuttgart Opera
Starring: Handel , Catherine Naglestad , Alice Coote , Heinz Gerger , and Michael Ebbecke
Manufacturer: Arthaus Musik
ProductGroup: DVD
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Handel - Rodelinda / Antonacci, Scholl, Streit, Chiummo, Winter, Stefanowicz, Christie, Glyndebourne Opera
Handel - Rinaldo / Bicket, Daniels, York, Prinzregententheater Munich
Handel - Tamerlano / Jonathan Miller, Trevor Pinnock - Bacelli, Randle, Pushee, Norberg-Schulz, Bonitatibus, Abete - Händelfestspiele Halle 2001
Handel - Serse / Rasmussen, Piau, Bayrakdarian, Bardon, Hallenberg, Peirone, Lippi, Rousset, Les Talens Lyriques, Dresden Opera
Handel - Ariodante / Bolton, Murray, Rodgers, English National Opera

ASIN: B00008G61F
Release Date: 2002-04-16

Customer Reviews:

On the contrary. . .(about the production).......2007-05-24

Several reviewers have suggested that this production is little better than "porn," consequently entirely inappropriate and guilty of misrepresenting Handel's immaculate conception. On the contrary, "Alcina," one of the great Handelian opere serie, is the perfect place to introduce this kind of earth-shattering antithesis to the anticipated staid and dutiful production. It almost goes without saying that the librettist (anonymous, adapted from Riccardo Broschi, based on Ariosto's "Orlando furioso") saw the "feminine," as exemplified in the character of Alcina herself, as dangerous and subversive, oversexed and under-reasoned, whereas the "masculine," as exemplified in the character of Oronte, he saw as moral and upright, possessed of perfect propriety in matters sexual and socio-cultural. The libretto, through the disruption of Alcina's spell over her male "victims" and the destruction of the sorceress herself, depicts a victory of this idealized masculine over the idealized feminine.

How could any modern producer not see this arrangement as grotesque, as the creation of men for the benefit of a male-dominated society? The production, therefore, outwardly turns that arrangement and the society that created it on its head by suggesting that the victory of the idealized "masculine"--seen in the CONVERSION of Ruggiero from loving Alcina to loving Bradamante, and also from lesbianism to heterosexuality--is a travesty: a murder of beauty, a rapacious erasure of that part of the truth of the human journey that reveals itself through desire.

But who is speaking or singing this reversal, this bold assertion that the idealized feminine was better, had ALWAYS been better, than the idealized masculine? Is it Jossi Wieler and Sergio Morabito, the directors, for introducing a topless aria or a forced marriage sequence where the libretto suggests no such thing, or is it Handel for creating in the role of Alcina an overwhelming vocal presence? Does she not overturn, through the sheer power of the vocal writing offered up to her, the high estimation the libretto would seem to place on the idealized masculine? If so, then the directors Wieler and Morabito have done nothing more--through their emphasis on the undeniable physical allure of societal signifiers of femininity--than elect to hear Handel over the lexical clamor of his librettist. (Thanks to Carolyn Abbate for the spirit of this!)

On the one hand, it should be remembered that this production's upsetting of a perceived historical meaning is partially the accomplishment of a man--Sergio Morabito--and, therefore, in some way no less grotesque in its idealization of the feminine than the demonization of the same in Handel's time. On the other hand, Jossi Wieler (a woman) surely changes this dynamic, and finally it is Catherine Nagelstad (Alcina), Alice Coote (Ruggiero), and Helene Schniederman (Bradamante) who provide the physical source of the lasting sounds and images of the production, as even negative reviews of this DVD attest. It therefore seems to me that what has emerged through this "Alcina" is in fact a reassertion of the victory of the female voice over what is still in many ways a frustratingly male-dominated industry. I incriminate myself.

Decent singing - too much heavy petting.......2007-01-21

The singing is quite good in this video except for the men - the tenor is awful and the bass is barely adequate. However, the five ladies are all very enjoyable, particularly the Alcina and the Ruggiero. Coote, as Ruggiero, is very believable as a man and her acting is excellent. The sets are nothing to write home about but neither are they ugly or distracting. The costumes are fine except I saw way too much of Alcina's breasts. There is too much heavy petting in the direction, as though someone were trying to show us they weren't afraid to show women kissing each other and touching private areas, alot... and then some more...and even longer... That bit seemed a bit childish but for the most part, I enjoyed the video, and had a hard time pausing just to get up for a minute. If the tenor had been good, I probably would give it another star, but he was really bad.

Baroque Opera with a Twist of Erotica.......2006-07-28

For anyone who's interested (which should be all males in their right mind) Alcina's aria of exposure, 'ma clothé bosom pop outå', begins at the one hour, twenty-five minute and thirty-seven second mark (or to make things easy, chapter thirty nine). After that there's a five minute wait before the first bosom pops. Interested parties might want to skip ahead. I waited of course (because nobody told me when it would happen).

The aria is actually called 'Ah, mio cor! Schernito sei!' (Ah! My heart! You are scorned!) and it's a great one. Anyone watching it just to see Catherine Naglestad partially nude should end up mesmerized enough by the music and her performance of it to (almost) forget that her [...] end up exposed. The piece is a dramatic tour de force for her and for Catriona Smith who, though she doesn't sing, serves as a counterpoint for the action. Naglestad captures the character's fury and her emotional vulnerability beautifully. Her physical exposure serves that. Ultimately it helps in showing the imperious, spoiled and wanton Alcina as a multi-faceted human being more deserving of sympathy than scorn.

The cast is brilliant. Michael Ebbecke has the role that's both the least and most pivotal to the opera. His voice is the harshest of the cast members but he uses it to convey an air of authority. Claudia Mahnke brings the uncertainty and passion of youth to the role of Oberto. Her voice is rich and, very powerful. Rolfe Romei has a strong tenor voice that's never harsh. He brings complexity, insecurity and sexual ambiguity to a role that (under many directors) could have been a throwaway. Catriona Smith and Helene Schneiderman are standouts. Catriona Smith is wonderfully vulnerable as Alcina's sister, Morgana. Her pain from the abuse by her lover and her sister is tangible. The love she has for both of them is never less than real as well. She sings in bell like tones that suggest despair or passion with equal aplomb. Helene Schneiderman has that wonderful middle range unique to mezzo sopranos that's as much a caress as delivery of song. And she's an extremely expressive singer. Her use of body language is exceptional as well. It's largely due to her work that this production is so emotionally and erotically charged.

But the production belongs to Alice Coote, Catherine Naglestad, (conductor) Alan Hacker and the Staatorchester Stuttgart. Alice Coote has a rich mezzo soprano voice that's positively silken. Her turn as Ruggerio, the bewitched lover who finally scorns the temptress Alcina, is entirely convincing. And she sings it so well ...hers is a voice that every listener will want to hear more of. Catherine Naglestad is mesmerizing as the bewitching Alcina. She is at turns powerful and heartrendingly vulnerable. Her sensuality borders on feral. And her singing is something to marvel at. Nothing defies her range. The ways she has of shading tones are rich and varied and her notes soar over the stage. Alan Hacker does a beautiful job with both the orchestra and the singers. His interpretation is elegant and refined but never lacking in drive. The score, as he presents it, supports the singers and the eroticism implied in the production. The highest compliment I can give to it is that it becomes more of a joy to listen to as it becomes more familiar.

The only problem with the staging lies with the backdrop. The set is laid out well but the wallpaper on it is too busy. It's not a problem when the camera is close to the action. But when the stage is shown in full view it's distracting. There are a couple of technical shortcomings as well. There are no scene selections in the main menu. A few of the subtitles have errors. The divisions between acts aren't marked during the performance. There's only one audio track (PCM Stereo) and there's a moment where most of it seems weighted toward only one channel. It doesn't last long but it is noticeable. And it's distracting. There are a pair of bad edits near the end too. The first appears to have been done to shorten what would have been a pause in the action. The second might have been to bring the lights down on camera before they actually went off on the stage. Whatever the case they make the finale of what was a very good production quite awkward.

But none of these points are worth missing this production over. The staging by Jossi Wieler and Sergio Morabito is (despite the two-for-one wallpaper) imaginative, effective and engaging. The most important characters are fully realized. The singing and acting is great. The PCM audio track is (with the exception of that single weak moment) vibrant and bright. Alice Coote, Catherine Naglestad and the orchestra under Alan Hacker, are magnificent. And of course, the music is glorious! This performance gets a five star rating and even the busy-as-an-ant colony wallpaper doesn't affect that. The loss of one star is due entirely to the technical shortcomings.

Baroque opera with a twist of erotica: it can't be beat.

Seeing is Distracting.......2006-06-30

I have no beef with the performance, it's excellent and does honor to Handel's genius. The Stuttgart Staatsorchester under Alan Hacker and the cast did a fantastic job, but...geez, I wanna see porn I'll see porn. I'm no prude, there is a place for purience, but "Alcina" ain't it. The licentiousness of this performance is overwhelming, embarrassing, in very poor taste, and an insult to music lovers. If you buy this DVD, turn you back to the screen or better still, save your money, get the CD and let your imagination soar with the music and when it's done you won't have a bad taste in your mouth.

Musically beautiful. Choreography stinks.......2006-06-23

This is one of Haendel's most popular opera. An expansion of a side story from 'Orlando Furioso'. Ruggiero the soldier got spellbinded on Alcina's enchanted island. His fiancee and their wizard come to rescue. After much mistakened identities and preposterous romantic intrigues, everybody escape leaving Alcina broken both magically and emotionally.

The staging is bare and modern. Same set the whole show with 'thru the looking glass' huge window in the middle that sometimes offers the view to a back room, and sometimes to the real world from an enchanted illusion. Guys wear suits and gals wear dresses... of varying degrees of revealing-ness.

The romantic choreography goes overboard. I'm no prude, but this show gets quite distracting to me. I know that sexual seduction is a big part of the story, but this one crosses the fine line between showing a motif and show-casing it. That the singing actresses keep their clothes on is about the only thing that keeps it from being pornographic.

Come to think of it, Ms Naglestad's tops are of such see through quality that it really wouldn't have made that much difference had she taken it all off (and then there's that infamouse wardrobe malfunction during 'Ah, mio cor'...)! How she sings so well while doing all that is beyond me. A 'Di cor mio' that will send any male's heart pounding, a wonderful acting singer caught in a stage production that distracts away from her assets!

I was looking for a more melancholy 'Verdi prati,' but Ms Coote does better with the militant 'Sta nell'ircana' even with a rather average trill (the voice is strong but not very agile). Generally she is a good Ruggiero.

Ms Smith is a fine Morgana and copes well with the virtuosic 'Tornami a vegghiar' (unfortunately most of her acting has to do with molesting Bradamante), and Frau Schniedermann is vocally assured as Bradamante/Ricciaro but looks to be old enough to be Ruggiero's mom rather than his fiancee. The rest of the cast are ok.

An above average Alcina musically, to be sure, the musical performance earns the 3 stars. Tho I dislike how the stage direction seems to think it necessary to exploit sex scenes between beautiful singing actresses. It cheapens the show.

Richard Strauss - Ariadne auf Naxos / Susan Anthony, Iride Martinez, Sophie Koch, Jon Villars, Colin Davis, Dresden Opera

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Richard Strauss - Ariadne auf Naxos / Susan Anthony, Iride Martinez, Sophie Koch, Jon Villars, Colin Davis, Dresden Opera
Starring: Susan Anthony , Jon Villars , and Colin Davis
Manufacturer: Kultur Video
ProductGroup: DVD
Binding: DVD

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Richard Strauss - Capriccio / Runnicles, Te Kanawa, Hagegard, Troyanos, San Francisco Opera
Donizetti - L'Elisir d'Amore / Eschwe, Netrebko, Villazon, Wiener Staatsoper
Wagner - Die Meistersinger von Nurnberg / Bernd Weikl, Siegfried Jerusalem, MariAnne Haggander, Hermann Prey, Graham Clark, Matthias Holle, Horst Stein, Bayreuth Opera
R. Strauss - Elektra
Wagner - Siegfried / Siegfried Jerusalem, John Tomlinson, Anne Evans, Graham Clarke, Daniel Barenboim, Bayreuth Opera

ASIN: B0001Y4JOI
Release Date: 2004-05-25

Description

This unique opera is a gently satirical artistic debate contrasting the artificial conventions of opera seria with the direct, knockabout humour of the commedia dell'arte. The story begins with a wealthy gentleman commissioning an evening of entertainment comprising of an opera seria and a burlesque from a troupe of commedia dell'arte actors. The prologue goes behind-the-scenes and reveals the reactions when the companies find out what a mismatched double bill they are taking part in. Then it is announced that the performances must be shortened to make room for a fireworks display, and the patron has decided that the opera seria and burlesque should be combined. The one-act chamber opera Ariadne auf Naxos then takes place, with the abandoned and inconsolable Ariadne's intense longing for death interrupted by the comedians trying to cheer her up. Marco Arturo Marelli's production for the Semperoper Dresden features finely sung and acted performances from a spirited cast led by Sophie Koch as the composer, Susan Anthony as Ariadne and Iride Martinez as Zerbinetta.

Mozart - Bastien und Bastienne / Der Schauspieledirector

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Mozart - Bastien und Bastienne / Der Schauspieledirector
Starring: Bernhard Berchtold , Aleksandra Zamojska , Evmorfia Metaxaki , Radu Cojocariu , and Thomas Reichert
Director: Stefan Aglassinger
Manufacturer: Deutsche Grammophon
ProductGroup: DVD
Binding: DVD

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ASIN: B000I8OFM8
Release Date: 2007-01-09

Kiepura and Eggerth: The Charm of La Bohème

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Kiepura and Eggerth: The Charm of La Bohème
Starring: Jan Kiepura , Marta Eggerth , Paul Kemp , Giacomo Puccini , and Robert Stolz
Manufacturer: Bel Canto Society
ProductGroup: DVD
Binding: DVD

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ASIN: B0006V6TNA
Release Date: 2005-02-15

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The Opera Lover
Starring: Robert Altman , Dean Bastounes , Karen Vaccaro , Tom White , and Pat Healy
Director: Ron Lazzeretti , and Venturino Liberatore
Manufacturer: Vanguard Cinema
ProductGroup: DVD
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ASIN: B00068S3QE
Release Date: 2005-01-25

Mozart - Die Zauberflote / Mihailov, Kurz, Beer, Miklosa, Holecek, Ofenbock, Lessky, St. Margarethen Opera

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Mozart - Die Zauberflote / Mihailov, Kurz, Beer, Miklosa, Holecek, Ofenbock, Lessky, St. Margarethen Opera
Starring: Maxim Mihailov , Michael Kurz , and Birgit Beer
Manufacturer: Nutech Digital Inc
ProductGroup: DVD
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