The First Emperor - Tan Dun (2008)

The First Emperor - Tan Dun (2008)
2 DVD ISO | 720x480 | MPEG-2 DVD | LPCM 2.0, DTS 5.1 | Language: English, Chinese | Subtitles: EN, FR, GER, IT, ES | 176 MIN | 12.22 GB
Artists: Placido Domingo, Elizabeth Futral, Michelle DeYoung, Paul Groves, Hao Jiang Tian...
Stage direction: Zhang Yimou | Conductor: Tan Dun | TV direction: Brian Large | Recording Date: 13 January 2007 | Place of recording: The Metropolitan Opera, NYC

The First Emperor is one of those spectacular MET stagings, bursting with colorful costumes and striking sets in noted film director Zhang Yimou’s production. It’s been billed as a "global opera" in its mixture of traditional Chinese and Western music written by Tan Dun, who has successfully bridged the two in his compositions, perhaps most effectively in his film music. The opera’s based on supposed incidents in the life of Qin Shi Huang, whose military conquests unified China in 221 BC. He’s credited with building a centralized state, constructing the Great Wall, codifying the laws, and standardizing weights and measures. His efficiency also extended to ruthlessly suppressing dissent and murdering scholars, which could indicate a subtext that makes him a stand-in for Mao Zedong. The libretto, by the composer and Ha Jin, largely conforms to Western epic opera traditions, revolving around the tribulations of an ambitious power-seeker, his daughter’s love for the composer Jianli, and the Emperor’s desire for her to marry a general for political reasons. The bloody ending involves the death of the three members of the love triangle and the Emperor’s ascension to the throne where he hears the anthem composed for the occasion by Jianli, which turns out to be the song of the slaves building the Great Wall.

The opera opens with a promising scene based on traditional Chinese music and employing traditional instruments to great effect. A narrator, the Yin-Yang Master, sensationally done by the Peking Opera performer Wu Hsing-Kuo, outlines the story we are about to see in a striking mixture of singing, dancing, and acrobatics against a backdrop of Chinese drummers and a chorus. After that, the principals enter and the music becomes predominately western with the Chinese instruments relegated to marginal exotica. The singers are forced to struggle with a libretto that seems unsingable, words resisting the melodies to which they’re set. Set piece arias are predominately slow, accentuating the static effect of the staging in most of the scenes. As the Emperor, Placido Domingo, more baritonal than usual, often sounds strained but retains his stage presence. As his daughter, soprano Elizbeth Futral sings very well indeed, especially given the ungrateful material she’s given. Tenor Paul Graves sings her lover, the composer Jianli. He’s perhaps the most effective cast member, singing with color and firm tone. His rival for the princess, General Wang, is well sung by Hao Jiang Tian, and the excellent mezzo, Michelle DeYoung is a suitably scary Shaman, costumed like a Halloween witch, super-long fingernails to the fore. Tan Dun conducts the MET orchestra, whose music is fairly tepid when the assisting Chinese instruments fall silent. The enthusiastic reception of the audience at the end of this 2007 performance suggests that the opera, or at least the production, is a crowd pleaser. Home theatre audiences will welcome the blaze of colors and innovative production details, in a contemporary opera featuring some fine singers. --Dan Davis
The First Emperor is an all-regions disc in 16:9 ratio. Sound options include PCM Stereo and DTS 5.1 Surround. Sung in English, subtitles include English, French, German, Italian and Spanish. Extras include a brief introduction by Zhang Ziyi, a Beverly Sills interview of Placido Domingo, and a 20-minute rehearsal film.

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Andrea Chenier- Umberto Giordano

Andrea Chenier- Umberto Giordano
DVD ISO | 720x540 | MPEG-2 DVD | PCM 2 channels | Language: Italian | Subtitles: EN, FR, GER, ES, JP | 112 MIN | 4.36 GB

Artists: Placido Domingo, Anna Tomowa-Sintov, Giorgio Zancanaro...
Conductor: Julius Rudel | Director: Michael Hampe | Recording Date: 1985 | Place of recording: Royal Opera Covent Garden

En ce 14 Juillet, je vous propose un opéra qui se passe pendant la révolution, qui ne fut pas aussi tranquille et salutaire qu'on veut bien l'enseigner. André Chénier, un poète passionné et patriote tombe amoureux de Madeleine de Coigny, fille d'aristocrates que la révolution accablera. Gérard, leur ancien domestique, est devenu chef révolutionnaire, l'aime et la veut pour lui. L'amoureux idéaliste, l'innocente amante et le rival sans scrupules, voilà de quoi faire un opéra qui vous ravira. La performance de Domingo est excellente, Zancanaro n'a pas non plus à rougir. Cependant, j'ai trouvé Tomowa-Sintov, en deça des mes espérances. On est loin de la Callas, mais de Callas, il n'y en a eu qu'une.

Giordano's passionate and most successful opera is set immediately before and during the French Revolution. Andrea Chénier, an idealistic poet, falls in love with Maddalena di Coigny at a reception at her mother's sumptuous château. Gérard, formerly a servant in the Coigny household, and now a revolutionary, also loves Maddalena. Elevated to the revolutionary court, he seizes the opportunity to have his rival, Chénier, condemned to death. Ultimately moved by Maddalena's devotion and selflessness in trying to save Chénier, Gérard regrets his actions and tries to save Chénier, but it is too late. With Gerard's help, Maddalena takes the place of a condemned woman and joins Chénier in his cell. As the tumbril arrives, the lovers look forward to their death together.

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Turandot- Giacomo Puccini

Turandot- Giacomo Puccini
DVD ISO | 720x540 | MPEG-2 DVD | DTS 5.1 | Language: Italian | Subtitles: IT, EN, FR, GER, ES, CN | 132 MIN | 5.2 GB

Artists: Eva Marton, Plácido Domingo, Leona Mitchell, Paul Plishka, Hugues Cuenod
Stage and set design: Gianfranco Zeffirelli | Conductor: James Levine | Director: Kirk Browning | Recording Date: 1988 | Place of recording: The Metropolitan Opera

Turandot is the one Puccini Opera that lends itself to the most opulent of settings. Franco Zefferelli is one of the few producer/directors who could fill the expanse of the Met stage with jewels in a setting. Domingo is at the height of his career and Marton is perfect as the icy princess. Kudos especially to Leona Mitchell as Liu and Paul Plishka as Calaf's father, Timur. Incidentally, there are the best Ping, Pang and Pong I've ever heard or seen.

Dans une Chine médiévale imaginaire, la cruelle Princesse Turandot dont la beauté est légendaire attire à Pékin de nombreux prétendants lesquels doivent se soumettre à une terrible épreuve : s’ils élucident les trois énigmes que leur propose la princesse ils gagnent la main de celle-ci ainsi que le trône de Chine ; s’ils échouent, c’est la décapitation qui les attend.
Au moment où l’exécution du Prince de Perse est imminente, le Prince Inconnu arrive à Pékin et retrouve par hasard son père, roi de Tartarie déchu en exil et devenu aveugle ainsi que sa jeune guide Liú qui aime le Prince en secret depuis qu’un jour celui-ci lui a souri, à elle, une esclave.
Le Prince Inconnu condamne fermement la barbarie de la Princesse mais, lorsque celle-ci apparaît, sublime, impassible, pour ordonner d’un geste la mise à mort, il en tombe amoureux et se précipite, au mépris des imprécations de son père et des larmes de Liú, pour frapper de trois coups le gong qui le déclare candidat aux énigmes.

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English synopsis

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Tamerlano - George Friderich Handel (2008)

Tamerlano - George Friderich Handel (2008)
3 FULL DVD ISO+ Booklet | 720x480 | MPEG-2 DVD | DTS 5.1 | Language: Italian | Subtitles: IT, EN, FR, GER, ES | 242 MIN | 12.3 GB

Artists: Plácido Domingo, Jennifer Holloway, Luigi De Donato, Sara Mingardo, Monica Bacelli....
Stage and set design: Graham Vick | Conductor: Paul McCreesh | Recording Date: 2008 | Place of recording: Teatro Real Madrid

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano's Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria's two failed attempts on Tamerlano's life and then Bajazet's suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is `dark' opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel's operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

FULL REVIEW

MusicWeb International, Robert McKechnie, May 2009:

If Handel's two other great operas, Giulio Cesare and Rodelinda, are well known then this third of the trio of `greats' should certainly join them. This production will do much to underline that.

For some years now the phrase `director's opera' has had a pejorative ring - sometimes with justification. This production has Graham Vick written all over it. Further, the music director James McCreesh concedes that that extends to choice of versions of scenes. "What do you mean, `choice of versions of scenes'? An opera is an opera is an opera." Sorry but it is not: that is what we have come to expect today but Handel and very many composers re-wrote scenes or omitted, added or replaced arias according to the ability of the available singers. And Tamerlano is no exception. No, I do not intend to bore you with a detailed analysis. One example will suffice: death or coronation in the last scene? Well, here you get both.

What of the plot? The psychopathic Tamerlano has captured Ottoman leader Badajet and daughter Asteria. Tamerlano's Greek buddy Andronico falls for Asteria. Meanwhile, Irene, princess of Trebizond, is on her way for her nuptials with Tamerlano. Tamerlano then decides that he will marry Asteria and palms Irene off on Andronico. Asteria's two failed attempts on Tamerlano's life and then Bajazet's suicide persuade Tamerlano to revert to the original marital arrangement. Thus, theoretically, all ends happily but the music suggests otherwise, as it has throughout. This is `dark' opera: Handel at his compelling best with some remarkable conventional da capo arias. There are three sections ABA where the singer is allowed free rein in the third which was much to the point of Handel's operas when first produced: an opportunity for florid vocal display. And if you ever thought that da capo arias are repetitiously dull and boring then watch and listen. Further watch and listen carefully to the last scene where Handel almost ignored the musical conventions.

In Handel's day productions were virtually static: singers stood and delivered and then frequently left the stage to applause hence, called, the exit aria. Curiously McCreesh describes this production as "quite still". Maybe: in comparison with other operatic productions. However, for me, Vick instils this one with wholly appropriate body and facial movement. I cannot pretend that I understand all of the symbolism, particularly of the silent `groupies' who accompany some of the singing: and just occasionally distract attention from it - an example is during the only aria given to Leone - Tamerlano's henchman. That aside, the acting here is first class, capturing Tamerlano's almost demonic personality, Badajet's decline and his reciprocated love for Asteria and also Andronico's constancy.

We expect no less. This is Monica Bacelli, the proven exciting Handelian in the title trouser role and the `imported' Plácido Domingo as Badajet; `imported' because this is his first Handel part in over a hundred roles and it is perfectly suited for him: a truly dramatic tenor.

Bacelli is in excellent form displaying a neurotic vibrancy through very expressive movements. This is not `stand and deliver' and nor is it a general-distraction cavort about the stage: but it is movement to encompass the stage and engage the audience in her characterful playing. Yes, and she sings too. Whilst her smaller voice contrasts with Domingo's power she never loses her strong focus or line and elegant phrasing. Not a pitch out of place, not a run slurred; most arias at a faster pace with opportunity for colouring and strong tones that she never misses.

Domingo is equally splendid portraying the beaten leader. Dramatic singing throughout. If I have a slight hesitation it would be about vocal flexibility in the quicker aria Ciel e terra (disc 1 track 15) - hardly surprising in a singer of his years which generally show no sign of catching up with him. But here I am being `nit-picky'. His is vocal drama which makes us empathize with a fallen leader of the Ottoman Empire and renders understandable the taking of his own life. That is no mean feat when his beloved daughter Asteria still lives. Domingo gives a master class in diction, dynamics and phrasing. His final aria is magnificently delivered as he leaves the stage backwards into the darkness.

The Swedish soprano Ingela Bohlin effortlessly despatches the role of Asteria, or so she makes it appear. This high-lying soprano role does not trouble her. In her splendid aria Cor di padre (disc 2 track 24) at the end of Act 2 she vocally wanders about at the top of and above the stave, occasionally leaping there with total accuracy. In her aria Se non mi vuol amor (disc 1 track 13) she leaves high notes just hanging exquisitely in the air. She has a very secure vibrato - and that is not an oxymoron - and a gentle trill which adds much to aria meaning and audience enjoyment.

Sara Mingardo is a true contralto but noticeably of smaller voice. Bearing in mind how responsive McCreesh is with the orchestra for the forte and piano of the roles for Bacelli and Domingo, it is disappointing that he does not at all times afford Mingardo that same facility/kindness/support. Mingardo has wonderful vocal flexibility with quite remarkable beauty of tone. No applause for her act 1 aria Bella Asteria (disc 1 track9) which I would have expected to lead to sustained applause. Her timbre balances extremely well with both Bacelli and Bohlin to produce some delightful sounds.

Jennifer Holloway, as Irene arrives on stage aloft by some three metres on a gorgeous blue elephant on wheels. Could it be that the slightly irregular jumbo traverse of the stage contributes to her occasional lack of smoothness and steadiness of note in her opening aria? Certainly when back on stage terra firma her smooth clarity of note returns and when singing piano there is great beauty of tone.

De Donato, as Leone, is afforded one aria. Here it is the act 2 Amor dà guerra (disc 2 track 10) as opposed to the act 3 option of Nel mondo e nell' abisso. Apart from a slight hint of effort when on serious high he sings clearly with a firm line. His problem, or rather our problem, is to concentrate on him while three pairs of `supporters' perform a variety of symbolic mimes. Despite watching it several times I remain convinced that I do not fully understand all the symbolism.

That applies also to movements that take place on the balcony which goes around the semi-circular stage where the `groupies' perform various mimes in slow motion around it or small blue elephants move equally slowly. That leaves a bare stage over which hangs the celebrated foot on the globe (no prizes for guessing that piece of symbolism) variously pushed up by Badajet or crushing him or Asteria. It also ascends and descends almost imperceptibly as appropriate to the stage action. In act 2 in what is almost a coup de théâtre it revolves through 180° to reveal its hollow back with gold lining and a seat that becomes Tamerlano's throne.

The only stage prop which doesn't seem to me to be particularly effective is the long bench protruding from the back stage in the first part of act 3 which serves at Tamerlano's throne. Otherwise, the stage effects together with the matching half moons near stage front that move together to form another circle and become a prop in their own right, are spectacularly effective.

Colours are also fundamental. The stage is white, the costumes black and/or white except for the splendid Act 2 vivid lime green for Tamerlano and later a brilliant cerise. Irene has similarly strongly coloured costume when on her elephant. As you can see above Badajet and daughter are in white and remain so throughout. Symbolism in colours? I think so.

All that said there is a fault: but not with the production. It is the subtitles: too frequently the translation leaves a great deal to be desired. It is not idiomatic; indeed occasionally it is archaic if not arcane. Rely on them and from time to time you might struggle to follow the plot. Any such problem is overcome by the synopsis - one of the extra features. There is also a helpful commentary in the accompanying booklet.

The final points must be alternative productions and cost. The only alternative DVD that I have found is the recording of the production at the 2001 Handel Festival at Halle (Arthaus Musik 100702). The title role is again taken by Monica Bacelli. Thomas Randle, of distinctive timbre, is Badajet but to my mind is not in Domingo's class for vocal or dramatic acting. If you prefer a counter-tenor for Andronico then here is Graham Pushee in fervent form. Irene is the creamy smooth engaging mezzo of Anna Bonitatibus. Elizabeth Norberg-Shulz and Antonio Abete complete the cast. Jonathan Miller is the director for Halle production and relies primarily on vocal display to captivate the audience. This is indeed a more static performance in seriously colourful Eastern costumes but without the costume contrasts, stage movement and drama of the Vick/McCreesh production.

There are several additional points to note about the Halle production. First and surprisingly the singers are `miked'. Second there are numerous extras including interviews with noted Handelians and some interesting historical film footage. In addition it offers as a special feature "Score plus: read the score as subtitle". When elected the performance fades and continues in the background with the score superimposed over it: novel and seriously expanding the opportunities for enjoyment.

On the internet I found that this Vick/McCreesh production is a fiver dearer than the Halle production and at a best price of around £24 it is not cheap - but for me it is worth every penny or euro for this sensitively filmed three disc set with one act on each.

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Samson et Dalila - Camille Saint-Saens (2004)

Samson et Dalila - Camille Saint-Saens (2004)
1 DVD ISO+ booklet | 720x480 | MPEG-2 DVD | LPCM, DTS 5.1 | Language: French | Subtitles: EN, FR, GER, ES, CN | 148 MIN | 7.14 GB
Artists: Placido Domingo, Olga Borodina, Sergei Leiferkus, René Pape...
Stage direction: Peter McClintock |Conductor: James Levine | Direction: Brian Large | Recording Date: 1998 | Place of recording: Metropolitan opera, NY

Palestine, 1150 B.C. In a square in Gaza, a group of Hebrews beg Jehovah for relief from their bondage to the Philistines; Samson, their leader, rebukes them for their lack of faith. When the Philistine commander, Abimélech, denounces the Hebrews and their God, Samson kills him and leads the Hebrews away. The High Priest of Dagon comes from the Philistine temple and curses Samson's prodigious strength, leaving with the slain man's bier.....

Samson et Dalila est un opéra français composé par Camille Saint-Saëns sur un livret de Ferdinand Lemaire. La première (création en allemand) a eu lieu au théâtre de la Cour grand-ducale de Weimar, le 2 décembre 1877.
Basé sur l'épisode biblique de la séduction de Samson par Dalila, c'est le seul opéra de Saint-Saëns encore inscrit au répertoire. Des scènes étrangères le donnent régulièrement, notamment le Met.

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Faust- Charles Gounod (3 CD) - 1990

Faust- Charles Gounod (3 CD) - 1990
Nicolai Ghiaurov, Placido Domingo, Mirella Freni, Marc Vento | conducted by Georges Pretre -Orchestre de l'Opera de Paris
APE tracks (No Cue+No Log) JetAudio | Opera | 777 MB | RS.com

Faust de Goethe revu dans le goût du xixe siècle par Barbier et Carré, librettistes vedettes de l'époque et Gounod le plus grand mélodiste français, est devenu un des opéras français les plus représentés. L'Air des Bijoux et la Castafiore ne sont pas pour rien dans la perpétuation de son succès ! Mais au-delà des clichés, Faust est un formidable opéra où cohabitent religieux, fantastique et diabolique.

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CD1
Charles Gounod - Introduction
Charles Gounod - ACT 1 - Rien! En vain j'interroge...
Charles Gounod - Ah! Paresseuse fille...
Charles Gounod - Mais, ce Dieu que peut-il pour moi? - Me voici!
Charles Gounod - A moi les plaisirs...
Charles Gounod - ACT 2 - Vin ou bière
Charles Gounod - O sainte médaille
Charles Gounod - Avant de quitter ces lieux
Charles Gounod - Le veau d'or
Charles Gounod - Merci de ta chanson!
Charles Gounod - De l'enfer qui vient émousser nos armes
Charles Gounod - Nous nous retrouvons, mes amis!
Charles Gounod - Ainsi que la brise légère...
Charles Gounod - Ne permettrez-vous pas ma belle demoiselle

CD2
Charles Gounod - Introduction
Charles Gounod - Faites-lui-mes aveux
Charles Gounod - C'est ici?
Charles Gounod - Attendez - moi là, cher docteur
Charles Gounod - Quel trouble inconnu me pénètre!...Salut! demeure chaste et pure...
Charles Gounod - Alerte! la voilà!
Charles Gounod - Je voudrais bien savoir... Il était un roi de Thulé
Charles Gounod - Un bouquet!... O Dieu, que de bijoux!
Charles Gounod - Seigneur Dieu, que vois-je!... Dame Marthe Schwerlein, svp?
Charles Gounod - Prenez mon bras un moment!
Charles Gounod - Il était temps!
Charles Gounod - Il se fait tard!
Charles Gounod - Tenez! Elle ouvre sa fenêtre!... Il m'aime!
Charles Gounod - Introduction
Charles Gounod - Elles ne sont plus là!
Charles Gounod - Marguerite!... Siebel!
Charles Gounod - Si le bonheur...
Charles Gounod - Seigneur, daignez permettre...
Charles Gounod - Souviens-toi du passé
Charles Gounod - Quand du Seigneur...

CD3
Charles Gounod - Déposons les armes!
Charles Gounod - Gloire immortelle
Charles Gounod - Allons, Siebel!
Charles Gounod - Vous qui faites l'endormie
Charles Gounod - Que voulez-vous, messieurs?
Charles Gounod - Par ici, par ici, mes amis!
Charles Gounod - Écoute-moi bien, Marguerite
Charles Gounod - Dans les bruyères
Charles Gounod - Jusqu'aux premiers feux du matin
Charles Gounod - Que ton ivresse, o volupté
Charles Gounod - Intermezzo
Charles Gounod - Va-t'en!
Charles Gounod - Mon coeur est pénétré d'épouvante!
Charles Gounod - Ah! C'est la voix du bien-aimé!... Oui, c'est moi, je t'aime!
Charles Gounod - Alerte, alerte... Anges purs... Christ est ressuscité
Charles Gounod - Les Nubiennes
Charles Gounod - Adagio
Charles Gounod - Danse antique
Charles Gounod - Variations de Cléopâtre
Charles Gounod - Les Troyennes
Charles Gounod - Variations du miroir
Charles Gounod - Danse de Phryné

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