HERBERT VON KARAJAN - HIS LEGACY FOR HOME VIDEO: ANTONIN DVORAK - SYMPHONY # 9 "FROM THE NEW WORLD"

This another example of fenomenal late Karajan. He really got into the inner aspects of this symphony. My most favorite part is the intentional delay in the low string notes just before the first crescendo in the opening movement. It really gets the american indian spirit like no other version does. The performance is magnificent, almost I would like to see it with the Berliner instead of the Wiener. It seems that at the time Karajan was having problems with the Berliner because of his favoritism to a female clarinetist while the orchestra member said she didn't match (she can be seen performing some Beethoven symphonies in other DVDs of this series). But, coming back to this performance, the Wiener philharmoniker is wonderful and the sound is rich and pure. I you already know this piece, you'll rediscover it in this version. I recommend it. --Juan Keledjian Shop here

Bernstein's Final Word on his Beloved Musical

This is the historic concert performance of the final operatic version of Bernstein's Candide. It was recorded on December 13, 1989 at the Barbican Centre, with Leonard Bernstein conducting the London Symphony Orchestra and Chorus, with a stellar cast of operatic stars gracing the solo parts. The programme lasts a full 2hrs 27 mins. It marks the end of a long and tortured journey for the musical/operetta that spent much of its first 35 years as an orphan in the musical wilderness.

Famously Bernstein had never conducted a performance of Candide in all its 30-odd years of existence. This would be his first and final statement on what many look upon as his problem-child. Bernstein is brimming with energy here. And joy. One can see how happy he is; like a proud father showing off his first-born. Just days after this concert, Bernstein would re-record this work in the studio for posterity. That studio recording with the exact same forces would be greeted with great critical acclaim. Despite the polish of the studio version, this live concert recording is for me the preferred choice. Here we can both see and hear the electric intensity that only comes with a live performance. Jerry Hadley with his wide-eyed innocence evokes the quintessential Candide. June Anderson (Cunegonde) also performs far better here than on the studio recording although she and most of the crew including Bernstein were down with the flu epidemic then sweeping London. Christa Ludwig is charming and delightful as the Old Lady. And you even get to see her twirling around with the castanets during her solo. The great Nicolai Gedda, makes a distinguished appearance as the Governor. I felt that Adolph Greene (Dr. Pangloss/Martin) was a little miscast here in this operatic Candide but he brings great showmanship and panache to his part. The LSO and Chorus are splendid throughout. This is late Bernstein and tempi are generally broad though you'd not notice it, such is the intensity the maestro conveys. As several reviewers have noted, the finale, "Make Our Garden Grow," unlike in most productions where it is simply a pleasing number meant to send the audience home humming, is here under Bernstein, glowingly transcendent; almost a spiritual experience, approaching the level of a Wagnerian Opera or a Mahlerian Symphony.

The concert includes all the linking narratives that were omitted from the studio recording. Also missing from the studio recording are the frequent interjections Bernstein himself makes throughout the concert. Act I is preceded by a 5-minute mini-lecture on the history and philosophy behind Voltaire's Candide with Bernstein warning of the danger of religious sectarianism and intolerance. Bernstein begins his short talk with an impish, "Surprise my dear friends... here comes the old Professor to lecture us again..." He continues the lecture in the prelude to Act II where he talks about the relevance of Voltaire's work to the present world, the musical's genesis in the anti-communist hysteria of the 1950s and reiterates the dangers of intolerance. In Act I's "I Am Easily Assimilated," he gleefully jumps in to explain that Rovno Gubernya is not found in Voltaire but is a tribute to his own father's birthplace in the Ukraine. The finale brings thunderous applause and whether it is that or, as Bernstein says, the "Royal Flu," one can see that his cheek is streaked with tears as he struggles to thank the cast, the crew and the audience. One would like to think that they were tears of joy that his wayward child had finally found acceptance with his beloved public.

Deutsche Grammophon has finally released this concert on DVD in a fine transfer that preserves the original 1.33:1 aspect (Full screen). Picture quality is good considering that this was recorded on video. The image is acceptably sharp. Colours are strong and natural. Audio is available in the original PCM 2.0 Stereo, or newer DTS and DD 5.0 remixes. Not sure why DG chose the 5.0 (No subwoofer) format but it sounds just fine with the deep bass redirected to the main speakers as in a standard stereo setup. Optional subtitles in English, German and French are also provided. Aside from a few DG trailers, there are no Extras. The DVD comes with a 12-page booklet with a short essay by John Wells who co-authored the Candide narrative with Bernstein, as well as a brief synopsis and track-listing enumerating the 67 individual chapter-stops. The DVD is Region 0 (Playable Worldwide).--dooby See more

Georges Bizet - Carmen / Peter Hall, Bernard Haitink, Maria Ewing, Barry McCauley, London Philharmonic, Glyndebourne Festival Opera (2005)

Carmen is one of the few indisputable masterpieces of its time to be composed for a small theater and Glyndebourne provides a heaven-sent backdrop for this sizzling Peter Hall production. "Bizet's score sounds miraculous in this theatre. " FINANCIAL TIMES. The accent is on stark realism and dramatic intensity. An electrically vivid Carmen is portrayed by Maria Ewing ".a rare combination of gifted singer and outstanding actress" SUNDAY TELEGRAPH. Bizet's famous Spanish gypsy is matched with the sentimental Don José of Barry McCauley ".an American tenor of real promise.a thrilling Don José" OBSERVER. Bizet's famous score includes such favorites as the Habanera, The Flower Song, The Toreador's Song and perhaps the most famous overture of all opera. "The London Philharmonic under Bernard Haitink is honouring every treasurable detail of Bizet's enchanting score" INTERNATIONAL HERALD TRIBUNE. Shop here

Georges Bizet : Carmen

When this production of 'Carmen' was mounted at the Vienna State Opera in 1978 it caused quite a stir. Mostly that was because Carlos Kleiber rarely conducted opera and when he did it was always an occasion. And Zeffirelli, controversial but brilliant as an opera conductor, always created a stir with any new production of his. This film was also directed by Zeffirelli for Austrian television and as far as I know it has not been available in general circulation since its initial airing. It is a fitting tribute to Kleiber whose death this last summer was a blow for the classical music world. He was surely one of the great conductors of recent times.

Plácido Domingo is in his prime here as Don José. In Act II 'La fleur que tu m'avais jetée' ('The Flower Song') is thrilling, even though he doesn't quite manage the pianissimo ending Bizet intended. There is a five-minute-plus ovation at its finish, and it is well-deserved. It is interesting that Zeffirelli left the entire ovation in his edited film because there are many other places in the performance where the applause has been edited out. One wonders if he wasn't playing favorites with his cast. Elena Obraztsova gets silence after several of her arias, but Isobel Buchanan gets a huge ovation after her Act III 'Je dis que rien ne m'epouvante,' again deservedly so. It is true that Obraztsova is not an ideal Carmen, at least in the early going when she is supposed to be the alluring, devil-may-care gypsy woman. Later, though, in the Card Scene where she repeatedly turns up cards that predict 'La mort!' ('Death!) she is riveting. Our Escamillo is, to my mind, rather a cipher. Yuri Mazurok has a solid baritone, but his torero does not have the necessary vocal or physical swagger, and his French is almost unintelligible. The minor characters are well-taken. I was particularly impressed both vocally and histrionically with the Frasquita (Cheryl Kanfoush) and Mercédès (Axelle Gall), singers not previously known to me.

The undoubted star of this production is Carlos Kleiber. From the downbeat of the Prélude to the very end of the opera, his musical direction is as exciting as any I've ever heard in this thrice-familiar opera. Zeffirelli knew this, too. His camera focuses on Kleiber repeatedly throughout the production, sometimes even interrupting action onstage, but generally only when the orchestra is playing alone. I had never seen Kleiber conduct, so I was very pleased to be able to see this. (I was amused to see him give the opening tempo of those fast sixteenths at the beginning of the fourth act by mouthing to orchestra and chorus 'Puh puh Puh puh Puh puh' before giving the downbeat.) I can imagine others, less interested in the conductor, might feel that Zeffirelli's cutting away to show Kleiber is a distraction. The members of the Vienna Philharmonic play like gods. Their rhythmic precision is jaw-droppingly good. I'd particularly single out the concertmaster and the principal flute for praise.

This is one of those over-the-top Zeffirelli productions. There are huge numbers of people onstage much of the time and Zeffirelli's vaunted ability to direct crowds, giving each member some individual bits to perform, is on show here. The camerawork is such that at times one almost believes one is watching an opened-out movie of an opera, not one confined to a stage. I did think all the donkeys and horses in Act III were a bit much, but the crowd outside the bullring arena in Act IV (and featuring exciting flamenco dancers) was a great pleasure to watch.

The edition used here appears to be the one by Fritz Oeser, with spoken dialog and sans the Guiraud recitatives. That was something new in the 1970s and must have been interesting for seasoned operaphiles. I well remember a 1973 production at the Met conducted by Bernstein and starring Marilyn Horne that broke with precedent by using this new edition. I don't know if that one has made it to video.

Is this the definitive 'Carmen.' Well, first of course one would have to ask if there could ever be such a thing. Is it a good 'Carmen'? You bet it is! I do wish the Carmen had perhaps been a bit more alluring, but one cannot argue with that huge organ-toned mezzo of Obraztsova. And it's hard to imagine a better Don José. Isobel Buchanan's Micaëla is a tiny bit generic (as perhaps the part itself is), but lovely and appealing. Mazurok has his admirers, but I'm not particularly one of them. Still, this DVD rates five stars; it definitely is an occasion and an exciting one. Interestingly there is another Zeffirelli production from Verona on DVD that I like almost as much as this one, even though the cast is a whole lot less famous, but its orchestra is nowhere near as good.

Visually this is stunning and in crisp videography. Sound is clear and in plain vanilla stereo, no options. Subtitles in English, German, French, Italian, Spanish.

Recommended with minor reservations. -- J Scott Morrison Shop here

SMETANA : THE BARTERED BRIDE

As soon as conductor Adam Fischer engages the warp engines and shifts the well known overture into hyperdrive, we know we're in for an exciting performance of Bedrich Smetana's masterpiece, The Bartered Bride. As soon as the wonderful Lucia Popp begins lamenting her impending arranged marriage to the son of the rich landowner Micha from the neighboring village, we know that this will also be a lyrical and emotionally satisfying performance. And as soon as we see the traditional stage sets and costumes, we know that we are witnessing a performance conceived and designed before today's European penchant for updating opera to some strange locale with minimal sets and costumes. This staging of The Bartered Bride is traditional and revels in it.

Filmed live at the Wiener Staatsoper in 1982, the appearance of the townsfolk, wearing their traditional Bohemian costumes, exhuberantly singing and dancing, serves to quickly draw us into the early 1870s and this engaging comedy of love nearly thwarted but ultimately triumphant. Smetana was a confirmed Wagnerian who bridled under the usual criticism of that breed: Wagnerians are great at your typical end-of-the-world conflagration, but they are about as funny as a slow tour of a sausage factory. Smetana set out to prove that he could do funny. The first few years following its 1871 premiere, now in its familiar three act version, were largely unsuccessful. The opera failed to find its audience. All that changed when the libretto was translated into German by Max Kalbeck. It became the basis for the subsequent wildly successful performances at the Theater an der Wien in 1893. It is that German translation that is used here for Otto Schenk's 1982 production.

The late Czech singer Lucia Popp stars as Marenka (Marie). A favorite ever since I first heard her in Klemperer's brilliant 1964 recording of Mozart's The Magic Flute, her ability to fully inhabit a role is in evidence here. Her singing is as lyrically lovely as ever. Siegfried Jerusalem is her beloved Hans. Heinz Zednik is Wenzel, the boy she is forced to marry. Karl Ridderbusch is Kezal, the disreputable town matchmaker. These three Wagnerian singers are a reminder of the roots of this opera and they are splendid. The entire cast is excellent. Superior casting coupled with traditional costumes and lovely set design, yields a positive result: we are pulled, unresisting, into the world of this opera, and we are saddened to leave it when it ends. That's the signature of an exemplary performance. The Orchester der Wiener Staatsoper play beautifully for conductor Adam Fischer. Total time of this DVD is 155 minutes. Sound is in PCM stereo and DTS 5.1, both sounding clear and full. The picture has been digitally remastered and is clear with no artifacts given its age. There are the usual DGG languages, menus and previews.

This is a splendid performance of a great comic opera. It will brighten your day. Strongly recommended. - Mike Birma Buy it now

Puccini - Gianni Scgicchi DVD

Gianni Schicchi is the third and final part of Il trittico, Puccini's trilogy of one-act operas. It is a masterpiece of Italian comedy.

The performance on the new DVD is sheer delight from every point of view. It was filmed live at the Glyndebourne Opera House in 2004. The director Annabel Arden adapted the plot from the Middle Ages to somewhere in the 19th centaury. Sets and costumed are beautiful, and Arden is doing an inspired job, full of surprises.

Vladimir Jurowski conducts the London Philharmonic Orchestra with excellent results. Puccini brilliant orchestration is heard with great transparency due to the excellence of the recorded sound (True Surround Sound).

The singers are all excellent. The extremely funny Alessandro Corbelli takes the title role; Massimo Giordano and Sally Matthews are the young lovers with fresh voices. Felicity Palmer, Marie McLaughlin and Luigi Roni are some of the relatives. Opus Arte should get a very high mark for the technical quality and presentation. Picture is crystal clear and the sound is warm and brilliant. Highly recommended!! --T.C. Read more.

SPECIAL SWAN LAKE

I bought this DVD a few days ago because I had never seen Maya Plisetskaya dance and I'd read so much about her I just had to see what she was all about. I'm glad to say she is fantastic. I have a lot of Swan Lake DVD's and Maya's Odette/Odile is one that stands out. She really creates characters like I've never seen before. Beautiful dancing and drama. On the down side, the lighting of the stage was not very good. Much of the background was in darkness and only the person(s) dancing had light on them. I like to see everything on the stage so I was disappointed with the lighting. I'm still glad I have this recording of Maya Plisetskaya. Now I'll be looking for more of her on DVD. --Titus orange. Buy here.

OUTSTANDING SWAN LAKE! AND A SAD SWAN SONG

This is a wonderful, classical version of Swan Lake. It has all the elements and parts I want to see in this ballet: most of the dance segments and artistic excellence and balance. Right from the beginning we can tell this is going to be a great, energetic ballet as Prince Siegfried comes onto the stage in the very beginning and joins his tutor and jester in a lively pas de trois. it is choreographed by Yuri Grigorovich, Natalia Bessmetnova's husband and the director of the Bolshoi Ballet at that time. He was a great choreographer and was especially gifted at staging the classics so that they fit the standards and requirements of today. The role of Odette and Odile is danced by Natalia Bessmertnova magnificently. She always danced with a combination of technical excellence and dignity. Another remarkable aspect of this performance is the uniform excellence of the dancing. Nowhere is there the slightest imperfection! Additionally, I was very impressed with the combination of youthful vigor and mature stature of all the dancing. All of the ethnic dances are included, and the Black Swan pas de deux follows the Petipa version. Rothbart is also given some great choreography here, something that is often neglected in other stagings. The sets and costumes are also at the highest standard--absolutely gorgeous. The image and sound are very good, as well, but keep in mind that this is a ballet movie on color film, so it has that special quality that film imparts. If you don't mind a Swan Lake on film, this is a fine Swan Lake to have in any collection. Sadly, on February 19, 2008 Natalia Bessmertnova died of a grave, protracted illness, just a few weeks after the release of this DVD. After her retirement from the stage, she had been teaching until her illness.--J.M. Wilinsky Read more.