Oct 06

Magic Moments of Opera ★★★★★
This is a set of ten operas, each of which is reviewed separately below. This set seemed to be a good buy at $11/opera, which I purchased hoping that at least a few would be reasonable performances.
Now that I’ve seen the entirety of these operas, I offer my comments on each individual opera. Regarding the entire set, my only advice is to not hesitate and purchase the set. It is a super bargain, without a single “bad” opera.
People ask me why I like opera. These performances are prototypical. A movie star needs to act well, but is rarely required to sing. When they do sing, nobody expects them to sing well. Think of Julie Andrews in The Sound of Music, or Clint Eastwood and Lee Marvin in Paint Your Wagon—nice acting, but rather mediocre singing. Then you have the opera. The singing is extraordinarily complex and challenging. Yet, the acting is not mediocre, but quite well done. The demands on the opera singer far exceed that of the typical actor/actress.
I am not a professional musician rating these operas, and I’m sure the professional would provide a different commentary on each opera than I offer. As a musician, I am so bad I can barely sing on tune. I can make it through Für Elise and Mozart’s Andante Cantable on the piano, played the sousaphone in grade school band, I’ve listened to everything Robert Greenberg ever recorded for the Teaching Company, I’ve always loved music theory and music history, drool and get weepy over anything ever written by Bach, but never mastered anything musical. Yet, that doesn’t distract me from considering opera to be one of the highest art forms available. I also cannot paint worth beans, but still have strong feelings when stepping into an art gallery. Opera gives me that same sense. I review these as opera for the discriminating but otherwise common man.
★★★★ Georges Bizet – Carmen, live from the Wiener Staatsoper 1978, with Elena Obraztsova, Placido Domingo, Yuri Mazurok, Isobel Buchanan, Dirigent Carlos Kleiber
I’m not a Carmen fan, as the music is rather glitzy, reminding me of the soap music of Andrew Lloyd Weber. Yet, this performance is superlative, with excellent singing and staging. It’s one of the better Carmen’s that I’ve seen.
★★★★★  Johann Strauss – Die Fledermaus, live from the Wiener Staatsoper 1980, with Bernd Weikl, Lucia Popp, Erich Kunz, Brigitte Fassbaender, Dirigent Guschlbauer
This production of the opera has been around awhile, but is worth watching, as it is performed in a light gala style. Besides the incomparable singing of Popp and Gruberova, the entire opera was well staged and acted, making it an enjoyable three hours of the best of Johann Strauss.
★★★★★ WA Mozart – Die Zauberflöte , live from the Opera National de Paris, 2001, with Piotr Beczala, Dorothea Röschmann, Detlef Roth, Matti Salminen, Dirigent Ivan Fischer
The opera is sung in German, but the presentation is in French. Staging, singing, acting, and filming are all superb. This is not my favorite Zauberflöte, but then, there are so many well done Magic Flutes, that how can one pick a favorite? I was amazed that they had the Queen of the Night performing rather complex acting, while singing an impossible aria. The three children also were totally superlative.
★★★★ Ludwig van Beethoven – Fidelio, live from the Opernhaus Zürich, 2004, with Günther Groissböck, Alfred Muff, Jonas Kaufmann, Camilla Nylund, Dirigent Nikolaus Harnoncourt
Well-performed opera, with superb singing, and enthusiastic directing from Hanoncourt. My only complaint is the near minimalistic sets. To me, it is an injustice to the performers to have them spend countless hours learning their parts, only to give them a set that took 10 minutes to construct and assemble. It is not right. True, Fidelio always has been a nightmare to stage, but surely the Swiss could do better than what they did. The camerawork, by the way, was superb, with views at a live opera that generally are only seen with non-live performances.
★★★★★ Guiseppe Verdi – Aida, live from the Teatro Alla Scala 1985, with Maria Chiara, Luciano Pavarotti, Ghena Dimitrova, Juan Pons, Dirigent Lorin Maazel
This is an opera I’ve had on VHS tape, and so is nice to see in DVD format. The recording is clear, with superb sound. Pavarotti singing Celese Aida is almost as natural as the Beatles singing Strawberry Fields. The staging and props are quite lavish, Chiara is at her best, and the opera flows superbly. This is the best Aida production that I’ve seen so far, and defines what is the standard for this opera.
★★★★ Jules Massenet – Werther, live from the Wiener Staatsoper 2005, with Marcelo Alvarez, Adrian Eröd, Alfred Sramek, Peter Jelosits, Dirigent Philippe Jordan
Massenet’s music reminds me much of Puccini, and even the storyline of Die Leiden des Jungen Werthers is more fitting Italian opera than German or French. Yet, this is very well done. The staging is modern. I typically don’t like revisionist staging or minimalistic staging, but the staging in this performance fits quite well. The singing is superb, and acting exceptional.  The storyline of Werther is somewhat hokey. The last act has Werther singing for about 10 minutes after he shot himself, and lying on his deathbed. Nobody asks the opera to have a perfect storyline.
★★★★★  Richard Wagner – Tannhäuser, live from the Festspielhaus Baden-Baden (2008) – 2 discs, with the Deutsches Symphonie-Orchester Berlin and Philharmonia Chor Wein, Robert Gambill, Camilly Nylund, Roman Trekel, Waltraud Meier, Dirigent Philippe Jordan
This is a superbly performed Tannhäuser, with most remarkable performances for Elizabeth and Heinrich. Wagner’s themselves are challenges, but to act and sing supremely is most notable here. I have only one complaint with the performance. The costumes were great but the prop  for all three acts was horrid and irresponsible. As I complained before, considering the work that the singers and orchestra had to go through to make this opera a success, surely the stage designer could have been a bit more creative than a single spiral staircase for all the acts and scenes of the opera?
★★★★★ Gioachino Rossini – The Barber of Seville, live from the Opera National de Paris (date?), with Joyce Didonato, Roberto Sacca, Dalibor Jenis, Carlos Chausson, Dirigent Bruno Campanella
I loved this production. The singing was superb, the sets were quite elaborate, acting was superb, and it flowed with a wonderful cohesion. I am generally not a Rossini fan, but would not hesitate to claim this to be one of the better Barbers ever recorded. Didonato had a most remarkable voice, but so di Sacca, Jenis and the other singers. If one had to have just one Barber of Seville, this is the one to have.
★★★★ Giacomo Puccini – Tosca, live from the Arena di Verona 2006, with Fiorenza Cedolins, Marcelo Alvarez, Ruggero Raimondi, Marco Spotti, Dirigent Daniel Oren
This was an outdoor opera, which appeared to be filmed in the Coleseum in Rome, rather than the Arean di Verona. In any event, my experience with outdoor performances has usually been dismal, with poor sound and visual elements. This recording had neither, and the sound was superb as well as having meager, though superb sets. The singing and acting were both superlative, and the opera should have gotten 5 stars except for one thing. I am not crazy about the composition of the Tosca opera, and fault Puccini for coming up with an opera story and structure that really doesn’t work well. The Verismo style of this opera leaves a emptiness to the final ending of the opera. This is a personal sentiment, and if one has no problem with the opera Tosca, then this is a very worthy opera to have in ones collection.
★★★★  Richard Strauß – Elektra, live from the Wiener Staatsoper 1989, with Eva Marton, Brigitte Fassbaender, Cheryl Studer, Franz Grundheber, Dirigent Claudio Abbado
This is a dark, forbodding opera, an opera oriented entirely around one person (Elektra), vowing revenge for the murder of her father by her mother. I will not recount the plot as it can be found elsewhere. The opera was produced here as darkly as Strauß wrote it. It is not exactly a “fun” opera to watch; you know you are not at a Mozart opera. The talent and vocal perseverence to produce this challenging and difficult opera are quite remarkable and would buy the opera a 5-star rating. My given rating relates to the fact that this type of opera is really not my cup of tea. Life may be depressing enough, and I don’t need the opera to remind me of that.

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