Costumes Movie Reviews

Dame Joan Sutherland's name is one of the best known in opera history. She was married to conductor Richard Bonynge who launched her career and made her a star. She sang mostly in the 60's and 70's, at a time when Maria Callas's voice was declining as well as her career (Maria Callas had only reigned in the 40's and 50's). Joan Sutherland's voice is miraculously huge. This makes her an essentially dramatic soprano. Even as such, she can sing soft pianissimo and lyric lines (legato) typical of the Italian bel canto repertory. She sang much of the heavy Italian diva roles of the bel canto - Bellini's Norma, Donizetti's Lucia, as well as other challenging roles as Queen Marguerite in Meyerbeer's "Les Huguenots". She had beautiful coloratura as well, evident in her Queen of the Night, Zerbinetta, "Hoffman" heroines and Ophelia from Ambroise Thomas' Hamlet. On this DVD, we have the exceptionally powerful performance of Donizetti's Lucrezia Borgia. No other soprano has truly made the role hers as Joan Sutherland did. The only other "rivals" which are debated about are Montserrat Caballe and Beverly Sills, who coincidentally all sang the same stuff in the same period of time. But rivalry exists only among fans and followers and the venom of the press. Joan Sutherland stood on her own ground and was a remarkable star that shone bright. This is not to say that Montserrat Caballe or Beverly Sills were lesser lights. All these glorious songbirds of the 60's and 70's were equal in success and beautiful to hear in their own light.

Joan Sutherland sings an Oscar worthy Lucrezia on this DVD live performance, eventhough she had sung the role at a time earlier in her career when her voice was in superior shape. There is also a fine recording of Lucrezia Borgia with Joan Sutherland singing the title role in a 1960's recording available at Amazon.com. The reason Joan is older here is that it's either late 70's or early 80' when she was in her fifties and about to retire and when the Met televised broadcasts first went out. Unfortunately, that's the price these singers had to pay to be seen on a performance captured on film. Both Joan Sutherland and Beverly Sills had to deal with aging and declining voices when the opportunity to be televised first appeared. By then, they had a long career of singing sensationally at all the world's leading opera houses far behind them. Alfredo Kraus performs the tenor role of Lucrezia's son. The story is quite dramatic. The Renaissance matriarch, Lucrezia Borgia, who was demonized by many historic accounts of her cruelty and by her ambitious genes (she was the sister of Cesare Borgia after all, Cesare Borgia being the inspiration for Machiavelli's "The Prince"). That she was ruthless and power-hungry is probably true, for after all its power that corrupts any man or woman. Lucrezia's fiery and dark nature is vividly portrayed by Joan Sutherland here, while at the same time showcasing her lyric-coloratura assets (check out the Brindisi and the finale aria). However, Lucrezia's softer side is her maternal nature. She wants to re-establish a relationship with her estranged son but through tragic misfortune ends up poisoning him instead. Her great remorse and feeling of loss is indicated in her final aria as she takes her dead son in her arms.

There is ultimately no superior Lucrezia. So many singers still want to take on this incredible role and kudos to those who try. But we have so many choices to hear from the past- Joan Sutherland with whom you can never go wrong, Montserrat Caballe who provides much fire and passion and Beverly Sills who is transformed in the role of Lucrezia- from light soprano to dramatically masterful (to hear Beverly Sills sing Lucrezia you have to listen to the rare recording "Sillsiana" available on Gala series- a pastiche of many arias and an entire Lucrezia compilation at the end of the album. But we have to applaude Joan Sutherland's unearthly performance as the one and only Lucrezia Borgia. All fans of Sutherland and of opera alike must get this fantastic DVD.

It's and E Flat, not an E natural. Sutherland was long past her high E's at this point. This is a great performance and it was the favorite of Sutherland fans at Covent Garden.

Sutherland is generally consider the greatest Lucretia Borgia of our time. That is on the review on the DVD box set. She is stupendous, a wonder here. She is 53, but she sounds like she's 33 here. She was on that evening, it was a command performance. And the opera stage was covered with a carpet of flowers at the curtain calls that covers the floor completely. This live recording is a total triumph. And the digital recording is as clear as my Titanic DVD that's how good the video and audio is.

Caballe doesn't have a dvd of Borgia. And her coloratura in the final cabaletta is a mess. Caballe also never hit a note above the high C. There are E flats that Sutherland easily hits.
Also Caballe does not have the trill that this role has. Therefore she can't be compare to Sutherland in this fiendishly difficult role.

This video is a perfect example as to why George Carling is known as such a great comedian. His opinions reflect your opinions you're yo scared to share. His acts are funny, as well as very intelligent. Every word he says we can relate to. When he performs, you know he is passionate in it. I'd reccomend this to evryone.

If you want to laugh in hysterics and relate to ordinary every day life, you will want to watch this video. Carlin does it again, as he describes words and phrases in relation to air travel and more. He is one of the best comedians of over two decades and after seeing Jammin' In New York (1992) for the first time, I do not at all regret this purchase. This one should be in any Carlin fan's, albeit, comedy-lover's video collection. Enjoy!

First of all, this is some of the best Carlin stuff. The only comment I have is that the title was misleading to me: one of the shows is called "Doin' it Again". Since this title is not on CD, I though that it was something I did not have. After receiving the DVD, it turned out that it was another name for the CD "Parental Advisory - Explicit Lyrics". Nevertheless, fantastic comedy...

This is one of the all-time desert island opera films. It catches some of the best recent singers in top form, and in an ingenious production. Obviously, people knew this performance was going to be something special, since you can see royalty in the boxes of the Covent Garden Opera House.

Placido Domingo has ruled Otello for about thirty years, and you couldn't ask for a better performance than he delivers here. He sings with the maturity only a man of his age could provide, but his voice sounds years younger than it really was. His acting and singing are positively Shakespearean.

Desdemona is not nearly so deep a role but it is certainly a beautiful one, and Kiri Te Kanawa gives us some ravishing tones. She and Domingo obviously work well together and they make a wonderful stage couple here.

Sergei Leiferkus is a controversial Iago here as elsewhere, but I've never had the slightest problem with him for these reasons: he's fabulously talented (listen to the perfectly executed runs in the drinking song), he makes his somewhat gritty voice sound appropriately villainous, and his acting is about ten times more nuanced than almost all other opera singers.

Sir Georg Solti leads a typically explosive and dramatic orchestral performance; his dynamism is perfectly suited to this opera, and he shapes the quiet and beautiful phrases well too.

All this takes place in the context of a very well-thought-out stage production, which is basically realistic but full of interesting touches which keep it from being at all mundane.

Performances of this caliber are extremely rare, and we are lucky to have this committed to video (and DVD: I hope to replace my VHS soon). If you love opera, do yourself a treat and get this movie!

Placido Domingo is rightly considered a reigning Otello of the late 20-th century. He has the voice, the looks, and the acting ability to bring the tormented warrior to life.
I have to recommend this full opera house version over the celebrated film version. The main reason for it is that the latter has several frustrating cuts, including the Willow song and Otello/Iago duet "Si per ciel".
The supporting cast is very impressive. Te Kanawa looks and sings an ideal Desdemona, even if she's not a mover and shaker in this role as Tebaldi in the past or Fleming currently. Speaking of Fleming, when will we finally see or hear the MET "Otello" with her, Domingo, and Morris, conducted by James Levine? It was broadcasted over the PBS, so I can't see why it can't be made commercially available.
The Russian baritone Sergei Leiferkus is an unusual Iago. His voice is light and "tenorial" so to speak. Thus, he sounds somewhat like Otello's darker alter ego, which is an interesting twist that makes a story more believable.
Solti, of course, provides a marvelous, brilliant sound, and the chorus work is very good. The picture quality is almost perfect.
Don't hesitate; this is an "Otello" to treasure.

This is, and by far, the best Otello available on DVD. It is far superior to Karajan's with Vickers in the tiltle role and mainly technically where the movie's picture rarely follows the sound.

Also, we have here a much better Iago (seguei Leiferkus) who is far superior to Glossop's Ugly Iago. Glossop is vulgar in both singing and acting. Leiferkus is far from being great. He overacts very often ("L'o vidi in man do Cassio" is desastrous)but is over all acceptable.

However, the main reason for owning this version is Domingo's Otello. Arguably, he is the Best. He has a weaker voice than Del Monaco (that is not necessarily bad) and he has a smaller voice than Vickers but he surpasses them both in the understanding of the role and in showing vocally Otello's power, rage and jealousy. And, very objectively he has a much more beautiful voice than both his "rivals".
Also remember that this is a DVD and we have to confess that No one acts as good as Domingo...

Solti's conducting is the other amazing feature and unlike Karajan there are no cut in the score.

Te Kanawa's Desdemona makes finally the perfect cake for this version...

Julia Sweeney's one-woman show about the time in her life when both she and her brother were dealing with cancer has been filmed and is now on DVD. GOD SAID, HA! does not hide the fact that Julia Sweeney is performing a one-woman show. She stands on a stage and delivers the monologue as the audience watches and laughs.

Julia Sweeney is best known as the asexual character "Pat" from Saturday Night Live. In monologue-mode here, Sweeney is much softer and sweeter than I imagined her to be after watching SNL. She's basically a nice Catholic girl and the stories she tells about her family are engaging and charming. Her manner of delivery is very matter-of-fact and a bit "stagey". But don't be turned off by that. The story she's telling has a payoff, and her message is honest and true.

GOD SAID, HA! will not rock your world. But it is a slice of Julia Sweeney's life - both comedic and sad.

Since I've had cancer, lots of people give me books on the topic. It's not often I actually read one all the way through, and the only one I really LOVED was "Bald in the Land of Big Hair" by Joni Rodgers, because it's really hilarious and not about cancer so much as it's about the rollercoaster of life. This book is a close second to "Bald" -- funny and able to be really cool about life and death issues. I couldn't stand that Pat skit on SNL, but Julia is a wonderful writer!

Julia Sweeney's God Said Ha! is a marvel of a book. The book is about Sweeney's life, and her struggles. One minte it's funny, the next is heartbreaking and touching. The real beauty of the book, and Sweeney's wonderful writing, is that the book can be heartbreaking AND funny at the same time. The book deals with her brother Michael's bout of cancer. He moved in and she took care of him, while maintaining her sucessful career. Then, in a horrib;e twist of fate, Julia learns that she has cervical cancer. The same kind of cancer that claimed the life of Sweeney's SNL peer Gilda Radner. Luckily, Julia survived. The book also touches on her parents, who are told about in a truly hysterical way. How many parents are like this?. The book is a swift read. It's very easy to get into and read in almost one sitting. I actually got to meet Ms. Sweeney on a few ocassions. My family babysat her niece and nephew. She came to my house as well. We were also lucky enough to be invited to the premiere of her 'Pat' movie, as well as a reading from the book by Sweeney herself. She is a sweet, lovely person. This book is sweet as well. A good read. Trust me.

I was glad to find this DVD just shortly after reading the play. While I enjoyed reading it very much, I found the play to be very confusing. Just from the text alone it was hard to tell what was real and what wasn't. Seeing the film version of this triumphant play really helped a lot. "Death of a Salesman" is a sad and tragic drama that emotionally involves you from start to finish.

Willy Loman is a tired and heart-broken salesman who no longer lives in the world of reality. Instead, he is trapped in his world of delusions. Each day that passes by seems to be worse and worse for Willy. He spends way too much of his time in the past when he needs to be focusing on the future. His wife and two sons have no idea what they should do for him as they know that he is heading towards disaster in this unforgettable drama.

Like I said, to actually see this really made me appreciate the play more than just reading it from the text. It can get confusing when you only have the words, but when you see it performed it all comes together and make sense. The acting is terrific. Dustin Hoffman really does an outstanding job of playing Willy Loman. Not only does he just "act" the part out, he "becomes" Loman. I admit that I had my doubts at first, because I didn't see him playing the part. My doubts quickly fled from my mind after the first 10 minutes or so. Everybody else is also terrific as well. (Wow, look how young John Malkovitch looks!) I think the movie does a fine job doing Arthur Miller's play justice.

The DVD is pretty neat as well. The picture quality is good, considering the fact that it is an old movie. The DVD also includes a feature length documentary behind the movie, which is really entertaining, and a still gallery. While it may seem like this DVD doesn't have a lot to offer, the documentary really makes it worth-while.

"Death of a Salesman" is a powerhouse drama that hooks you from start to finish. Reading it is one thing, but to actually see it makes it much more enjoyable. If you just read the play from the text it can be pretty confusing at points. If you're looking for a great dramatic movie with great acting and writing, then this is something you should really think about checking out.

This 1985 film of DEATH OF A SALESMAN, directed by Volker Schlondorff, recreates Arthur Miller's original casting ideas for the three principal characters. Miller had originally envisioned Willy Loman, the unsuccessful traveling salesman of the title, as a physically small man with a big wife and two big, strong sons; in this film, that is exactly what we get: Dustin Hoffman as Willy, Kate Reid as Linda, John Malkovich and Stephen Lang as Biff and Happy. Whereas the original Willy on Broadway, Lee J. Cobb, was large and imposing, Hoffman's Willy is a ridiculous little man with impossibly high ideals. His is a humorous and pathetic rather than a tragic interpretation, but this is perfectly valid - there is, after all, more than one way to "be" Willy Loman. And viewers should keep in mind that Miller himself praised Hoffman's characterization, naming him among his three all-time favorite Willys (the other two being Cobb and Warren Mitchell, the British actor who played in an acclaimed London revival).
Kate Reid gives a strong performance as Linda, Willy's loving and suffering wife. She is vicious in her defense of Willy to her sons, especially at the end, when she orders them to
"get out of this house...get out of my sight." John Malkovich, with his soft-spoken voice and timid manner, might seem unsuited to Biff, the "all-American football hero" -
but I don't think so. To me, Malkovich's halting delivery suggests that Biff is a confused young man who thinks deep thoughts but lacks the education to be able to articulate them well. Malkovich's performance is a revelation in many ways: in the restaurant and final "confrontation" scenes, for example, we sense that Biff now sees Willy realistically for the first time in his life, and is therefore able to act more fairly towards him. The tragedy, of course, is that Willy is still unable to see reality and Biff is unable to MAKE him see it.
Stephen Lang is unobtrusively excellent as Happy, Biff's neglected younger brother. Charles Durning also does an excellent job as Willy's prosperous neighbor, Charley, who has no illusions about Willy (I always laugh when Willy sneaks a look at Charley's cards during the card game scene, and Charley, without a word, turns the cards over so that Willy can see them.). Joseph Polito is fine as Charley's successful son, Bernard. The small roles are all done well, particularly Tom Signorelli as Stanley, the waiter in the restaurant and an old family friend of the Lomans ("Sure, you look...all right."). Schlondorff's direction is great, with so many telling and memorable moments. The hotel-room confrontation between Willy and Biff is affectingly done: Malkovich is touchingly vulnerable, his last cry to Willy of "You fake!" heartrending. The final confrontation between the two was filmed in several "takes," making the viewer feel that he/she is caught right in the middle of a terrifying family argument. Last but not least, the music - especially Willy's idyllic "flute" theme -is very helpful in conveying mood.

I watched this film for a class. The dialogue and italicised action words were brought to life with epiphany-like energy. I had no idea that something taught in a college classroom could be so closely related to real life. Not only a theoretical approach to, but also a practical application of self introspection or assertive evalution of the people around you can be felt in this film's presence. There are a million Willy's and Biff's in this world. The sad truth of their inherited station in life gives an overall dim view of class and class struggle that is present in our country. Biff's willingness to "lay down" gives an air of relief and stablility to the hidden consensus we all know in our minds as "the meaninglessness of life." As some people say and most agree "life sucks then you die...so why try?" This film and play proves that the nuclear family unit gives meaning to the circular activities we partake in (survival of the family)...but eventually the overall traditions and togetherness of the family will dissolve, evolve or simply die out. In this play we see the family evolving out of misunderstanding and irrational goal setting into complacency and possibly alcoholism...Happy especially.

As for the acting...it doesn't get any better than this. Take a Sunday afternoon and watch this film closely without objection or boredom. This film is a great example of "art meeting life." There is not much distinction between the two in this case.

This is a must see for any fan of Theatre, Brooks, Lane, or Broderick. Not only does this documentary allow the viewer to see and hear 13-14 songs beinging recorded, which is so rare in these kind of specials, but it captures the energy and overall excitement that is in the air from the first minute of film. Mel Brooks, grinning from ear to ear, hosts and fills the viewer in on what happenes between the songs being recorded. It is so obvious from the get-go that "The Producers" is a labor of love for him, and he seems to be on cloud nine the entire special. Nathan Lane, the veteran theatre and film actor, is a joy to watch as he uses his powerful voice wonderfully, often complaining that he can not hear himself when he's singing-which leads to a very funny bit with Lane mocking the sound editor. Matthew Broderick, shy as ever, has the funniest bit in the entire documentary. With a prompt from Lane, he goes into a dead-on Marlon Brando impression that has the cast in stiches (Broderick worked with Brando in the hilarious Godfather spoof "The Freshman"). All-in-all, no substitude for the show, which was incredible, but a great look at the creator, cast, crew and collaboration that gave us "The Producers"!!

If you love Mel Brooks' work, you'll love this film about how the Broadway hit, The Producers, came into being. A fully entertaining behind-the-scenes look at what it takes to pull a musical production together and have fun doing it! Mel is completely endearing as himself, and Matthew Broderick does a Brando impersonation that will keep you in stitches. I could watch this over and over.

I just saw the road company of The Producers several weeks ago in Pittsburgh. What a fantastic, hilarious musical! I didn't think it would be the same without Lane and Broderick but I was wrong.

Still, if you want to see the original and didn't make it to Broadway to see these two good actors, this DVD fits the bill.

The DVD is a fascinating behind the scenes look at the recording of a cast album - in this case from one of the funniest musicals ever. Mel adds to the fun with his stories and description of the action. Of course, seeing the play, costumes and sets are even better (there are a number of stills from the play to see on the DVD) but listening to the music makes up for it.

The best songs are the hit "Springtime for Hitler" and "Heil Myself," but all are very good.

If you can see the play - go! But if you can't - or if you did and want to relive a great experience - get this DVD. It will do until they, hopefully, put the play on film. What a great companion that would be to the Mostel/Wilder film version!

This is a nice, solid production of "Le Nozze di Figaro," but I do agree with Lawrence that the sound is not as good as it should be. Where is the clear, soaring majesty of Mozart? I found that adjusting my receiver to Dolby mode does help, though.
Somehow, the minimal staging--which can of course work very well, especially for a live audience--is a bit too minimal for this production. I just feel that "something" is missing--perhaps because the costumes are so traditional that there needs to be an elaborate Rococo set to go along with them--or maybe the stage just seems spare because this is a DVD recording. I'm not sure.
(A little warning for parents--I played this in front of my children when I first got it and felt unprepared when my six-year-old encountered scenes that would normally give the film a PG-13 rating. It helps to be forewarned, anyway.)
I am still looking for a production of this opera that I absolutely fell in love with about ten years ago. I caught it on TV while on a business trip, and I don't remember who was in it, but it was especially clever and charming. The action takes place in Trump Tower and I specifically remember Barbarina's wearing Batman earrings. Does anyone by chance know about that delightful production?

This is generally a sparkling, enjoyable production. The principal singers do a wonderful job both musically and dramatically, and it's a treat to see people in these roles who are young enough to "fit" the characters properly. Bernard Haitink and the London Philharmonic are an absolute delight.

However, two caveats. The sets are a slightly uneasy mix of flats in Ellsworth-Kelly-esque primary colors and dabs of period furniture; also, the lights dim for "serious" moments, an annoying, superficial touch. Much more problematic is the DVD sound mix. The orchestra comes off superbly, but voices are sometimes lost and muffled-sounding. I actually checked my center channel to see if it was active! Balance-wise, the stereo version is no better. This is just a word of caution to those who like to hear the SINGERS in an opera.

One of my favorite operas, done so well. I love Mozart Operas and Glyndebourne knows how to do their operas! You will enjoy it from start to finish (all 4 hrs!)

ABT Shines in this production, Julie Kent, Ethan Stiefel, Paloma Herrara, Angel Corella, and Vladimer Malakhov are wonderful just as the rest of the cast is. The Pas De Trois in the second act is wonderful as is the rest of the ballet. I would reccomend this video to anyone who enjoys ballet or theatre.

American Ballet Theatre's DVD of its 1999 performance of "Le Corsaire" at the Orange County Arts Center is both technically brilliant and beautiful. It is based on the classic story "The Corsair" (1814) by Lord Byron. A somewhat confusing tale that centers on the beautiful slave girl Medora, performed majestically by Julie Kent, who has been sold to a jovial Pasha, portrayed by Michael Owen. Unfortunately her heart belongs to the swashbuckling pirate Conrad, danced by the charismatic Ethan Stiefel. Conrad eventually steals her away form the Pasha, and after a tragic ship crash, ends up stranded with her on a deserted island.

This performance was filmed with multiple cameras that provide just the right balance of wide stage shots and character driven close-ups. The cinematography is just right. Nothing fancy, no special effects, just the proper angles and framing that let the story be told without distracting from it.

The artistic director Kevin McKenzie did a wonderful job bringing this classic tale to life. The set design was grand in scale and magnificent in detail. Vibrant colors and textures helped to convey the proper mood for this pirate love story. The costuming and wardrobe added to the already colorful presentation. The score of several different composers, performed by the Pacific Symphony Orchestra, conducted by Ermanno Florio, was lyrical and rhythmic, providing the perfect musical foundation for this tale.

Yet beyond all the set design, lighting, and costumes, it was really all about the dancing. Julie Kent (Medora) is the embodiment of style and grace. She is technically accurate and beautiful to watch. But it is Paloma Herrera's performance as the other slave girl (Guinare) that stole my heart. Paloma seems to have an unearthly sense of balance, as if gravity doesn't apply to her. She is able to stay up on pointe for what seems like an impossible amount of time. Her feet are so unnaturally flexible it makes me wonder if they aren't made out of rubber, or perhaps she is missing some bones. Paloma also seems to take more risks with her dancing as opposed to the safer performance of Julie Kent. The two of them provided the perfect compliment as the objects of desire for the leading men. Even though Ethan Stiefel did a splendid job as Conrad, it was his slave, portrayed by Angel Corella that really defines Le Corsaire as a ballet not to miss. Angel's leaping performance that was originally made famous by Rudolf Nureyev, had me stopping and rewinding repeatedly just to make sure that there weren't wires holding him up from the ceiling. He has more hang time than Michael Jordan. He is like a tornado on the stage, explosive and dangerous. His performance alone makes this DVD worth the asking price. Vladimir Malakhov (Lankendem) does a leaping routine were he lands in such an impossible and precarious way, that he must have Orthopedic surgeons salivating at the thought that this guy is going to blow his knees out. Yet somehow he makes it look so easy and natural, even though everyday mortals would be hard pressed to replicate.

American Ballet Theatre's Le Corsair is a joy to watch. With such outstanding performances, and great cinematography, this is one DVD you will keep coming back to it again and again.

I am a big FAN of ballet, but not a CRITIC; thus, I'm not qualified to analyze this performance down to every minute detail as some of the other very erudite reviewers have done. Dance--especially ballet--is far and away my favorite form of performance art, and I loved ABT's "Le Corsaire" for overall presentation, great artistry, lively dancing, and excellent editing.

The Dancing. "Le Corsaire" is a full-length ballet story that centers on a beautiful slave (Medora, danced by Julie Kent) who becomes the object of desire of more than a couple of pirates (principal characters danced by Ethan Stiefel, Angel Corella, Joaquin De Luz and Vladimir Malakhov). It's a theme we're all familiar with (I dare say, perhaps in real life also), so the inbuilt intrigue is enough to keep viewers interested throughout the story. The dancing in this performance (staged in Southern California in 1999) is absolutely awesome from a technical standpoint, and there are many moments that caused me to marvel. Principal dancers Corella, Paloma Herrera and Malakhov put on truly amazing displays of athleticism, balance and fluidity. Same with Julie Kent, who still looks like my ideal ballerina in terms of beauty and grace. Even the corps shines, especially in Act III. I must admit [picky comment] I was a tad underwhelmed by Ethan Stiefel, not because of his dancing, but because he seemed to be miscast: his slight build and boyish looks just didn't convey what I expected from a pirate. This little "flaw" was not enough to detract from the performance.

The Interludes. Prior to each act there is commentary by Artistic Director Kevin McKenzie and interviews (more like sound bites) with dancers and backstage personnel that are supposed to provide insight into what is portrayed as a confusing (I'm not certain why) storyline. Although it's a mildly interesting added dimension to hear the characters speak behind the scenes, much of the cast comes across as a little goofy and/or tongue-tied. I watched the first time; in the future I'll likely skip these parts.

The Visuals. I have to say that this ballet DVD showcases some of the best camera work and editing I've ever experienced for a dance performance. Edits betwen full stage and individual character views are timely and allocated perfectly. Thankfully, the common mistake (seen so often on television these days) of zooming in on a performer's face--while missing the body's attitude and movement--virtually never surfaces on this disc. There are a couple of distracting instances where the conductor's baton flicks into the bottom of the picture, and where some standing audience members obscure the dancers at curtain call time. Still, 99% of the time the camera is looking exactly where my eyes want to go, and that scores big points in watching a great performance like this.

I don't know if they were pressed for time or what, but every number is done at breakneck speed. Gilbert's great libretto and lyrics are all but lost in the auctioneer-style delivery of all but a few songs. The second main criticism is that every member of the cast is, well, unattractive and unpersonable, and in some cases a bit elderly. The pacing, direction and over-the-top characterizations are annoying to the point of ruining the material, for this viewer at any rate.

The snippets of scenes in Mike Leigh's _Topsy Turvy_ are worlds above the level of this somewhat amateurish, slapstick, local dinner theatre quality version. If only he had produced a companion version of the entire operetta with the actors and sets he had at his disposal.

I suggest this DVD would make an excellent skeet shooting target. It flies amazingly straight and stable with a quick flick of the wrist. Aim quickly and pull. A can't miss hit!

While some Gilbert & Sullivan devotees may quibble with this Canadian version of their masterpiece, THE MIKADO, there's no denying this version's infectious energy and fun. This production by the Stratford Festival is awash with high-jinks antics, solid acting and a boldness rarely seen since the Kevin Kline/Linda Ronstadt version of THE PIRATES OF PENZANCE. Director Brian Macdonald directs this production with a sure hand and a fine sense of humor. Eric Donkin makes for a solid and delightfully uptight Ko-Ko, while the tall and very lanky Richard McMillan steals the show as the self important Pooh-Bah. Marie Baron's Yum-Yum is a pure delight, and Karen Wood is a delightful Pitti-Sing. Gidon Saks makes for a rather hammy, but delightfully fierce, Mikado. Henry Ingram seems a little old for the youthful Nanki-Poo, but he definitely gets into the spirit of this wonderfully broad production. Some fans may not appreciate the "modern" Canadian references nor the very slight liberties in the score, but this is probably the one production that doesn't treat the immortal work like a museum piece. This is definitely the best version on DVD to date and one that I would definitely recommend.

This "Mikado" is a delight. I have seen several DVD versions of this show. This production from the Stratford Festival is by far the best. The costumes are colorful, the makeup is beautifully done, and the choreography is as precise as it is fascinating. The stage that has been designed for this show, which is a marvel to behold, is most appropriate for this Gilbert and Sullivan production. Every performance is a strong one. The beauty of this DVD is in the clearness of sound and picture.

There were a lot of closeups of Nureyev. obviously he played a big part in the production of this video. Margot Fonteyn just kinda disappeared into the background. Their dancing was impeccable nonetheless. The corps was lamentable, and the orchestra was utterly disappointing. Nureyev's hoggishness evident in all the focus that was put upon his performance was discouraging as well. But Margot's dancing in this particular performance was worthy of all the praise she has received in her career and after. Her performance is what really saved this dvd from being considered a flop. For Margot, 4 stars.

4 Stars?

Well, when Margot Fonteyn danced, every single motion or gesture of hers was a poem of utmost beauty and she herself was the embodiment of supreme elegance. In view of the duration of her part here, she herself alone deserves 7 stars! Nureyev himself also deserves 6 stars as a dancer: there is hardly anyone either from Kirov or any other place who could seriously challenge him. The rest, especially by today's standard, are all 5 star ballerinas, and there are masses of them here.

For most ballet music, the composers tailor made their music to the requirements of the choreography. Tsaichovsky was an exception, his musical imagination was given a free hand: the original choreographist accommodated him and changed some of his part in accordance with his music. That partly explains why Tsaichovsky's Swan Lake or Sleeping Beauty was such great music outshinging any other ballet music. Anyway, music and choreography in ballet should go either hand in hand or as glove befitting hand. Here lies the main drawback of this DVD: the choreography doesn't tie in well with the music and was often at odd with it! Nureyev, however great a dancer he was, didn't have good ears for music, it could also be seen from the conductor of the accompanying orchestra he preferred (?) whose treatment of Swan Lake is so out of line.

Nureyev introduced some new and novel elements in his choreography, notably the use of properties, say the roses, the bow and arrow, and the large clothes representing waves on the stage that at last engulfed the prince. He also mobilized masses of ballerinas to create various shapes, making them as scented as flowers. Even when they are only some simple geometric matrixes, they are equally spectacular especially when seen from a height.

The stage settings are great, the costumes too and there are numerous of them. Of course, viewers must bear in mind that however brilliant the photography was, it was filmed in 1968 after all. Furthermore, there are at times some makeshifts, however brief that may be, they are quite prosaic or even static: Nureyev was by then not as matured a choreographist as he later was, as could be seen from his "Sleeping Beauty with Ballet De L'opera De Paris".

Throughout his incredible career, Rudolf Nureyev staged the entire classical repretoire throughout the world. In his native Russia, the ballets of the old world Imperial Ballet (his parent company: The Kirov) were performed in the old traditions, among these being the ballerina being placed as the focal point of an entire ballet. Nureyev felt that the male should be just as equally prominent as the ballerina. He made sure that when he staged his versions of the great classical repretoire, he did them his way, with the male alongside the ballerina. At times, he would loose the ballerina and end up dominating the entire performance (not with Margot Fonteyn of course).

But no matter, his "Swan Lake" for the Vienna State Opera Ballet is quite well done. Most people in their reviews scream about it because it is so different from the traditional version (see the Kirov version for an example). I myself am not a fan of people tinkering with "Swan Lake", but Nureyev's version is great dispite its differences. His performance is excellent, though he cannot surpass his longtime partner, the late great Dame Margot Fonteyn. Her performance is as divine as she herself was.

Nureyev does a good job salvaging the music not usually used in traditional performance in his re-organizing of Tchaikovsky's score. I will not spoil the details of the changes but they are quite good, if at times a little over the top. But c'mon its Nureyev! Get this video!