Costumes Movie Reviews

This is one of the best performances from the San Francisco Ballet. I think the San Francisco Ballet and the Artistic Director Helgi Tomasson created this new full length ballet to show that this ballet company is one of the best in the US. I was surprised that this DVD has good dolby digital 5.1 surround sound and picture quality. I would say Othello is a good ballet but the music sounds boring and the performance is kind of boring and that's why I would give this a 4 star DVD. Yuan Yuan Tan is a very good Chinese ballet principal dancer for the San Francisco Ballet. Gonzalo Garcia another principal dancer, performed very well as Cassio. And Lorena Feijoo, another principal dancer performed well as Bianca.

SF Chronicle: Classic. One of the most thrilling chapters in San Francisco Ballet's history is back in all its glory. Lar Lubovitch's "Othello," with a commissioned score by Academy Award winner Eliot Goldenthal, will be broadcast tonight on PBS' Great Performances and has just been released on DVD by Kultur. Although there is no substitute for witnessing dance live in the theater, this "Othello," directed for television by Matthew Diamond, is more than a souvenir of a great performance. It is a gripping, entertaining home-viewing experience. It stars Desmond Richardson, who created the title role in New York for American Ballet Theatre. San Francisco's Yuan Yuan Tan dances Desdemona, perhaps her greatest role. Parrish Maynard, an Iago in both companies, returns alongside a supporting cast that includes Katita Waldo as Emilia, Gonzalo Garcia as Cassio and Lorena Feijoo as the whore Bianca. Emil de Cou conducts the San Francisco Ballet Orchestra in a performance of Goldenthal's score that makes clear that "Othello" is a gift to American music as well as American dance. Taped live at the War Memorial Opera House in March 2002, "Othello" is a co- production by ABT, San Francisco Ballet and the Lar Lubovitch Dance Company. Premiered by ABT at the Metropolitan Opera House in 1997, "Othello" was revised slightly by Lubovitch and Goldenthal for the 1998 West Coast premiere in San Francisco. The piece grows more fascinating with every cast and every viewing. Turning the Bard's words into movement is a daunting task, and Lubovitch succeeds spectacularly: His "Othello" joins the select company of great Shakespearean dances that includes John Cranko's and Sir Kenneth MacMillan's "Romeo and Juliet," Cranko's "The Taming of the Shrew" and Jose Limon's "The Moor's Pavane." "Othello" is traditional in aiming to enrich the canon rather than reject it. But it is also a radical ballet, both in its negation of fashionable Balanchinean abstraction and in its unembarrassed embrace of the theatrical values of modern dance. Lubovitch's choreography is free of jargon, innocent of the slang of dance that modern dancemakers from Mark Morris to Twyla Tharp might have been tempted to use in trying to make the story contemporary. Lubovitch often simply suggests the plot and assumes that the details are known to the audience, and he plays on that knowledge to dwell on the profounder themes and vivid characters at the heart of Shakespeare's play. Inspired at every step by Goldenthal's unsettling music, Lubovitch achieves archetypal ideals. He explores the universal themes of Shakespeare's tragedy with intensity and clarity, in movement that seems drenched in dramatic truth. The truth is in the dancing. And San Francisco Ballet, from corps to principals, succeeds. Richardson -- who is on Broadway in the Burt Bacharach review "What the World Needs Now" -- is not as winning as San Francisco Ballet's Yuri Possokhov in the title role. But he is still an Othello of tragic stature, an outsider as much to the society around him as to the possibility of happiness. Given the most complex arm phrasing and athletic bravura turns, Richardson seems possessed by the unstoppable momentum of Lubovitch's choreography. Tan's Desdemona is lovely and subtle, daringly so. Embodying the very image of innocence about to be brutalized, she draws on her considerable musicality and virtuosity to bring to life the tragic futility of Desdemona's emotions. The childlike glee of Tan's duets with Garcia's Cassio, the earthy sensuality of Feijoo's seductive tarantella and even the terrifying ebb and flow of the Act 2 seaside ensemble all come off extremely well on the small screen. Only George Tsypin's icy Plexiglas sets suffer in the transition from stage to television -- much as they lost some of their sheer monumentality in their voyage from the Met to the War Memorial. Still, not unlike the dancers, the stage pictures of "Othello" gain a new dimension in front of the camera: an intimacy not easily shared in a large theater. In close-ups such as the desperation in Richardson's mad scenes in the theater, Lubovitch's "Othello" rings true. -- Octavio Roca

George Balanchine is remembered most for his one-act, abstract, storyless ballets and is thought to have shunned the full-evening ballets that tell a story. Yet his version of "The Nutcracker" is an annual Christmas money-maker for the ballet company Balanchine helped found (the New York City Ballet) and that company's summer season often closes with his other great story ballet, "A Midsummer Night's Dream." Indeed, the two ballets in many ways seem to be stamped from the same cookie cutter. Both dispose of their drama in the first act and use the second act to dazzle the audience with some splendid divertissements; both ignore the sacred roots of the Christian "feast days" they were created around (the Nativity of our Lord for "The Nutcracker" and the Nativity of St. John the Baptist for "A Midsummer Night's Dream"); and both are littered with ample roles for the School of American Ballet's many child dancers (in "Nutcracker" they are cast as greedy, mutually teasing, parent-manipulated brats romping around the Christmas tree; in "A Midsummer Night's Dream" they are charming, almost camp, butterflies and fairies...though one page does get caught in a custody battle between Oberon and Titania, the king and queen of the fairies.)

If Balanchine resented choreographing these two story ballets, he hid his resentment well. "A Midsummer Night's Dream" is for me the better ballet. The children are well-integrated into what is certainly an adult storyline of sexual jealousy and comical mishaps. And the Pacific Northwest Ballet under the artistic direction of Francia Russell have done Mr. B. proud. Martin Pakledinaz's costumes rival those of Karinska (would it be sacrilege to admit I actually prefer his over hers?) and his set design, with it's oversized frogs and flower blossoms, playfully dwarfs the dancers, reminding us that most of the characters on stage are actually miniature fairyland creatures. The dancers all perform beautifully, with Seth Belliston's Puck stealing the show. My favorite part of the ballet has always been the subplot of the four young lovers: Helena, Hermia, Lysander, and Demetrius. They are virtually interchangeable; this is signaled by their costumes--one pair wears blue on red, the other red on blue. Due to Puck's inept intervention, the lovers' interests switch with lightning speed. It is truly amusing to watch this amorous tempest in a teapot play out. (My reason for giving this wonderful ballet video 4 stars instead of 5 is that I felt the filming of this pas de quatre spoiled the energy of this scene. When all four dancers are on stage, you really need to see what each one is doing to appreciate all the subtleties of the dance. The emphasis on close-ups and medium close-ups seemed to defuse the dramatic and comic tension that Balanchine so artfully created. But this is not the fault of the dancers--Lisa Apple, Julie Tobiason, Ross Yearsley, and Jeffrey Stanton give it everything they've got.) Children will enjoy seeing Titania fall in love with Bottom who has been given a donkey's head and who finds himself unable to completely return her love because of his new found love of sweet grasses.

The second act dancing is beautiful, but courtly and staid. The music draws from a number of works by Felix Mendelssohn, not just from the title work. The vocal pieces sung by Libby Crabtree and Judith Harris were especially nice. the DVD has no extras, but the 12-page color booklet is crammed with interesting information.

A Midsummer Night's Dream, with music by Felix Mendelssohn, is George Balanchine's story-ballet masterpiece based on Shakespeare's play. The Pacific Northwest Ballet's full-length production was performed and videotaped before a live audience at London's Sadler's Wells Theatre in February 1999. Critics lavishly praised this outstanding presentation. PNB artistic directors Francia Russell and Kent Stowell have trained and coached their dancers to a very high level of artistic excellence. The corps de ballet exhibits technical prowess, evident in every dance sequence. The women in the corps de ballet do pas de bourrée courus, pirouettes, and various poses all in perfect unison. The ensemble dancing is precise and seamless. What you will not see in this ballet are manèges of coupé-jeté turns, grands pirouettes, or multiple tours en l'air. Balanchine does not have his ballerinas do excessive fouettés rond de jambe en tournant. He is reported to have said that two or three revolutions in succession were enough (after that, he notes, the audience starts counting). His choreography calls for dancers to perform subtle moves and changes in direction. His is a lyrical ballet, not one of brute force and athletic bravura. As you view this ballet, take note of the well-mannered, courteous audience. British audiences are not clap-happy compared to American audiences that constantly interrupt the music with unnecessary, inappropriate, and annoying applause (or frenzied screaming and whistling). (I think many balletgoers confuse ballet with figure skating competitions.) This audience applauds only after the music has stopped, allowing us to experience the emotional impact of ballet by witnessing bodily movement with the accompaniment of music.

Principal ballerina, Patricia Barker as Titania, shows why ballet audiences and critics alike so highly regard her. Every step she executes and every pose she takes are done with ease and grace. Her deep arabesques- and attitudes-penchées exude elegance. Paul Gibson (Oberon) glides across the stage, turns suavely, and does some very nice batterie, while Charles Newton (Titania's Cavalier) shows that he too can move with agility and finesse. Hippolyta (Ariana Lallone) does a variety of jetés (three very fine grands jetés in a row that punctuate a sequence of turns, steps, and postures) and her fouettés rond de jambe en tournant are as good as you will ever see. The crowd pleaser, however, is Seth Belliston (Puck). His expressive miming and his movements all over the stage dazzle: He runs; he jumps; he spins with esprit and verve. Act II, a divertissement, features Louise Nadeau and Olivier Wevers in a pas de deux so sensuous it's impossible not to be filled with joy with their passion provoking dancing. Ms. Nadeau displays perfect line and musicality. Mr. Wevers lifts her effortlessly. Notice how adept he is as a Cavalier as he lowers her on pointe to the stage floor with delicate control. His turns and leaps are clean and sharp. Lisa Apple, Julie Tobiason, Ross Yearsley, and Jeffrey Stanton (the two sets of lovers) and Kaori Nakamura (Butterfly) turn in solid performances. Timothy Lynch (Bottom) makes a fine "ass."

The BBC Concert Orchestra, under the direction of Stewart Kershaw, gives a polished and sonorous performance of Mendelssohn's Overture and Incidental Music To A Midsummer Night's Dream (augmented with other compositions of his). Three vocal accompaniments, liltingly sung by soprano Libby Crabtree, mezzo-soprano Judith Harris, and a small chorus include: 1) the Fairies Song (No. 3, Op. 61) set to Shakespeare's Fairies Song (Act II, Scene 2); 2) an excerpt from Mendelssohn's The First Walpurgis Night for voices and orchestra (Op. 60); and 3) the Finale (No. 13, Op. 61) with portions of Oberon's and Titania's speeches at the end of Scene 1, Act V. (The booklet included with the DVD does not provide the texts of the vocals.) This is a "must-have" DVD.

This is another DL banger. I have been a fan of DL since his Going Home special. This guy is funny. He's all over TV doing a lot of big things. Comedy fans should definetly check tihs joint.

This DVD has to be one of the best stand up performances I have ever seen.I also checked out Cedric The Entertainer's Starting Line Up,and this is better!D.L. Hughley is one of the best comics on the scene today.This DVD proves that.The only drawback to this DVD is that it has to be the most vulgar stand up routine I have ever seen.So if you have young children,DO NOT let them watch this.I'm signing off for now.In the mean time,check out the rest of the Platinum Comedy Series,includingStarting Line Up 2,which comes out October 21st.Also watch some reruns of "The Hughleys",I guarantee that you will like it.

Shaquille O'Neal and a comedy roast? Who would have thought that this would be as funny as it was. Perhaps it's because Shaq is such a natural object of joking, ridicule, good-natured ribbing, whatever you want to call it. As a fan of good roasts -- Dean Martin, Friar's Club -- this video lives up to the time-tested standard. Shaq's good nature and charismatic smile show him to be not only a world-class athlete, but a world-class good sport. The only time he looked a little angry was when Artie Lange made some off-color references to a part of Shaq's anatomy, segueing into a derisive comment about his mother. Nonetheless, the joke was a riot and Shaq seemed to take everything in his Size 22EEE stride.

The question is: Do you need to buy this video? Of course not, but if you love world-class comedy -- from the likes of Jonathan Winters, Gilbert Gottfried, Don Rickles, and Jerry Seinfeld -- then ... well, what do you think?

We all knew Shaq could dunk, rebound, and play ball, but who knew that he could tell a joke or two and be the fodder for such comedic hilarity? Buy it, check it out. It's Shaq-tastic!

i truly enjoyed this all the way.some of the Comedians featured here while not always knocking me out with there regular Comedy were really funny here.Cedric The Entertainer&Steve Harvey cracked me up.Dick Gregory was a Hoot as well.this was cool.Shaq is the Baddest Cat on The Court&is cool off the court.very down to Earth.

I, too, am seeking a copy of the film of the play, filmed in 1960 as mentioned in the other review. If anyone has any info on how this may be obtained, please post your findings!

I am also looking for the film version made in 1960 I believe, which starred Jeanne Moreau and was directed by Phillipe Agostini, I very much would like to get hold of a copy as well as the Opera.

I would appreciate your research on the above which is available in France and the USA (the latter for rental)

Thank you

Crossovers tend to either be disastrous or brilliant. Renee & Bryn make a smashing pair in this DVD. The CD is equally outstanding. At first I thought Renee's voice was a bit too powerful for the roles that she sang, but after the second time I listened to the DVD, I was convinced that on one would be able to do it better. Even though it was Bryn's concert, Renee took the limelight from the start and was the audiences star. She has a unmatched stage glamour, similar to that of Angela Ghiorghiu, Anna Moffo and Maria Callas (if one can dare put them in the same league). The DVD has an added opera concert which is a great bonus. Her "Vilja, o Vilja" is magic (I was speechless when she reached the top note at the end with such ease). In the Broadway section, the highlight must be "Not while I'm around". The two voices compliment eachother and they both look like they are enjoying what they do. The filming of the concert and interviews are a great bonus. All in all, a wonderful buy. Well worth it if you are a Renee or Bryn fan. Well conducted, well produced and brilliantly sung!

Both of these singers excel at opera and Broadway show tunes with Mr. Terfel having a bit of the edge over Miss Fleming in the Broadway portion. The location of the concert on a lake in South Wales is really beautiful. The occasion is Mr. Terfel's annual festival with Miss Fleming as his special guest. There are also some additional features regarding making the concert recording on the disc. I didn't see the broadcast of this concert but believe only the Broadway portion was beamed on PBS and the opera portion was not. There are 12 arias that both singers have made their own and they perform them all very well. The Broadway selections are also excellent. Terfel really brings a wonderful interpretation to all the American show tunes as proven by his previous two successful CD's. Fleming is in good voice but somehow, I felt her usual energy and sparkle wasn't always present in this concert. I've seen her many times and have witnessed this before. Ever the professional, you may not be bothered by this or even notice that her usual persona isn't quite there. She scooped a few too many notes but sang with solid technique otherwise. Regardless, if you like these two singers (they are two of my favorites), you must get this DVD. You will watch it over and over! Felt the conductor wasn't quite up to the pace of the show tunes and that a little more "punch" was needed in the orchestral Broadway portion. The arias were better as far as the orchestra and conducting was concerned. Certainly, this is a concert that offers something for everyone's taste and I intend to play it at my next opera gathering. Their voices don't necessarily blend as well as each does with other singers but their voices compliment each other's beautifully. This should be a definite addition to your DVD collection. If you like Terfel, his new concert DVD from Amsterdam is also recommended highly by this avid opera collector. Great concerts are rare for opera as well as Broadway show tunes. This one is certainly entertaining.

This DVD features three modern ballets choregraphed by Nacho Duato which fully demonstrated his ingenuity in correlating music and dance in a subtle way. His exquisite sensitivity and exuberant imagination towards music has made his choregraphy lyrical, musical and emotive. "Arenal" - A ballet which danced along beautiful spanish folk songs has moved me deeply so much so that I wanted to dance as the dancers danced and let myself completely immersed in the music. "Duende" - A highly imaginative and grotesque piece with many stricking arobatic-like postures which is delighted to watch. "Por Vos Muero" - A mix of classical and modern which shown dancing is part of human life that run beyond time. Watching these three ballets have made me felt uplifting and refreshing. I liked it not only the stylish choregraphy but also the passion of life it conveyed.

I had never heard of Nacho Duato or the Compañia Nacional de Danza before, but I love all kinds of ballet, so I picked this up on pure impulse. What a find! Mr. Duato's choreography is absolutely wonderful and the performances on this DVD are incredible. From beginning to end I just just couldn't take my eyes off the TV screen. This is modern dance at it's best: full of energy, fullness of movement, and passionate physical expression.

Each of the three ballet pieces is introduced by brief discussions with Mr. Duato (Artistic Director and Choreographer) and several of the dancers, so one gets an idea about Duato's efforts to direct the company, as well as the inspiration behind the dances.

"Arenal" features music from Spanish folklore highlighting a single female voice, sometimes a cappella, but also with traditional melodies from Spain's Mediterranean regions. The solo dancing is very energetic, and the ensemble demonstrates some noteworthy partnering that employs lifts that catch the dancer in midair and redirect the movement. There's even a double pas de deux that is extremely well coordinated. The mood alternates from somber to vibrant, and, of the three ballets this one shows the most facial emotion. Excellent.

"Duende" (Elf) matches fluid movement with meoldies made more airy by Claude Debussy's composition featuring strings, woodwinds and harp. In this ballet, Mr. Duato conveys a mysterious, woodsy feel on stage (note the lighting and costumes), and demonstrates an incredible knack for imagery using the shapes formed by the dancers' lifts, holds and positioning in close quarters. Very impressive.

"Por Vos Muero" (For Thee I Die) was inspired by poetry, and has the most diversity of mood, costume and movement. The spoken verse is a nice touch that doesn't distract one from the minstrel-like music or the activity on stage. This ballet has seven scenes which showcase some of the most accomplished, versatile, and just plain gorgeous dancing I've ever seen.

Aside from the performances, I have to applaud the camera direction and editing: perfect! The primary dancers are always highlighted, but the occasional flash to a full-stage view results in an ideal blend of perspective and focus, and is a great complement to the choreography.

If you're a dance aficionado, you MUST get this for your collection. I'll even say that this DVD is so good that it would be a fantastic introduction to those wanting to try watching modern ballet for the first time.

It's always interesting to see how smaller, provincial theaters tackle such grand operas as AIDA. It's not that the Teatro San Carlo in Naples is a second-rate theater. In fact, it is quite possibly Italy's most well-known and respected theater, next to La Scala. Still, there's no question that San Carlo won't put on quite the spectacle that the MET would. And that is fortunate for the viewer!
There is nothing jaw-dropping about this production, but the sets and costumes are quite attractive and tastefully done. The cast manages to, quite successfully, get through the opera.
Fiorenza Cedolins is a fine soprano who copes very well with the difficult title role. With so many ugly-voiced, dramatic sopranos tackling this role these days, it was nice to hear an attractive, spinto voice sing it in the style of a Tebaldi or Gabriella Tucci. Furthermore, Cedolins in a decent actress.
As Amneris, American mezzo Dolora Zajick further confirms her status as the leading Verdian mezzo of the day. Her confrontation in the fourth act with Radamaes, and the subsequent judgemnet scene is a landmark in Verdi singing rarely heard these days.
Tenor Walter Fraccaro posseses a pleasant tenor voice that is, unfortunately, strained at times her. It is obvious that Radames is a role that is out of his league. Though he does have some fine moments of singing (particularly in the lyrical passages towards the end of the opera), Fraccaro misses the boat on Radames' big moments. Fraccaro would be terrific in Verdi works like UN BALLO IN MASCHERA or LA TRAVIATA, which requite a more lyrical voice. Some lighter Puccini (Boheme and Butterfly) would better suit him as well.
Vittorio Vitelli, as Aida's father, Amonasro, is a Verdi baritone int he old tradition. It's a big, powerhouse voice that projects well. Though not the most interesting actor, vocally, he is a standout.
Conductor Daniel Oren proves himself to be more than just a chubby, sweaty guy who likes bagels. He does a commendable job here.
All in all, I highly recommend this performance.

This recording represents a 1999 production from Naples' Teatro San Carlo, and from this performance it is clear why Verdi's 1871 masterpiece is one of opera's most popular works. Conductor Daniel Oren keeps the tempos brisk, maintaining the dramatic tension but allowing the tender lyric moments to shine as they should; the orchestra plays the glorious score very well. The singing is uniformly excellent, with the women contributing the strongest performances. Fiorenza Cedolins is a name unfamiliar to me, but I certainly look forward to hearing more from her; she gives a complete performance of the title role. Her acting nicely portrays Aida's gentle frailty, and she skillfully controls her beautiful lyric-spinto soprano to display dynamics ranging from stirring fortissimo to melting pianissimo. The only big name in the cast is American mezzo Dolora Zajick, whose Amneris is also seen in the 1981 Metropolitan Opera production of the same opera, currently also avainable on DVD. Here she shows considerable growth in her portrayal, managing to emphasize Amneris' softer aspects as well as the imperious nature of the Egyptian princess. Her singing is rich and opulent, as we have come to expect from this excellent artist. The men are not quite up to the standard of the ladies, but all four are excellent. The staging is conventionally acceptable, but in some of the scenes the stage appears to get rather crowded. The Triumphal Scene is done as a parade through a narrow section in the center of the stage, definitely giving a cramped feeling. The sets and costumes are quite stunning, firmly conveying the setting of ancient Egypt, with many sumptuous details. There are a few awkward camera angles, but the singers are mercifully free of distracting mannerisms, both physical and vocal, even in closeup shots.The production engages a suitable degree of spectacle, but still manages to focus on the human drama of the love triangle between Aida, Radames and Amneris. All factors considered, this is a very satisfactory representation of this most beloved opera, and I highly recommend it to experienced operaphiles and interested novices alike.

Estamos ante una representacion celebarda en el 2001, en un pequeño teatro de Busetto, con motivo del año Verdi. En un escenario realmente pequeño (muy pequeño) FRANCO ZEFIRELLI plantea un montaje inteligente, que recuerda en varios aspectos al filme de 1982 de la misma opera que el mismo firmo. Comienza la obertura con una moribunda Violetta deambulando por el salon de su casa, para perderse en un espejo giratorio que hay al fondo de la escena (espejo onmipresente que lo mismo valdra para mostrar salas contiguas, jardines, la calle... o para encerrar en primer plano a Violetta en el concertante del acto II) La historia plantea los dos primeros actos como recuerdos de una Violetta ya apagada, que reaparece en las mismas estancias oscuras en que se incia la ópera en el acto III. Muy conseguida la escenografia, pero la aparicion de las gitanas en el acto III (bailaores y castañuelas inclusive) roza lo kitsch.
Como Violetta, STEFANIA BONFADELLI hace una sobresaliente creacion, tanto por voz (sabe adaptarse a la perfección a las ligerezas del acto I y a las partes más liricas de los dos actos siguientes) como por fisico (mujer de extraña belleza en los dos primeros actos, y palida y cadaverica en el tercero, pero manteniendo en parte esa extraña belleza) En fin, una Violetta de gran calidad.
El Alfredo de SCOTT PIPER es escenicamente acertado, pero vocalmente solo correcto, pasando apuros en 'O mio rimorso' (renuncia al agudo final) tras haber cantado bastante bien 'De miei bolenti spiriti'.
Sienta catedra como 'Papa Germont' RENATO BRUSON, por voz (de extraordinaria calidad pese a su avanzada edad, como demostro el mes pasado en Madrid) y por presencia escenica (tremenda autoridad en el duo con la soprano, pero luego se derrumba ante el rechazo de Alfredo, y en la bronca que le arma en la fiesta de Flora le basta con una mirada...) Sobresaliente. Cumplen los secundarios (muy bien Flora y Aninna, bien los demas) y suficiente el coro. La orquesta suena bien, y la direccion musical de PLÁCIDO DOMINGO peca a veces de alargar las pausas y acortar los finales de frase, pero solo a veces.
El dvd incluye casi 70' de material extra (entrevistas, documentales etc), lo que en mi opinion redondea una muy interesante Traviata

I have heard and seen La Traviata many, many times, but there are two memorable Violettas. By memorable, I mean that vocal skill and acting ability combined to produce a performance that was spellbinding. The first was seeing a young Catherine Malfitano with the Michigan Opera Company. From the first few moments of the party scene to the end of the performance, She WAS the consumptive courtesan who discovered love. The second is Stefania Bonfadelli in this DVD. Because this is an intimate production, with great closeup shots, any flaws in acting would be instantly obvious, but there are none: she is one with her part. Vocally, she may be slightly less gifted than Anna Moffo, Kiri Te Kanawa or Montserrat Caballe, but she is a young woman whose vocal skills should increase. Still, though, she produces a beautifully realized Violetta, that has captivated me, and which has to be experienced to be totally understood. Words can convey only so much.

Scott Piper is great as the young Alfredo. Although he sounds a bit "tight" in the first act, by the time he sings "De' miei bollenti spiriti", he is not only in fine voice, but epidomizes a young man in love. His acting skills are excellent. Both he and Ms. Bonfadelli are young singers and thus bring a high level of believeability to their roles. His father, Georgio Germont, is sung by veteran Verdian Renato Bruson. Time has treated his voice well, and he does an excellent job in capturing the 19th century pater familias; The second act duet with Violetta is simply splendid!

The performance, as noted, is intimate. This is, in large part, due to the fact that it was done in the tiny Teatro Giuseppi Verdi, located in the composer's home town of Busetto. The theatre seats 300 (no typo) and has a stage that is just ten meters deep (TDK recorded "Aida" (q.v.) there, producing an exciting DVD of that great work). The conductor is non other than Placido Domingo, who does a stellar job in keeping a brisk, yet unrushed, tempo. The orchestra, chorus and all minor roles are very well done.

Some minor criticisms do not diminish the wonderful performance: someone should have edited the English subtitles. I have noticed this on other TDK operatic releases, and Amazon should reflect that this IS a TDK release, not one from Naxos. TDK is releasing some great operas on DVD, folks, and at prices that are less than CDs. Those folks deserve the credit for this one!

Finally, I reiterate that opera on DVD is next best to a live performance. Technically (aside from the needed editing) this disc is near perfect. The picture is crisp, and a DTS option exists for the sound for those who want to break a lease or educate the neighbors.

La Traviata is one of the great Verdi operas. It is highly melodic and would be a good entry level opera for folks who are wondering what the fuss is all about. For any lover of Verdi's works, this is a "must have" disc.

This rare Verdi work has been re- introduced again by Covent Garden with a starry line up of principles to make up for the work's lack of unity in Verdi's own generic conventions( to be later developed in works such as Aida and Othello). Catherine Malfitano sings well as the adultress- singing tastefully as well as powerfully. Jose Carreras' voice has hardened and aged over the years, but this has added to the dramatic moments within the opera. Regardless of the histronics- his interpretation is very musical and dramatically convincing. The varying tone colours produced at the end of Act 2 are forever indicative of Carreras' creative interpretation. The conducting is somewhat rigid, but this is a singer's opera rather than a conductor's one( the orchestra plays less of an atmospheric role than in some of verdi's later works)

Stiffelio is considered "early Verdi" to musiclogists who classify things, but, in reality, it is a final transition between the maestro's earlier (but most enjoyable) works, and the mature craftsmanship of Rigoletto. Preceded by Luisa Miller (q.v.), there is more dramatic intensity and story line than in the earlier works. The plot centers around Stiffelio, a minister, who discovers that his wife, Mina, has been unfaithful. While the 19th century approach to dishonoring father and husband may be dated to some, the fact is that in watching this opera, the viewer will inevitably be caught up in the story and characters. The singers are generally fine. Catherine Malfitano is not only an exceptional soprano, but an accomplished actress as well. The facial expressions, the use of her hands and all the body mechanics are simply wonderful. I am unsure as to whether Jose Carreras was about to be diagnosed with lieukemia, or had gone into remission when he made this recording. In either case, his portrayal of the title character, in my opinion, would be hard to beat. He is fully in command of his instrument and brings life and dramatic intensity to his role. Particularly good is Gregory Yurisch in the role of Stankar, Mina's father. Here we have the third in Verdi's moving father-daughter duets (Giovanna D'Arco and Luisa Miller were earlier),the emotionally charged qualities of which many trace to the loss of the composer's first wife and baby daughters in 1840. The rest of the cast are equally fine. A surprise to me was the quality of the conducting. I never considered Sir Edward Downes to be a leading interpreter of Verdi's music. Well, he is in this performance, and as such, presents the music very well indeed. The tape to disc transfer is very good, as is the quality of the sound. As I have noted in other reviews, DVD performances of opera are really the next best thing to a live performance. Stiffelio is not performed often, so whether you live near a performing arts center or not, this DVD may be the only chance to experience it. If you are, as I am, a fan of Verdi, this is a must buy. If you want to see how good opera is on DVD or are new to Verdi, buy it. It's a fine effort.