Costumes Movie Reviews

Parece que la extraviada (Traviata)realmente esta muy enferma al final ya que la escena esta incompleta. esto no deberia asombrarnos ya que Zeffirelli hizo algo peor con su Otello con su recortada aria del Sauce. Excepto este detalle no tan importante como el Otello, la pelicula es muy bella aunque para los puristas, entre los que me incluyo humildemente quizas por mi condicion de Profesor de Apreciacion Musical, encuentro en ella tal como note en la Carmen de Migenes y Domingo, ruidos innecesarios que en la presentacion en un teatro serian imperdonables; al fin y al cabo lo importante es la musica y no los extras caprichosos de Zeffirelli. A pesar de estos pequenos detalles la presentacion es maravillosa; las cuatro estrelas en vez de cinco obedecen a estas para algunos quizas necedades. Para mi repito, soy un purista y pienso en la intencion siempre del compositor. Recomiendo la version de Beverly Sills y ni se diga la de Angela Ghiorgiu, superiores excepto los tenores ya que Placido Domingo sigue siendo el mejor.

That should sum up the schism viewers have for Zefferelli's opera film starring Placido Domigo and Teresa Stratas. There is no question about the supremacy of the film visually. The famous Italian director has made excellent, quality drama and opera as film in the 60's, 70's and 80's; among them the 1968 Romeo and Juliet, Verdi's Othello (also with Domingo) and the 1991 Hamlet starring Mel Gibson. Zefferelli lavishes his films with artistry and lush photography, especially striking are his sweeping locales and precise camerawork. For Verdi's tragic romance, he has selected a fine location that is meant to resemble the French countryside, luxurious interior "ballroom" scenes, effective lighting and contrast, and actors and actresses that look the part. Vocally speaking, the only reason you should get this opera is the tremendous talent of Placido Domingo. He is the equivalent of Enrico Caruso for the twentieth century, an incarnation of the master, appearing handsome and earthy, as well as singing and acting his roles as any Hollywood star would approach the role (could they sing opera that is ). As the lovestruck Alfredo, his arias are striking and reveal great character, especially his "Un Di Felice", his "De Mei Bolenti Spiriti" "O Mio Rimorso" and his final duet "Parigi O Cara". Teresa Stratas looks the part, she is pale and delicate, exotically beautiful as the dying courtesan Violetta. But she has vocal limitations, especially in the higher registers. She has no warmth to her voice and has rather limpid, straightforward vocal lines. The role of Violetta is not an easy role for most sopranos- the heroine must sing most of the time in the course of three acts, and each characterization differs from the other- in Act I she is a flirtatious, bubbly and charming, even operetta-like heroine where her aria "Sempre Libera" demands coloratura fireworks, and her cavatina "A Fors E Lui" requires mellow lyricism. This same type of lyricism, although sung to serve the theme of pathos and dramatic suffering, should be very clear through her duet with Germont in Act 2. These are the arias "Non Sepete" "Ditte A La Giovine" and "Morro La Mia Memoria". In Act 3, she must convey her immediate situation, she is dying and taking her last breath, urges Alfredo to remember her name and to remarry, consuming the audience with the portrayal that although she has been a glittering, amoral prostitute, she will die with God's forgiveness and the joy of having fallen deeply in love. Though vocally this is not the best La Traviata, this is certainly a good introduction to opera. If you watch this film, you might be tempted to see a performance of La Traviata. For recordings of this classic masterpiece, you should go for your favorite soprano. Most go for Maria Callas and Joan Sutherland. I went for Beverly Sills, who sang the role a record 54 times in the space of 63 days, (no one but Sills could ever know the role of Violetta Valery) and who truly masters the role with dramatic, artistic value and sheer, tonal and vocal beauty. All in all, this is still a good film, despite the negative comments below my review.

I am going to buy this movie so I can watch it 100 times. It is my third favorite movie in the world. I was not an opera fan but 20+ years ago had a thing for Placido Domingo after he did the Perhaps Love duet with John Denver. So when this movie came to an obsure theater in my town I rushed to see it. Went back the next night, and the next, etc., until they stopped showing it. I dragged anyone and everyone with me who was willing to go. Even played hookey from dance company rehersal and dragged by partner. By that time I had seen it so many times and had told him the story in such depth that he was amazed I hadn't missed one detail. That is how much this movie meant to me. You don't have to like opera or musicals but you must be very passionate and romantic to watch this film.

This is one of the best shows I ever seen and meanwhile the worst of all!!!
Matthew Bourne¡¯s choreography is daring and marvelous. Adam Cooper is simply irresistible. What a super star!
One man just ruined everything - the edit and director of this movie ¨C Peter Mumford.
This man obviously knows nothing about ballet. Half of the times, you can¡¯t see the dancers¡¯ legs. The director seemed more interested in focusing on their facial expressions! He missed the white swan¡¯s first entrance just for the prince¡¯s thoughtful eyes. He used several cameras for the shooting and enjoyed switching from one to another every 3-6 seconds! So, everything was broken into thousands of pieces. There¡¯s nothing to enjoy at all.
Actually I think this director was obsessed. Every time when there was a body contact between two dancers, he zoomed in to their faces, then again you missed everything. Should he go see the shrink?!
The other strange thing is that the show was performed on an awkwardly small stage. So small that you keep wondering how the dancers managed to avoid kicking each other. Why?
The only good part didn¡¯t affected by this man was the music. It¡¯s great.
The end of the show was so moving that even with this director¡¯s distraction it¡¯s still that great. But you will not cry for it. You cry for Matthew Bourne and Adam Cooper and you pray for someone else to shoot it again. How about Alexandre Tarta? That director knows how to make a ballet movie.

Swan Lake is one of the most representative pieces of the ballet. With wonderful music by Tchaikovsky and a good story it is one of the great pieces of ballet in the IX century.

In this new version of Swan Lake Matthew Brooke gives it a few new touches,the main one is off course the fact that the swan are males.This is, in my opinion, a refreshing touch to a classical with one of the best dancers of ballet in the UK,that is Adam Cooper, the great performance by Scott Ambler and one of the best choreographies I've ever had the fortune to see.

The other cast is also great, Fiona Chadwick is not a bad dancer at all, Emily Piercy play the girlfriend very well and gives an amazing turn to the story later on. Barry Atkinson fit perfectly for the part of the cynical old man and the company of swans give a touch of humanity to the swans, making them not just a decoration.

In this production there's also the change of time,as the story is now presented in a modern era and not in an old time with carriages, crossbows and old-fashioned castles. This is also a good change, its a touch of delicacy in the way of making this a sort of "fairy tale" in a modern time,in a modern city,among the "jungle of metal".

So what I'm trying to say is don't be a fool, master works like this are not produced in every generation, and the chance to see Odette/Odile perfom 32 fouettés,I bet Cooper is still cursing Pierina Legnani, is not seen everyday.

So buy it,you won't regret it.

At first I was skeptical about watching this DVD, but once I saw the first act I was glued to the screen. First of all, you get a feeling that there's a real story being told, not just a bunch of dancers hop, skip, and jumping around. You grasp emotions behind concepts otherwise buried in a lot of pirouettes and whathaveyous, not that the original is bad, I'm a fan of Swan Lake, but this version knocked my socks off. The fact that the swans are men fits entirely; swans are proud creatures with power and strength behind their elegance, and this is shown very well in the choreography, not frail sickly creatures. The themes appeal simply because many people can relate to them, rather than the classics which very few people in this day and age can learn to appreciate. But even fans of the classic can find something worth watching in this production, be it the innovative style, story-line, or the 40's-50's theme.

AFTER HIS BROTHER IS CRIPPLED BY AN EVIL THAI KICKBOXER [TONG PO] IN A WORLD TITLE MATCH, A MAN [JEAN CLAUDE VAN DAMME] LEARNS MARTIAL ARTS IN ORDER TO AVENGE HIS BROTHER'S MERCILESS BEATING. I GOTTA ADMIT, THIS MOVIE WAS QUITE ENTERTAINING. THE FIGHTS WERE GOOD AND JEAN CLAUDE VAN DAMME EVEN DID A PRETTY GOOD ACTING JOB TOO. I ALSO WILL ADMIT THAT TONG PO IS ALSO ENTERTAINING WHEN IT COMES TO WATCHING HIM FIGHT. DEFINITELY NOT BAD FOR WHAT IT IS. FOLLOWED BY FOUR DIRECT-TO-VIDEO SEQUELS.

the make up of michel qissi as tong po is perfect.
beautiful backgrounds like stonecity, brutal (and realistic fightscenes), dynamicly and funny trainingsscenes and the music makes it to one of the best martial arts films ever.
not only for martial arts fans.
the perfect inspiration to train muay thai.

Ok, so this movie came out in the 80s when every sports-oriented movie featured some rip-off song that was supposed to sound like "Eye of the Tiger," and the men had blow-dried hair and the acting was way too melodramatic...and yet, Kickboxer is still a damn good movie despite having these inherent flaws. Van Damme is mainly a martial artist, not an actor, but he does one thing that none of the other action stars could ever do---he makes you feel sympathetic towards him. He can act distressed, scared, out of control with fear, and we actually believe him. Stallone, Schwartzenegger and Segal sure as hell couldn't do it, but Van Damme can. Because of this, you really feel for his character in this film. We follow him during his training to become a kickboxer and we feel his pain and his frustration. His "master," by the way, does some of the best acting of any person who has ever starred in any martial arts film. He's hilarious! While the fight scenes are good, they only make up about 20 minutes of this 90 minute movie. Although there are some really cheesy moments and a few bits of ridiculously bad dialogue, all in all this movie should be rated tops in the genre or martial arts flicks.

The DVD cover looked good online but it is nothing more than a inkjet printed cover. Poor audio. No structure on topics covered. Nothing more than a home video with the Master and his students demonstrating some aspects of wing chun. Could be better but for now really poor show. For the price I paid for it, simply not worth the money.

A great martial arts movie. The story line is funny and entertaining, and the fight scenes are well-executed. There's a bit too much wire-fu for my taste, but there's plenty of non-wire stuff that kept me happy. Michelle Yeoh (sigh) is wonderful, and Donnie Yen has great comedic sense, and both have super kung-fu skills.

The only annoyance was the appallingly bad subtitles, though they're sometimes bad enough to be fun in themselves. They're not up to the standard of the rest of the DVD, though, by a long shot. I have the HK version by Modern Audio Ltd., and I suppose that this issue may be specific to their release. That aside, I heartily recommend the movie.

This is a great martial arts movie. The story line is funny and entertaining, and the fight scenes are well-executed. There's a bit too much wire-fu for my taste, but there's plenty of non-wire stuff that kept me happy. Michelle Yeoh (sigh) is wonderful, and Donnie Yen has great comedic sense, and both have super kung-fu skills.

The only annoyance was the appallingly bad subtitles, though they're sometimes bad enough to be fun in themselves. They're not up to the standard of the rest of the DVD, though, by a long shot. I have the HK version by Modern Audio Ltd., and I suppose that this issue may be specific to their release. That aside, I heartily recommend the movie.

I had high expectations from this DVD that was given to me as a gift, along with a rave review of a Korean damsel trying to do the black comedy jig. In hindsight, I am glad I didnt shell out for this egregiously uninspired performance, to say the least.

Ms. Cho can break all the sexual taboos she wants (quite frankly most of them have already been smashed many times over) but a very, very fundamental tenet they perhaps teach in Stand-up 101 is to have some decent jokes up your sleeve, and ideally, not to pause for an eternity between them. Cliched punchlines followed by drawn out and thus piquing stops make for a painfully tedious viewing.

If you have a sense of humor even mildly above average, skip this tripe regardless of whatever minority rave you are exposed to.

Margaret's comedic timing is a bit off in this, her second feature film. She waits too long to deliver the 1--2 punch, as if the audience won't follow her if she doesn't wait that for that extra pulse. She talks a lot about her sex life, and the pacing and humor of the film slows considerably when she does this.

The segments about her mother are classic, though, and they make viewing this dvd time well spent.

Recommended for fans. Others should rent.

In "I'm the One That I Want" Margaret Cho combined her raunchy humor with an empowering reminiscence of her failed sitcom, subsequent breakdown and journey back to mental health. In "Notorious C.H.O.", she mostly ventures completely into adult territory, graphically, and hilariously, discussing a variety of her sexual experiences. Some topics include insensitive male partners, sensitive gay male friends, her period, her venturing into the BDSM scene, and sexual experiences with women. The result is not just raunchy fun (although it is that), but also political, honest, and empowering. Margaret Cho is such an important performer because she speaks for so many minorities who rarely really have their voices heard: female, asian, gay, etc. And she has the guts to put herself out there in such an uncensored and often unflattering way, that it's no wonder her fans feel such a connection with her.

I just don't understand what others can see in this DVD.
The sound quality is BAD BEYOND BELIEVE!

If I could give it 0 stars I would.

I love this opera, but would pick the Karajan (salzburg, live) on Sony. Not perfect, but at least watchable and listenable.

This is a "movie opera", and I am not a fan of them, because I find some of the passion is filtered out when the singing is separated from the acting, and though this film is well done, it has a lot of that "lip-synch" look, which dims the dramatic impact. I would rather watch a filmed live performance, with less gloss, and more feeling.
The lavish production is stunning to look at, with great art direction (by Alexandre Tauner) and cinematography (by Gerry Fischer), a very attractive cast, and of course, Mozart's score, which I think is his most sublime masterpiece.

The singers are excellent: Kiri Te Kanawa as Donna Elvira, and Edda Moser as Donna Anna really shine above all, both so lovely and graceful, and vocally wonderful. Moser especially manages to be emotionally expressive. Ruggero Raimondi is a fine Don Giovanni, Jose Van Dam a rather elegent Leporello, with John Macurdy as Il Commendatore, Kenneth Riegel as Ottavio, Teresa Berganza as Zerlina, and Malcolm King as Masetto rounding out the cast well.

The sound: The volume fluctuates depending on where the singer is placed in the scene, fading out as they walk away for instance, which is dramatically appropriate, but a musical disaster. There is a quartet that is bizarre in its balance, since two of the singers are in the background. Lorin Maazel conducts the Paris Opera, which in this, and other recordings I have heard, does not have the richest and fullest sound in the world, and may be adding to the problems.
The Don's demise however, starting with the Commendatore's "Don Giovanni a cenar teco" is marvelous, and despite the camera inexplicably lingering on the servant boy instead of the action at times, it is a riveting scene, with some of the most superb music ever written.
Though well worth viewing, I would put this film into the "rent not buy" category, unless one is an inveterate opera collector.

Mozart's music is divine, here presented by outstanding singers who are also credible actors, beautifully costumed for period and occasion, on a scene that is very much believable, set in castles and countryside of northern Italy. The opera comes to life for the viewer, even seems to take on a life of its own as the plot unfolds. A hint of social critique of the time comes through as the Don pursues the peasant girl Zerlina, though not as strongly so as in the Marriage of Figaro. It is hard to point to anything that is not perfect in this rendition, except possibly that the glorious music does not come through as strongly during open-air scenes as when the action is between walls. I believe that this is not as much a flaw as the natural consequence of a natural setting as opposed to the artifical one in a theater. This DVD gives you the option to turn subtitles on and off, and they come in several languages. I look forward to seeing Don Giovanni with Spanish subtitles next - that should be a most pleasant way to practice a language!

It puzzles me that words like "standard" or "bench mark" were used in praise of this La Bohème. Just exactly what is the "standard" for this probably most popular opera? The originality of art is anything but to be constrained by some sort of standard. If the good words were for the singing, it still would be too lavish of a saying for this production, at least for "Che gelida manina", which was transposed down half a key, and even the replacing B is very short and not so exciting. There are indeed some really good singings, like Stilwell's Mercello. The singing of the two leading roles, however, leaves something to be desired. While Carreras' singing is quite dramatic, it feels that something was missing, not just the top C, but the lyrical sheen and exuberance that otherwise would flow through Rodolfo's vocal lines. Stratas has crafted a convincingly consumptive Mimi. But you'd hope she could bring a bit glow of liveliness to the character in the first two acts when Mimi was not yet too ill, after all Mimi should be a luminous figure. Stratas' lips are shaking noticeably (on DVD) when she sings, which makes you worry. Scotto played an impressive Musetta, and her great acting brought some enjoyable moments on stage.

It is very interesting to compare this Zeffirelli's traditional and lavish production with other productions. Although it'll much depend on your taste to decide their effectiveness, among the numerous recordings and stage productions of La Bohème, you wouldn't want to miss the 1972 studio recording with Pavarotti/Freni, conducted by Karajan, especially if singing is solely what you are looking for. If besides singing, you also want to experience some vigorous Bohemianism on stage and dramatic details revealed by great acting, you definitely want to check out Baz Luhrmann's production for Australian Opera, in which the sets are simple but visually stunning, the characters are sung by new generation singing actors/actresses in fabulous voices.

My litmus test for any Bohème is, does Rodolfo's mourning over Mimi's death make you cry? While Carreras' raging grief didn't do to me, Australian tenor David Hobson's utterly desolate cry did.

There are two problems with this DVD that buyers,(especially singers)should know.

Number one, subtitles, or more accurately, the lack thereof. The only subtitles available are in English and they cannot be turned off.

Number two, I agree with other reviewers that Careras does a marvelous job of acting and of singing. But on this DVD, one thing he does not have that Pavaratti most certainly would is a high C! Che Gelida Manina is marked down a half-step and only goes to a B natural.

I realize these things might not matter to the casual viewer, but as an opera singer I bought the DVD not only to watch but to learn as well. In order to do this I would have certainly appreciated subtitles available in the original Italian as well as all the music sung in the original key!

I have all the Bohemes availabe on VHS and Laser and still come back to this one to show anyone new to opera as it's the best video available. The version spoken of from the UK I have only been able to find on VHS and it is truly excellent. Not seen it on DVD but would buy it the minute it is released. Until then this production and cast can't be beat. Scotto is getting by on her acting ability, not her voice as Musetta. That high note is not unlike a cat getting its tail trod upon. I agree with all the comments about Stratas and enjoyed Carreras' performance very much. James Morris as Colline is a surprise. If you collect opera on video this is a must buy. The production is glorious and the overall atmosphere created is the standard for Boheme.

I recently rented this DVD. Thought I would try before I would buy. I enjoy Rodney Yee's AM section. His voice is calming and it's very relaxing but he doesn't hold the poses very long. Suzanne Deason's voice is annoying and she is like "Speedy Gonzalez" ... waaay too fast to relieve any stress. Did nothing for me. Patricia Walden's PM was too difficult. Again, too fast! She doesn't tell you how to change the positions. I didn't find it very relaxing. I'm happy I only rented this.

Rodney's am Yoga warm-up is the best thing about this video. He has such a calm, soothing voice, and this yoga stretch is a great way to start your morning. It's not particularly challenging, but I don't think that's the point--it's just a great way to get loosened up and ready to start the day. The other two work-outs are fine--I find the evening one a bit too strenuous for a before-bed workout--it gets me too energized, but I think it would make another good morning work-out. It's just too bad Rodney doesn't feature in all three segments--then I would give this five stars.

I have studied yoga for 2 years and use this DVD to supplement for my home practice. It is a great value these 3 workouts for this price. They are each 20 minutes long with a warm-up and relaxation. The AM works on you gently getting you energized for the day. The stress-relief works the shoulders to relieve the daily stress you carry there. The PM is slightly more vigorous and tires you out a bit. The only one I have difficulty watching is the PM because Patricia is in the desert and the wind is blowing and it looks HOT! My favorite is the stress relief, so I disagree with the other reviewers. I find Suzanne to be an excellent instructor. The workouts are very quick and just perfect for before or after work. The section on props is great for beginners. If you are a beginner most likely you will need props because you can't reach as far and they help you get deeper into the pose. For this tape you need one brick, a belt and a mat.

I'm reviewing FOSSE from a position of relative ignorance about the man and his achievements. Hey, it's never stopped me before.

FOSSE records a live-audience performance of the musical, which is a compendium of selections from various other Broadway productions which Bob Fosse choreographed: "Big Deal", "Liza with A Z", "Dancin'", "Sweet Charity", "Kiss Me, Kate", "Damn Yankees", "Pajama Game", "Chicago", "Pippin", "Cabaret", and "All That Jazz". I've never seen any of them performed live on stage, but only the screen versions of DAMN YANKEES (1958) AND CHICAGO (2002). Obviously, I need to get out more.

The musical "Fosse" was, by the way, not choreographed by the great man himself. He's dead. Rather, the dance numbers were re-choreographed by Ann Reinking, Fosse's protege and girlfriend, with the participation of an aging Ben Vereen, one of Fosse's favorite performers. Between acts, the two are interviewed about Bob's style and work ethic.

The only production I've ever seen in which Bob Fosse had a hand was the excellent 1979 film ALL THAT JAZZ, an autobiographical piece which he directed. From it, and the Reinking and Vereen recollections, I gather that Fosse was a hard-driving perfectionist, and infer that the musical "Fosse" would not have come up to his exacting standards. In many instances, the dance numbers seemed, to my inexpert eye, sloppily done. Vereen's presence in several of them, while appealing to the nostalgia of the audience, did him no particular credit. But, that's show biz, folks.

Two songs from "Chicago" were included in the FOSSE program: "Razzle Dazzle" and "Hot Honey Rag". As performed in "Fosse", both were disappointingly anemic versions of their exuberant equivalents in the blockbuster, Oscar-winning film CHICAGO. This perhaps suggests that a new film version of "Damn Yankees" being produced by Miramax, which released CHICAGO, will be well-worth seeing even if the cost of movie tickets doubles.

I'm being wishy-washy and awarding three stars to FOSSE. I suspect it's but a pale reflection of Fosse's original choreography, but I may be wrong. I guess you had to be there.

Let me say that since FOSSE! was filmed live on Broadway and is the only archive of these Fosse numbers in existance (other than the original numbers performed in the various movies), it's certainly worth having in any collection, however, Ben Vereen's pitiful performance (singing and dancing) proves once again how rare it is to see people well past their prime unable to see what the rest of the world sees, namely that they are indeed past their prime and should step aside and let dancers and singers who are in their prime do justice to the material. Now I know that Ann R. and Ben V. were simply stupendous in THEIR prime, but sadly, that time is long past. If they had been in the production strictly as a conduit to the Bob Fosse years and been limited to stories told about Bob Fosse, then that would have been welcome, but sad to say I was literally embarassed whenever Ben V. sang or danced. Obviously, the production numbers were downsized and re-choreographed to allow him to be a part of the numbers (he must have been in his 50's when this was made). And that is THE problem. He certainly was one of the greatest dancers ever in his PRIME, but those days are long gone for him, and I wish that he and Ann R. would have realized this. I did enjoy all the numbers with the young dancers who were in their prime, and I felt that were very good, but not great (they were a little sloppy in their movements in several numbers) as they most certainly would have been had Bob Fosse himself been in charge of this production. This production proves yet again that YOU CANNOT GO BACK to what was!!! If you want to see these brilliant Fosse numbers performed the way he envisioned them and performed by dancers in their prime, then you have but one option: Get the DVD movies themselves and enjoy!

I HAVE HAD THE LUXURY OF SEEING "FOSSE" ON BROADWAY ABOUT THREE TIMES AND ITS JUST A FOSSE THING---EITHER YOU "GET THE CHOREOGRAPHY" OR YOU DONT RECOGNIZE THAT "UNIQUE" FOSSE ALL THE WAY.
IF YOU ARE FUELED BY FOSSE AS I HAVE BEEN MAY I SUGGEST:

"ALL THAT JAZZ" MOVIE DVD ABOUT FOSSE'S LIFE.

"A CHORUS LINE" MOVIE DVD ABOUT FOSSE'S SUCCESS ON BROADWAY AND THEN THE SUBSEQUENT MOVIE.

"CHICAGO" WHICH I HAVE ALSO SEEN THREE TIMES ON BROADWAY AND NOW THE MOVIE DVD.

FOSSE FAN, OUT IN TINY WHEATLAND WYOMING:)

While I haven't seen the Wembley show on DVD, I know from the VHS version that the sound is not up to DVD standards, and the video effects look like something from a local cable show (can you say "Wayne's World").

Zoom Tour Live however is incredible!! The lineup may not be the same as Wembley, but with Jeff Lynne at the helm, it is still a show to remember. The songs are fresher, the sound quality incredible, and the cello players are BABES :)

If you want to live in the 70's, and like bell-bottoms and the classic "hamburger" stage, but Wembley... but make sure you buy Zoom as well.

if you like concerts from the 1980s this is a good dvd look great

I agree with pretty much what everyone else has already said. For the true ELO, this is a must. BUT, you will be screaming though "Rockeria". The video "effects" during this song were beyond distracting and completely unwatchable. I had to turn my head. Only a hit of acid could probably save it, because I think whoever was doing the effects was on some!! They almost blew "Mr. Blue Sky" with the same horrible effects. With that said, the video gets 4 stars. I would also recommend the "ZOOM" DVD. The songs are very tight, the audio and video are great. Highly recommended.