Typographers Movie Reviews

I agree with all the other reviewers said about the performance, but the play-within-a-play format cooked up for this particular production is a jarring note and distracts from the otherwise high quality production.

This is one of the most melodic of G&S operettas and I wish it were performed more often. "Whom Thou Hast Chained" is an absolute delight.

Of the Brent Walker Gilbert & Sullivan productions, I think this one is the best. The parts are cast quite consistently, rather than having great singers mixed in with bimbos who can't carry a tune or play their parts.

Of the Brent Walker Gilbert & Sullivan productions, I think this one is the best. The parts are cast quite consistently, rather than having great singers mixed in with bimbos who can't carry a tune or play their parts.

I bought this ballet because I wanted to round out my Nutcracker collection. I already own the Baryshnikov/American Ballet Theatre and the New York City Ballet versions and, of the three, this is by far the weakest and least interesting. The party scene is way too busy, and the costumes for the adults are unattractive, to say the least. The adults lack personality, and the children are underplayed. The NYCB production comes off much better here, even with the presence of Macauley Culkin. Real children appear in that ballet; the ABT version uses some of its younger corps members. But both of the other versions have lots of color. The party guests also appear to be having fun! Robert LaFosse and Heather Watts (NYCB) and Gayle Young and Sallie Wilson (ABT) are much better as the party's hosts.

The Kingdom of the Sweets falls way short. It is lavish, and the costumes are lush, but everything is colorless. The various dancers are almost indistinguishable from one another save for occasional touches like Russian boots and Spanish headscarves. Where are the candy canes? Where are Mother Ginger and the Polichinelles? Missing and very much missed. The dancing, however, is excellent, although Dowell is a fine danseur noble and excellent partner but does not have the good feet of Baryshnikov or young Ethan Stiefel. However, it could be Sleeping Beauty as far as anyone could tell who would be watching it without the music. The NYCB version is FAR superior. ABT's also is more watchable, although the ending is a little bizarre thanks to Baryshnikov's new interpretation. Unless you are a collector, do not buy this.

"The Nutcracker" was first staged for the Russian Czar's Imperial Ballet of St. Petersburg by choreographer Lev Ivanov (choreographer of the famous 'lakeside scene' in "Swan Lake") in 1892. The ballet was originally meant to be choreographed by the great 19th century ballet master Marius Petipa (creator of "Don Quixote", "La Bayadere", "The Sleeping Beauty", "Swan Lake" among others), however he fell ill before rehearsal began and the responsabilty of the dances was given to his assistant, Lev Ivanov. Petipa commissioned the ballet from Tchaikovsky in 1891 after thier earlier success with "The Sleeping Beauty". Petipa wrote down detailed instructions in a 'bar for bar' manner. Tchaikovsky fullfilled his task with one of the ultimate master works of theater. The ballet was not a phenominal succes at its 1892 premiere, like its predecessor was, due largly in part to the un-dramatic libretto, not typical of the time. It was revised countless times in Russia, though it has never become the staple it is in the West.

Here we have the Royal Ballet's revival and restoration of the original staging, as close to it as possible anyhow. The principals are exquisite: Leslie Collier as the Sugar Plum Fairy, and Anthony Dowel as her Suitor. Collier is precise and quite the little powerhouse. Dowell is Noble and beautiful as her elegant suitor. The staging is great, and the choreography is well done with much taste. The national dances in the second act are obviously not true to the original (Im sure the original creators would have done a better job!) in many respects they do not fulfill their potential. But over all this production is a good interpretation of this ballet. For a more impressive second act, the New York City Ballet's production of Balanchine's "Nutcracker" (with Mcauley Culkin) is a great companion. Four Stars!

...I think that this ballet posesses all the elements, which make it, in my opinion, a quality performance. To begin with,the dancers posess both exceptional technical dancing skills and great acting ability. I have seen many ballet performances on video (by other ballet companies), where the dancers posess good technical dancing skills, but when it comes down to their acting ability, they couldn't act if their life depended on it. An example of the royal ballet's superb technical dancing skills, can be seen, when the sugar plum fairy (Lesley Collier) dances her famous pas de deux with her cavaliar (Anthony Dowell). Both dancers posess exquisite grace and at the same time,an immense amount of confidence. You get the feeling watching them dance, that they feel very comfortable dancing with one another. In addition to the great dancers, this production also has quality sets and beautiful costumes. Another element which stands out in regards to the Royal Ballets production of the Nutcracker, is how the theme of the ballet is presented. In most Nutcracker performances, ballet companies use the common theme of a young girl(Clara) on the verge of adolescence, who one christmas eve, is given the Nutcracker doll by her godfather Drosselmeyer. What results from that encounter, is a night of magic and adventure. In contrast, the royal ballet takes this basic theme, and uses it , but adds to it, the element of romance. The girl is not a mere young girl, but an adolescent on the brink of womanhood. She loves her Nutcracker doll, which is really drosselmeyer's nephew, who was turned into a nutcracker, by the evil mouse queen. Once the nutcracker is transformed back into Drosselmeyer's nephew, he falls in love with her, and she falls in love with him. The viewer gets the sensation, at the end of the ballet, that both Clara and Drosselmeyer's nephew are destined to be together. Why? In addition to their mutual attraction and affection for one another, they both share a common bond, and that bond is Drosselmeyer, who is responsible for bringing them together.

The picture was so grainy, I thought something was wrong with my DVD/TV. But not so, when I put in other DVDs they had a great picture. The sound was good, but the picture was horrible.

Talk about overrated. Don't trust the reviewers on this one. I have seen Swan Lake performed live several times, including by American Ballet Theater in New York and Royal Ballet at Covent Garden in London. This DVD is a pale immitation of those productions. The dancing is ok, but uninspired. The production values look dated. And Ms. Hart is certainly no Maya Plisetskaya, the best Odette/Odile ever. If you can find a video of her in SWAN LAKE, get it. If not, I'd suggest going with a DVD of an established ballet company like ABT, Royal Ballet, the Kirov or the Bolshoi.

This is a stage production performed without a live audience. Natalie Makarova directed the choreography and Tchaikovsky's ballet was played by the Danish Radio Symphony orchestra conducted by Graham Bond. The sets have a beautiful mystical quality to them and the costumes are exquisite: the atmosphere is perfect for this ballet.

The principal dancers are Evelyn Hart of the Royal Winnepeg Ballet and Peter Schaufuss.

I had first seen this performance (in part) as a PBS feature some years ago and although I'd no real experience with ballet in the past I knew as soon as I'd seen Ms Hart come on stage that I was watching someone special. Thus, when I had the opportunity, I was delighted to buy the DVD.

Having had time to view this Swan Lake I must say that I can only reconfirm my initial impression of the Prima Ballerina. Ms. Hart has all the qualities to make a great leading dancer: poise, grace, an unbelievable sense of balance, and extension that almost makes her arms and legs look like they must be leaving their sockets. However, the thing that seemed to impress me the most was the expressiveness and suppleness of her arm and hand movement: almost like she had no joints in her upper limbs.

Peter Schaufuss is a perfect leading male for this work. He is a supreme dancer, athletic and also blessed with grace and balance. The pas de deux are the highlights of this ballet and they are simply breathtaking. Mr. Schaufuss is able to lift his ballerina so delicately and smoothly that you barely know that he is there: his touch, so subtle, so sure, that his partner can have every confidence in performing her difficult routine; and what a performance it is. Just a joy to watch!

And now, the negative (singular) and thus the loss of one star. The wicked sorcerer is portrayed, several times, by an animated ghost-like bird that must have been transposed on the main film. This gimmick, this photographic trickery, almost ruins an otherwise stellar performance of this Swan Lake. What was the director thinking when he added this apparition to this star studded work. Totally unnecessary! So annoying that as you watch this beautiful work, you begin to become uneasy, knowing that this abomination is going to appear and almost ruin the magic that has gone on before.

All in all, despite the previously mentioned distraction, let me say that dancing of the principals is so exquisite that this is a Swan Lake you would be happy to make part of any ballet collection.

I don't have much to say but that Sutherland sounds abominable in this performance. She is just too old! Acting is terrible, voice is terrible....that's 0 out of 2, and sutherland is in the title role! Skip this one, it's not worth it one bit.

There certainly are a lot of warts on this Australian production, and to blame them all on Joan Southerland is, I think misguided..... I mean even the editorial review is less than flattering to the aging diva ... meeoww meowww ... little plate of milk for, on the floor though, the ed reviewers .....

This is one of the very very few DVD's of this opera and that is what makes it enjoyable, to be able to at least see in in your home. The dance numbers are exquisite and as a whole the lighting and video are excellent....

If there is a down on this DVD well I am disgusted that it was only cut in two channel Dolby ... what ... 2 channels ... I didn't even know there was a dvd available in 2 channel stereo ... WOW what a bummer ...

As a die hard audiophile I couldn't take it and left the room ... but my wife and all her friends who are card carrying, season ticket opera NUTS ... all enjoyed the DVD ... go figure ....

I thought the entire cast was superlative. I enjoyed every minute of it. Dame Joan Sutherland is magnificient. Her rendition of Vilja was the best I have ever heard. This song was one of my Mother's favorites and I have heard it many times, but never as beautifully done as this. I enjoyed Ronald Stevens, Anne-Maree McDonald, Anson Austin, Gordon Wilcock and Graeme Ewer. They were so very good. There were others in the cast, as well as the dancers that were marvelous. My final rating of this on a scale of 1 to 10, at least a 20.

Limp entertainment. While it is all you ever wanted to see in exploring the various ways you can manipulate mens genitals; it is highly boring after the initial on-film shock value wears off. That took several minutes. Truly nothing you haven't seen or imagined if you've ever had foreplay with a man with lights low/on; or are a man that has pretended his genitals are a hamburger. For men - nothing you can't do, haven't done, or imagined. NO great comedy or dialog. Live audience laughter and on-screen reactions seem very strained. Better genital entertainment is "The Vagina Monologues." You may like this if you enjoy simple male genital tricks that are easily done. Full Monty Dissapointment.

I did not watch "Live at the Forum" until after I had spent seven weeks working with the touring company of Puppetry of the Penis. Though the video is good, it doesn't do the live show justice. If you have seen it live, you probably won't be blown away by the video. If you have never seen it live, you will probably love the video.

It is no way pornographic. After a couple minutes, you forget that they are even naked.

The two men in the video are the creators of the show. One is currently touring in America, the other is touring in Australia. I have never worked with either though. The other "dick trickers" on tour are definitely funnier than these two. I probably just got spoiled by the two boys that I worked with though. There are very few men in the world who would be willing (or able) to get onstage and play with themselves for an hour in front of an audience of thousands. You have to respect them for that.

PUPPETRY OF THE PENIS was an unexpected hot ticket in London and New York--a fifty minute comedy act that involves to two men who give a new meaning to the phrase "show and tell" by stripping buck naked and twisting their genitalia into, well, object d'art. So to speak. And this DVD offers the show before a live audience, so you can sit in on the twisting and pulling in an up-close and personal sort of way.

This sounds a lot more bizarre than it really is, as any man who ever spent part of their teenage years in the highschool locker room can tell you. Yes: it really is teenage boy humor, and Austrailian comics Simon Morley and David Friend have snatched it out of the locker room and plunked it on stage for all the world to see. There's "the boomerang," "the eye," "the Loch Ness Monster," "the baby bird," and a host of other penis impersonations--all of which are good for a giggle and some of which are downright hilarious.

Although the show is done in the nude, it isn't in the least erotic, so if that's what you're looking for you had better go some where else. And in truth, this is a show that probably works much better on stage, where there it no doubt has an "in your face" factor that leads the audience to embarrassed hilarity--and indeed, the camera spends almost as much time on audience reaction as on the performers.

Now, this is never going to make any one's short list of "must own live comedy shows." After all, the material will only stretch so far... but taken in the right spirit, it is quite amusing, and it might be the perfect video for that next party you're thinking about giving--just imagine the possibilities! The DVD package also includes a documentary on the creation of a second PUPPETRY OF THE PENIS performing company, which is also amusing in a bizarre sort of way, and a small booklet that will let viewers follow along at home if they are so inclined. An entertaining bit of fluff.

GFT, Amazon Reviewer

Indeed, the principals are ideally cast here. Dmitri Hvorostovsky's suave, evil, yet somehow still-human Count nearly steals the show. He's far superior to all the Counts recorded. Jose Cura gives a believable performance as Manrico, even though he pays more attention to acting than to music. For instance, "Ah si, ben mio" is a bit choppy in sound, but acted out very well.
I really enjoyed Veronica Villaroel's Leonora. Like Cura, she put more emphasis on acting, but she managed some of the most difficult music with excellent artistry and skill. Brava!
Yvonne Naef looked and sang an ideal Azucena.
What kept distracting me was the staging. First of all, it looks like late 19th century Italy (vs. Austria), making Leonora's Tale D'Amor (a knight with an unmarked shield came, etc) along with many other story details quite improbable. Ferrando has a shaved head and looks too young to remember the events of the old days passed. Now, for the ugly:
1. When Azucena is captured, the "warriors" nearly rape (!) her onstage. This is inappropriate for Verdi's delicate, highly melodious music. Neither works the scene when Leonora and Manrico are in some sort of hay stack (okay, call me a purist but I thought it was low brow theater).
2. The strange sabre (schlager) dueling (the producers made a big fuss about it) does not add any value. The "fighters" look like made-up ballet dancers of some sort, they're wearing leather trappings more appropriate for a cult dance club they way Hollywood depicts them). Either include some real sabre or foil fencing or don't bother with "authentications" of this sort.
3. During the famous Anvil chorus, I surely did not see any anvils. (And Manrico smoked a cigar!)
4. Finally, when telling her hounting tale, Azucena is supposed to be pointing at a fire, or a place where there once was a fire. Needless to say, nothing of the kind is at sight. She just has to point at an empty space. Hmm...

Throughout the whole performance, I kept wishing for a traditional (yes) staging, so that it would be more believable.
Dante Ferretti is a well-known set designer for the movies and theater, but while opera staging can be minimalist it should not take away from the story.
I suggest getting this DVD for the great singing, most notably the wonderfully done Miserere and Il Balen. Carlo Rizzi does a splendid job, although a bit too brisk at some moments.
The DVD itself has a pretty good quality, but the booklet does not list the supporting roles, which is a shame because the singers gave exciting performances.

Admittedly Verdi's "Il Trovatore" is difficult to stage effectively. These dificulties result from the opera's somewhat insane plot coupled with the stature of the artists able to effectively cope with the score. Elijah Moshinsky' has overcome these difficluties with great success. He's moved the story from 15th C. Spain to 1865 Italy whereby the political conflict becomes Imperial Austria vs. Garibaldi's revolutionary forces.( This is a nice choice considering Verdi's nationalist proclivities.) This device works well as a backdrop to the interactions of the opera's four main characters. The sets and costumes by fim designer Dante Ferretti and Anne Tilby respectively create a film-like atmosphere worthy of Zeferelli.
The choruses are marvelously integrated into the action, be they gypsies or Schlager dueling Austrian soldiers, and intensify the developing friction that fuels the opera. The principal singers are strong and well suited for their roles. Dimitri Hvorostovsky's Count di Luna is an elegant controlled antithesis to Jose Cura's "macho" rogue Manrico. Yvonne Naef is downright scarey as Azucena. Both her voice and acting capture the gypsy's tortured obsessiveness. Unfortunately the lovely Veronica Villarroel's light lyric soprano is hard pressed to cope with Leonora's role, which definitely requires the power of a spinto soprano. Although her acting is heartfelt and powerful enough to make this Leonora believable, Verdi's score is too heavy for her instrument. Nonetheless, this "Il Trovatore" ensnares us in the passion and grandeur that is opera.

This performance was filmed on May 3, 2002 at the Royal Opera House, Covent Garden. It was Mr. Hvorostovsky's first outing as Count di Luna. What a Count di Luna he was. His singing of di Luna made the usual baritone villain come alive with such passion. Nowadays nobody can convey complicated emotions through singing more eloquently than Mr. Hvorostovsky. It was so evident in this performance. Just for this reason alone, this dvd is a must. But the dvd has much more to offer. There was a very well sung but rather restrained Azucena by Yvonne Naef. Her voice was strong and beautiful. Ms. Villarroel got points for her efforts. As for Mr. Cura, his vision for Manrico was "Latino macho man". Well, Mr. Cura succeeded just as that. He forgot that Manrico was also a poet. Maestro Rizzi's tempos were on the fast side, so it made the opera sound more like a fast paced action "movie". Overall, the opera was very exciting to watch. (Expect some little surprises in the production.) I showed it to people who did not watch operas and the responses were very positive. The quality of the dvd is excellent. Both the sound and pictures are very clear. Of course, it comes with the extra features. Bravo to BBC-Opus Arte for an excellent job bringing this dvd to us. I hope someday someone will produce a dvd of "Eugene Onegin" with Mr. Hvorotovsky as the cad. Please do this soon before Mr. Hvorostovsky moves on to all those juicy Verdi roles.

This DVD was a great let down. I had seen this production in Baltimore and was expecting great things. When viewed live, the combination of the Venusburg set and the overture created the proper mood. Unfortunately, this DVD features the conductor and orchestra during the overture and continually flashes back to the conductor even after the singing has started. So much for thinking you are in Venusburg. The National Theater of Munich DVD has a much less interesting set design, but at least the shots of Mehta are kept to a minimum. I find it very disturbing that a conductor thinks that shots of his face are more important than setting the mood for a music drama.

If you aren’t a experienced Wagnerian (like me: I never listened the complete "Ring", or "Tristan"), this is a good choice. A not “difficult” opera, with some good tunes, an easy story.
The orchestra, if isn’t a “top” one, sounds good. The choir is acceptable.
The conductor, Gustav Kuhn, a pupil of Herr von Karajan, really turns Wagner in a good experience. He counts with good singers: the Heldentenor, Alan Woodrow, seems a little uncertain in pitch at the beginning, but gains confidance , and his performance is, overall, very good. Other great pleasures are the deep bass of Andrea Silvestrelli (Landgraf Hermann), and baritone Ludwig Baumann as Wolfram . Venus and Elisabeth both sings very well , althought Pentcheva isn’t my perfect idea of a love’s goddess.
I liked the stage design. Isn’t a tradicional one, but also isn’t a ridiculous one, like a lot of “pseudo-modernist” productions. Some colleagues here doesn’t like some concepts of Herzog, but for me they are all beautiful. The contrast between Venus and her hill, in red, and the other caracters, in white, is very impactant on the video – and with a high picture quality. The sound is, sometimes, very loud (when the singers are near the front end of the stage – a balance trouble) , and there is a very boring prompter (at the Venusberg he’s irritanting). But these are minor faults. Also, unfortunately we have only English (and not German!) subtitles. If you like to watch “having the words in your hands”, download a libretto in the Internet.
I never watched the two other versions of this opera on DVD (Levine / Mehta),but I’m very satisfied with this one. If you can live with all these weak points (I can), buy it. The strong points: good sound (with minor faults); excellent picture quality (very superior to Metropolitan’s DVDs); very good singers ; and a good work, from conductor Kuhn and director Herzog. Don’t be afraid because it is Wagner: this is an easy Wagner.

This production's major star attraction is Werner Herzog. I don't think the camera work does justice to his genius. It doesn't capture the beauty of the visual style. The camera invites you to scrutinize the details, rather than be hypnotized by the overall gestalt of the massive blocks of color and geometric patterns. This is particularly evident in the opening Venusberg scene that is set in billowing red cloth. During the opening performance of "Tannhäuser" at the Baltimore Opera this year (directed by Herzog with the same sets) the transition from Venusberg to the valley near Wartburg was spectacular and earned applause from the audience. At the precise moment when Tannhäuser sings "my salvation is in Mary" (40 minutes into the DVD), he steps forward outside of the red cloth. The sheets of billowing red cloth are quickly and spectacularly pulled back to reveal a grassy knoll flanked by four large pillars beneath and the shepherd, dressed all in white leaning against one of the pillars. The Venusberg scene on this DVD, on the other hand, is almost embarrassing.

Better work could have been done with directing the singers how to move. Some busy Directors leave this task to an assistant director. It seems Herzog was mainly focused on the large visual details. Woodrow moves insecurely, particularly in the Venusberg scene where he seems very uncomfortable. It seems it was difficult to walk on that billowing red cloth (and/or he felt uncomfortable in his insubstantial curved-tip Arabian sandals). In the song contest scene the competing singers respond to Tannhäuser by making funny faces and displaying their anger like a bunch of adolescents. The naturalistic group dynamics is incongruent with Herzog's more abstract approach - there should be more discipline and precision in that department.

The audio quality is considerably better than the Nabucco from the same source. Where the Nabucco had a boxy acoustic with no aura around the voices, the audio here goes in the opposite direction - you can here the voices reverberating in the auditorium after the end of a note. There are problems with the balance though, mainly front to back. There are 3 pairs of microphones (for the stage) set at the front end of the stage. The singers sound significantly louder as they move forward. At the moment mentioned above when Tannhäuser steps forward outside of the red cloth, he drops very close to a pair of microphones and when he sings "praise to thee, almighty God" (44:50 minutes) he sounds unnaturally loud. No singer is affected more by this unstable balance than the bass Andrea Silvestrelli as Herman. When he appears at act II at the back of the stage (1:17:05) his voice sounds strangely thin ("Do I find you here in this hall"), but as he steps forward his voice assumes a different quality, almost a different timbre that is full bodied and pleasantly secure. There is also a much more subtle side to side unsteadiness of balance. Generally the audio prefers the singers. I actually liked this "unnatural" balance precisely because of that. It's certainly preferable to the kind of "natural" balance DECCA engineers experimented with in the early 60's, where the singers get no advantage over the orchestra.

The tenor role is a real killer. An entire live performance of a really well done Tannhäuser end to end is rare. Most tenors try to save the voice for act III. Alan Woodrow displays nervousness at the beginning of acts I and II but as he gets into the part he shows he is a real Heldentenor - not only secure middle and upper chest but also impeccable top notes. He underlines the meaning of the words by shading his voice intelligently. The first two acts lead you to think he is comfortable only at full throttle in line with rumors following his Don Jose at the ENO (that "he is very good in dramatic passages, but less so in lyrical"). However, act III sets the seal on his Tannhäuser as an unmitigated victory, which proves IMO that his limitations are mostly secondary to anxiety, not hardware. I think he complies in his own way with Wagner's request to sing the pilgrimage narration softly and not as a grand operatic showpiece. This narration can be delivered any number of ways, from sadly (Windgassen) to defiant (Kollo), and Woodrow sets his personal style by mocking the Pope's utterances in an angry-bitter-sarcastic way.

Kuhn's conducting shows his studies with Karajan. His tempi are very measured but never lethargic and he builds the climaxes in a very calculated way. He chose the Dresden version where the Bacchanale (the absent Ballet lamented by Howard Morton) is more rudimentary than in the revised and improved Paris version. He doesn't try to strike photogenic poses for the camera like so many other conductors.

The voice on the audio referred to by Flesh and Wine isn't Herzog's directions (! ) but that of the energetic prompter (souffleur - mais celui-ci ne souffle pas). The prompter is an essential part of the production and he deserves to be heard just like any of the singers, rather than whispering cowardly from under the stage. There is no reason why he should not protect the foundations of the western civilization and its sacred traditions by continuing beyond the first words to read all the text. Moreover, there is no reason he should be shamefully hidden from the public's view like some leper. He should be proudly visible to the audience right in center stage, his name should be mentioned in the credits and he should join the others to get his share of the applause at the end of every act. Enough with tyranny! Down with the singers! SOUFFLEURS DU MONDE ENTIER, UNISSEZ-VOUS!

One thing I find dissapointing in many Pavarotti opera productions is that everything seems to be adapted for Pavarotti instead of Pavarotti being adapted for the plot (or the music). Everyone knows who is the star, there is no Rodolfo in Paris having a romance with a ill-fated girl; it's just Pavarotti with a wig pretending he is still able to sing a good Rodolfo and some other singers trying not to distract us. Excellent Freni does awful singing in this production and her overacting ruins her singing many times.

As someone fell in love with Mirella Freni as Susanna in The Marriage of Figaro and who heard of her pre-eminence as a Puccini interpreter, I have been quite satisfied with this DVD. Because I am not a particularly devoted or knowledgeable fan of Puccini, I cannot really compare the merits of this version of La Boheme as opposed to any other. Nevertheless, not being immune to Puccini's legendary ability to write music that goes directly to the heart, I am invariably transported into a painful but beautiful world every time I watch this DVD.

Anyone who has read my reviews knows that I am the biggest Freni fan imaginable. She does not disappoint me here. Yes, at this stage, her voice is a size too large for Mimi, more suitable for heavy verismo such as Tosca, Fedora and Manon Lescaut. The voice is far heavier than in her two previous studio recordings from the 60's and 70's. The vibrato is also a trifle wider than it was but all this is amply excused by her warmth and mature insight into the role. The tragedy of Mimi has never before been so heartfully portrayed. The emotions are stronger than before and by the end of the opera she totally hits her stride and a quarter of a century melts away. This is a must for all Freni fans.
Pavarotti, unfortunately, does not begin to match Freni's contribution. As many singers, such as Freni, experience a lowering of voice and a widening of vibrato, they become greater interpereters, greater artists. For Pavarotti, you don't find this. As his vocal resources diminish, so does his artistry. he sings faster than before, without as much inspiration. Still, he musters up some of the old magic and, in the end, provides a decent, if not splendid partner to Freni.
The rest of the cast is pretty darn good. The voice of Musetta may not be the most beautiful, but she provides much pleasure for this viewer. Quilico is a great Marcello! So is Ghiaurov as Colline, the one bass that can dominate an ensemble. The conducting doesn't set me on fire, but it's not bad.....serviceable. I love the staging and the sets.

"Satisfaction guaranteed" I baptise this comment, because by the time this dvd ends you're likely to be satisfied all-round. It is one of those performances where the end-sum ends up adding more than its parts, an ensemble success if there ever was one with no particularly outstanding, aweing contributions. ... Pape and Roschmann heading a very sucessful group of principal characters and Barenboim conducting very lively throughout, even riotously in the second half of the second act, his impeccable band of musicians. If you were in the Staatsoper Unter Den Linden the evening this quite traditional staging was taped, you're likely to have headed towards your after-theatre dinner or to your hotel with a smile as broad as your face.

This review refers to Mozart's "Le Nozze di Figaro", DVD editon by ArtHaus Musik((Bel Air Media)..

This production of "The Marriage of Figaro" is simply charming.
I was enchanted by the entire four acts and impressed by the quality of the DVD as well. The singers were strong and emotional. They brought their own take and nuances to these characters and portrayed them beautifully. The orchestra was magnificent and did justice to the music of Wolfgang Amadeus Mozart.

The story is romantic, witty, complex and spellbinding.
Figaro, a servant of Count Almaviva, and Susanna, personal maid to the Countess Rosina, are planning their wedding...but..there are some problems to be worked out first. The Count, lusts after Susanna(as well as others) and makes it clear that he intends to envoke "jus primae noctis"(the right of the first night)before giving his consent to the marriage. Meanwhile Marcellina, another servant in the household is holding Figaro to his onced promised marriage to her. The Countess is depressed over the infidelities of her husband and conspires with Susanna to prove his unfaithfulness. And always in the middle of all this scheming between the sexes is the irrepressible Cherubino, the Count's young page, who loves all the women and can hardly contain himself around them. It is a battle of the sexes set to wonderful music.

The performance at the Deutsche Staatsoper Berlin includes this outstanding cast. Rene Pape as Figaro, Dorothea Roschmann as Susanna, Emily Magee as The Countess, Roman Trekel as The Count and in a performance that will steal your heart, Patricia Risley as Cherubino. The music is conducted to perfection by Daniel Barenboim,and is under the direction of Thomas Langhoff with the State Opera Choir Berlin.

The DVD is an excellent quality. It's the next best thing to actually being there.It looks great and the music and voices fill the room in Dolby Digital 5.1. The production is in Italian, and may be viewed with English or Japanese subtitles if you choose. The menu may be viewed in several languages(see tech info here), and there are some production notes as well. It is nicely packaged in a jewel case, and includes a booklet that is more like a program. It has the scenes listed and their are summaries of each act in several languages, including English. There are also some notes on Mozart as well.

Even with the placement of some modern day props(the marker, "Vogue" magazine, a ball point pen), which I personally thought was a touch of whimsy, I was absolutely caught up in the time and place, the music and the story.I felt the same enthusiasm the audience did as they cheered this performance. All that was missing was the very expensive tickets and a little ambiance. Highly recommended for lovers of Mozart and Opera.

Enjoy...Laurie

Unlike other reviewers, I really liked this DVD. Two things initially attracted me, one of which you won't see above. First, Rene Pape as Figaro. Second, Digital 5.1 (advertised) sound.

The attractive cast, led by Rene Pape, as expected, is terrific. Pape is reasonably good looking, has a deep rich bass/baritone that actually produces endorphins when I hear him sing, and is an excellent actor. Dorothea Roeschmann's Susanna, Patricia Risley's Cherubino and Emily Magee as the Countess all get five stars for thrilling singing, great looks and perfect ensemble comic form. Roman Trekel is fine, but not as vocally strong as the rest of the cast.

Barenboim holds the score like a cork holds champagne: the music brims and bristles, always contained, always ready to burst. This is exactly right for this great opera. The sound is excellent. I read below that one listener seemed to have trouble with the middle channel. I had no trouble. From my system, the sound was rich and clear.

What can I say about the production? It's not ideal. Some of it seems a little spare and thrown together. There's a lot of unfortunate thumping around on a hollow stage. But it doesn't get in the way of the actors. In a 10 star system, it would lose a star. But this is a five star system, and the production works as a piece of theater where so many traditional productions exist merely to keep the audience occupied during soporiphic proceedings. I can recommend this DVD without reserve as one of the best examples of what can be done with the medium.

About two years before this movie was released, I attended an Andrew Dice Clay concert one night at a resort in the Catskills.
That afternoon, I had lunch with three middle-aged ladies who spoke at great length about their shock that such a hotel would book a "vulgar" artist like Clay.
As I took my seat that night, I wondered if maybe one of the ladies had a point - maybe his humour was more attuned to comedy clubs or Cable TV. I uncharacteristically ordered a mixed drink and sat forward as the lights went down. The opening act appeared, one of those less-focused comics who seems to intentionally do a mediocre job so as to enhance the status of the featured act. (He actually looked like me, and after the show, in the disco, a guys comes up to me and says, with emotion, "Hey, you were pretty funny". I said "It wasn't me", and he patted me on the back).
Clay is announced, steps into the spotlight, lights up his cigarette, and describes his pre-show, personal activity. To my left, an attractive blonde struggled with her reel-to-reel tape recorder, while to my right, the three ladies sat with their mouths open.
This video is ofcourse from a much different venue - Madison Square Garden, so all eyes are focused on Mr. Clay, no distractions. However, the "opening act" on "Dice Rules" is not a low-esteem set-up but a long semi-biographical series of vignettes. They're well done, but the kind of segment that one fast-forwards from.
The '91 performance contains alot of the expected offensive humour, and it's a bit hard to take. For example, the bit on Handicapped parking. But if you give it some thought, he's really expressing a kind of frustration that all people feel, whether or not they consider themselves free of prejudice or insensitivity. Making fun of Handicapped people is horrible, but poking fun at the *situation" of self-righteous non-Handicapped people who can't find a parking spot at the mall trying to control their reactions, can be humorous. (He does have pathos even when he's close to going over the top: he's the schoolyard bully who takes his Mother shopping on Saturdays).
Clay is actually more impressive with quieter, more everyday issues - such as describing a miserable trip to his wife's friend's guaranteed-to-be-miserable party.
More "traditional" successful bits include great imitations of actors like Robert De Niro, Al Pacino, John Travolta, and a pretty good Elvis on "Baby, What You Want Me To Do".
I enjoyed the good camera and edit work, which integrates the crowd in the performance.
(By the way, the three ladies stayed for the whole show).

If you like Mother Goose.....OH! This is a DVD for you. This is the Madison Square Garden concert when Dice was at his highest point of his career. Dice acts, sings, and slices & dices the J-Offs in the audience.

Dice is one of the most popular comedians in Las Vegas. His new CD from 2000 showed that he is back.

Just laugh your a... off!!

Dice is one of the best ever. It shows in Dice Rules how much he has impacted people. Why not selling out MSG on top of that. The only reason I give this a 4 is because it isn't as intimate as Dice's other concerts. This has 20,000+ in the audience which makes it lose some sparkle. The jokes are great, and will keep you laughing.