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Reviews (7)
16 October 2018
Great summer powder
1 of 1 found this helpful Super for warm weather months. It's really prickly cool. It's nicely fragrant without being overpowering. I love putting it all over after a shower to keep from sweating. It really keeps you dry and cool, feeling really fresh.
Downside, it does streak white a bit, so if you are planning on wearing something black you'll have to be careful front and back or you could be walking around with white spots on the collar and stuff.
06 August 2006
Doesn't get in the way of Mozart's music
My first encounter with Don Giovanni comes with a rather badly recorded (off the air from Europe) version of the Furtwaengler version from Salzburg. The music was great but the staging was static and I got so bore I could hardly made it beyond Zerlina's 'Vedrai, carino'. So I've been shopping for other version. My main attraction to this DVD is the casting of Edita Gruberova as Donna Anna and Ann Murray as Donna Elvira.
This production has a superb cast and they all live up to their billing. Gruberova even acts better than usual (she's always been a good voice actress, but not always so physically). Ann Murray shows appropriate tinge of 'a bit off the edge' Donna Elvira. The young Susanne Mentzer is excellent as Zerlina and has great chemistry with Natale de Carolis' Masetto. The leporello of Claudio Desderi is about just right. I wish they had Koptchak on that statue in the graveyard scene instead of a rigid statue there with him singing from behind the curtain somewhere tho.
Maestro Muti keeps things at a nice pace and the Statue comes to dinner scene music is beautifully scary. The set is on the simple side, but makes good use of space and with good choreography, keeps me from being distracted during changes of scenery. All in all, a great production of the work.
06 August 2006
Dark and dramatic. A real theatrical experience
From the 2003 Salzburg Festival, this is an astounding musical performance with surprisingly good staging.
I love the singing actors. Especially fine are Vesselina Kasarova as Sesto, Dorothea Roschmann as Vitellia, Michael Schade as Tito, and Elina Garanca as Annio. Kasarova and Roschmann give us a dream portrayals of Sesto and Vitellia... the 2 characters that basically carry the opera.
Sesto isn't a wimp like in the other productions (Drottbingholm and Paris). He is a grown man who, faced with the choice between his erotic love and his friend, decided he can live without Tito... tho not without regrets. Kasarova is unerring in her expressions both in theatrically and vocally. There maybe other Sestos who can compare vocally, but as a whole package, hers is the Tito of our time (Susan Graham is great vocally in the Paris production, but her acting ... or rather, emoting... ruins that DVD for me.. I can hardly suppress a laugh during that production's 'Parto, parto ma tu ben mio' scene... now.. That's BAD!!).
Roschmann is a wonderful Vitellia. She copes wonderfully with the part's devilish vocal demands. Her low G actually sounds and she does have the high D for the trio. This Vitellia is a feisty tigress... dunno how she keeps her blood pressure in check through out the opera. The choreographer is vicious on her... as if Vitellia's music isn't difficult enough, they have her sing the thing while changing clothes and running around, amoung other things.
Schade is vocally the best Tito around. Though he got a bit ahead of himself in his coloratura showcase aria in act II. Other than that, he not only makes Tito's difficult (it doesn't sound it, but it is! The whole work is in the major key) music sounds like a breeze. Great pianissimo (tho sometimes inaudible). This Tito is something of a maniac, tho... a real nutcase... very understandable why Sesto would choose Vitellia over him.
Garanca is vocally astounding as Annio. This recording caught her just before her career erupted into stardom. It is quite something when the 2 mezzo pant roles get the biggest applauses of the evening in an opera with 2 soprani (I'm disappointed they didn't cheer Roschmann a bit louder. She is just wonderful). Garanca isn't as expressive as Kasarova both facially and vocally (the contrast is quite striking in their little duet early in Act I), but that fits well with her steady and loyal Annio.
Luca Piscaroni has the perfect voice for Publio. He acts well, too, but his choreography gets weird in the trio with Sesto and Vitellia.
If there is a weak link in the cast, it is the wonderful Barbara Bonney (imagine that!). Her top isn't as clear as it used to be, and she over-acts in some scenes. Other than that she is her usual wonderful self.
Maestro Harnoncourt does the Knappertsbusch with this production. The tempi are much slower than in other productions but it works wonderfully in making this seria a dramatically intense experience. I'm glad he had great singers like Kasarova and Roschmann who can cope with the tempi and enhance it even more with their dramatic sense.
Martin Kusej does wonderful work with this 3 stories set and lighting, but I can't understand his choreography of the chorus.... and the boys in underpants. They are more distractions than additions to the staging.
There are clips from 6 other TDK productions on the 2nd disc.
If I can only have 1 DVD of La Clemenza di Tito, this will be the one.