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Monteverdi, Claudio - Il Ritorno d'Ulisse in Patria / Adrian Noble, Les Arts Florissants, William Christie, Festival d'Aix-en-Provence

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Produktinformation

  • Darsteller: Kresimir Spicer, Marijana Mijanovic, Les Arts Florissants, Humphrey Burton (regie), William Christie
  • Format: Classical, Dolby, PAL
  • Sprache: Italienisch (Dolby Digital 5.1), Italienisch (PCM Stereo)
  • Untertitel: Englisch, Französisch, Deutsch
  • Region: Alle Regionen
  • Bildseitenformat: 16:9 - 1.77:1
  • Anzahl Disks: 1
  • FSK: Freigegeben ohne Altersbeschränkung
  • Studio: EMI Music Germany GmbH & Co.KG
  • Erscheinungstermin: 23. Januar 2004
  • Produktionsjahr: 2002
  • Spieldauer: 174 Minuten
  • Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
  • ASIN: B000093U3M
  • Amazon Bestseller-Rang: Nr. 95.729 in DVD & Blu-ray (Siehe Top 100 in DVD & Blu-ray)
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Produktbeschreibungen

Libretto by Giacomo Badoaro after Homer's Odyssey (Books 13-23)

From the Theatre du Jeu de Paume, July 2002
Production of the Festival d'Aix-en-Provence (2000)
Directed by Adrian Noble, with sets and costumes by Anthony Ward,
lighting by Jean Kalman and choreography by Sue Lefton

Les Art Florissants William Christie musical direction
Soloists of the Academie europeenne de musique d'Aix-en-Provence and of Les Arts Florissants.

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Amazon.com: 4.0 von 5 Sternen 16 Rezensionen
5.0 von 5 Sternen A great performance 24. Januar 2013
Von Timoteo - Veröffentlicht auf Amazon.com
Format: DVD Verifizierter Kauf
I am very glad I made this purchase. I am a huge fan of Monteverdi and it's not easy to find DVDs of good performances of his operas. This is one of the good performances. The performance is dramatic, with good costumes and choreography. But the singing does not suffer like it does in some other performances that are good and dramatic. The theatre in which the performance was done is a smaller theatre so you can hear some of the more mellow voices in a little more intimate way. Some more delicate voices are just as beautiful as those who can belt it out into the large opera houses. I love this DVD. The music by Les Arts Florissants is top notch. Les Arts Florissants sets the standard for Baroque music performance. But the singing by nearly all the singers is also very good. And the singers don't just stand there and sing. There is good choreography and movement, and dramatic quality. The story is based on Homer's Odyssey. It is the return of Ulysses to the fatherland (Ithaca). I am a big fan of Monteverdi, and I'm choosy about what performances I can listen to and watch. This one meets my exacting standards. This is not Monteverdi's best known opera. But it is nearly as good, to my taste, as his most well known one, L'Orfeo, and about as good, in my opinion, as another well known Monteverdi opera, L'Incoronazione di Poppea. I don't regret this purchase at all. Worth the money.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen utterly brilliant production flawed by poor audio and video recording... 20. August 2013
Von Jpet - Veröffentlicht auf Amazon.com
Format: DVD Verifizierter Kauf
With extraordinary staging, outstanding singing from all the leads, and the incomparable sound of Les Arts Florissants led by William Christie, what's not to love? So I thought, until I took the DVD for a spin.

The poor quality of the audio recording throughout the performance is inexcusable. First, the stage is covered with sand (which works fine as stage craft); however, the sound recording manages to pick up a greatly amplified scrunch, scrunch, scrunch almost anytime a performer walks while singing. This loud scrunching of sand cuts right through the singing. This happens a lot throughout the production. Second, almost anytime a performer is not facing full on to the audience, the volume and clarity of the audio degrades drastically. These two audio problems spoil this DVD as a presentation of what is clearly a magnificent production. I've never come across an opera DVD with anything like these audio problems.

Further, the video recording is spoiled by nearly every single close up starting off out of focus and then being corrected. If you ever want to realize just how many close ups there are in a recording of an opera, viewing this DVD will allow you to do that; they each stand out as an eye sore.

What a terrible shame.

So based on the utterly brilliant staging and costuming married to acting and singing of the very highest caliber of this 2003 Duplat/Christie production of Il ritorno, I had high expectations for the 2010 Pizzi/Christie production delivering all of that while correcting the issues with the audio and video recording. And it did eliminate the audio and video recording flaws. However, the newer production (2010 Pizzi/Christie) did not at all match the level of acting and singing delivered in this Duplat/Christie 2003 production. The wonderful touches with staging and costuming in Pizzi/Christie do not at all compensate for the wooden acting and the dull singing.

Since viewing the 2010 production, I have gone back and again viewed the 2003 production several times. And I have decided that on balance the stellar singing, acting, and staging of Duplat/Christie far outweighs the flaws in audio and video recording on that DVD and place it much higher than the DVD of the Pizzi/Christie production. So I have gone back and upgraded my rating for the 2003 Duplat/Christie

If you are deciding between the DVD for the 2003 Duplat/Christie and 2010 Pizzi/Christie productions, go with Duplat/Christie. If you are getting both, understand that there are flaws with the audio and video recording with the Duplat/Christie, but to get past these flaws give Duplat/Christie a second try after viewing the Pizzi/Christie production and the superior acting and singing in Duplat/Christie will shine through.
12 von 12 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen A unique and effective production that puts Monteverdi first 8. Dezember 2009
Von wolfgang731 - Veröffentlicht auf Amazon.com
Format: DVD Verifizierter Kauf
Approximately 20 years ago I saw a production of Ulysses mounted at San Francisco Opera with Thomas Hampson in his debut in the role of Ulisse and Frederica von Stade as Penelope. To say that I was underwhelmed is to put it lightly. That was, without question, the longest evening of musical theatre that I have ever had the misfortune to sit through and I wasn't alone in my displeasure. At intermission, half the house cleared out and those that remained, spent the second half of the performance sleeping or admiring their cuticles. I would have left, too; however, the tickets were a gift from a friend who joined me and I thought it grossly impolite to walk out. Mind you, he was snoring up a storm. It was a dreadful affair: Turgid, old-fashioned and static, it was a lifeless production that put me off to Monteverdi for years. It wasn't until five years later that I saw a first rate production of Poppea that I reassessed my appreciation for the Venetian master's art. I realized then just how vibrant and beautiful these works can be. Of the three extant Monteverdi operas, I've always found Ulisse the least accessible of the lot. It is, for the most part, more interior and subtle, more psychological drama than musical spectacle, but that's not at all a bad thing. This wonderful production from the Aix-en-Provence Festival is a winner on every level. Talk about effective direction and design. A sand covered stage framed on either side by two high walls and a large arched entry upstage is pretty much all there is to the set. Some singers scale the walls, while others ascend from beneath the stage, others still descend from the rafters or stride in through the arched portal. The lighting is effective but unobtrusive, a dramatic device used with great economy. This whole production, for me, was an exercise in restraint. A studied but vital mounting. It thankfully lacked pretense. Too often nowadays, the drama and beauty of opera gets bogged down or lost all together in productions that want to revolutionize the art form regardless of whether the audience feels it needs it or not. Striving to make the works contemporary and relevant, they end up confusing what's important with what's impressive and what is insight with what is manipulation. This production is a perfect example of how you can be relevant and fresh while still respecting the source. It steers clear of the cheap, sensationalistic and the vulgar. Save for some dimly lit and brief nudity in the prologue, there is nothing here to shock. Calixto Bieito this ain't. All of the singers were wonderful, especially Marijana Mijanovic's beautifully delivered Penelope. Her dark hued mezzo was like balm to the ears, rich as molasses and just as sweet. Kresimir Spicer (a name unknown to me) is a dramatically and vocally convincing Ulisse. There was such tenderness in his "Gia Que Sorte e Felice" and Mijanovic responded in kind. I can't think of a remotely weak link in the cast. William Christie's commitment to Monteverdi is both well known and unparalleled and he sure as heck doesn't disappoint here. Wonderful from beginning to end.
6 von 6 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Did Opera Decline after Monteverdi? 12. Februar 2009
Von David E. Gregson - Veröffentlicht auf Amazon.com
Format: DVD Verifizierter Kauf
As a long, long, long-time opera lover with shelves groaning with LPs, CDs, DVDs and even some 78s, I often wonder if the art form declined almost immediately after its brilliant beginnings in the sublime works of Claudio Monteverdi. If the original idea of opera was to emulate ancient Greek tragedy -- a deeply serious and elevated form of drama in which music and chant served to intensify the meaning and emotional force of the poetic text -- Monteverdi's achievement seems truer to that aesthetic model than almost everything that followed up until Wagner! Monteverdi's sensitivity to the word and his feeling for the humanity of his characters is astounding -- and his operas are profound and very, very beautiful. Of course, the fact that he and his terrific librettist for "Il ritorno" (Giacomo Badoaro) do not strictly adhere to the so-called Aristotelian unities (of time, space, and action) is hardly Greek: "Il ritorno," with its variety of "high and low" characters and its mixture of comedy and tragedy, reflects the sort of Renaissance ideal we see at its flowery best in Shakespeare. So we're still in good company.

Wonderful and terrible at the same time is the fact that "Il ritorno" exists only in fragmented form -- and we do not even know for certain what instruments were intended for the orchestra. That means every time we see or hear "Il ritorno," it is virtually a new work! Scenes come and go, and instrumentation changes according to the whim and/or deep research of the conductor/editor. I adore what Raymond Leppard did with it (and you can still get that version in an old taped-for-TV Glyndebourne release containing a heartbreaking performance of Penelope by the glorious Dame Janet Baker). But William Christie and Les Arts Florissants are the superb early music purists du jour, and I love almost all his DVD stuff, even when the stage direction is total madness -- and sometimes utterly awful as in the multi-media circus of Rameau's "Les Paladins" on Opus Arte (a sort of perverse must-have item).

Anyhow, this disc is just wonderful - and although there is much to quibble about in many of the staging choices - it delivers an emotional wallop. Like most viewer-listeners, I like this bit, then hate that. But I would not be without this DVD! I wish it were on Blu-ray.

As far as the plentiful competition for this "Il ritorno" is concerned, all the discs at Amazon have something wonderful to offer. Too bad the fun, super-souped-up Hans Werner Henze version is going for absurdly high prices -- $75 and way up -- from private sellers.
19 von 20 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Don't wait! 28. September 2004
Von Michael Rigsby - Veröffentlicht auf Amazon.com
Format: DVD Verifizierter Kauf
I feel I have little to add to the other reviewers' comments, but am so enthusiastic about this performance / recording that I am compelled to add my own endorsement. Finally, a performance of Ulisse that makes its spendid case for Monteverdi's brilliant, late opera without resorting to muscial gimmicks to make it more "appealing" to modern audiences (though one might argue about the dramatic rationale for a naked Human Frailty, this is not without precedent and if it sells a few a more DVD's that's all the better). I believe this performance owes much to Alan Curtis's recently published edition of the work (available from Novello), and I very much enjoyed following the score. The staging is simple and elegant. Characterizations are clear but never caricatures. Some of the "smaller" roles emerge brilliantly - especially the Eumete of Joseph Cornwell - but there really are no weak links. So don't wait....it probably won't get any better than this in either audio or video formats. I wouldn't discourage anyone from also buying the Jacobs audio recording (Harmonia Mundi) - and I for one will enjoy both and feel grateful that we now have two great recordings of this long-neglected work.
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