Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.

La bohème, LA Opera

On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.

Amazons Enchant San Francisco

On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.

Mathis der Maler, Dresden

While Pegida anti-refugee demonstrations have been taking place for a while now in Dresden, there was something noble about the Semperoper with its banners declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as examples.

The Makropulos Case, Munich

Opera houses’ neglect of Leoš Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life.

Orphée et Euridice, Seattle

It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

OPERA TODAY ARCHIVES »

Reviews

20 Apr 2010

Lady Macbeth of Mtsensk on Blu-Ray

Previously released on DVD, the Netherlands Opera recording of Shostakovich’s Lady Macbeth of Mtsensk

Dmitri Shostakovich: Lady Macbeth of Mtsensk

Katerina Lvovna Ismailova: Eva-Maria Westbroek; Sergey: Christopher Ventris; Aksinya: Carole Wilson; Boris Timofeyevich Ismailov: Vladimir Vaneev; Sonyetka: Lani Poulson; Zinovy Borisovich Ismailov: Ludovít Ludha; Shabby Peasant: Alexandre Kravets. Netherlands Opera Chorus. Royal Concertgebouw Orchestra. Marss Jansons, conductor. Martin Kušej, stage director. Recorded live at the Het Muziektheater, Amsterdam in June 2006.

Opus Arte OABD7031D [2 Blu-Ray DVDs]

$49.99  Click to buy

(and reviewed at Opera Today) has also been issued in Blu-ray, and this technology enhances further the production values of this particular recording. Visually the Blu-ray video is superior to the DVD release with regard to the refinement of the images and the clarity of presentation. The sharp definition allows the performers to appear immediate and accessible. Without exaggerating any details, the realistic images also reinforce the sense of immediacy, which is already present in the DVD version of this production.

At times, however, the blue-cast of the sets in the first act seems more pronounced in this medium, and this seems to color the resulting images in an unintended manner. At the same time, that blue-cast makes the flesh tones of the actors more prominent, an element which is essential to the gritty, realistic production that has some provocative displays of various sexual interaction. As a filmed opera, some aspects of the staging appear also seem more pronounced in the Blu-ray disc, as with the use of the flashlight later in the act. This detail may not emerge as clearly in the theater, where this effect depends on the distance and elevation from the stage. Here the blurring light of the flashlight has a welcome prominence in drawing the viewer’s attention to the scene. Overall the already fine visual presentation that is available on the DVD is heightened in Blu-ray, as is the sound, which is qualitatively clearer. The fine performance is transmitted with a sense of immediacy that is not always possible with opera videos.

More importantly the sound on the Blu-ray version is more details and clearer than on DVD. Granted, the sound levels on the DVD are excellent, some aspects of the performance emerge with greater clarity on the Blu-ray version of this video. The orchestra has a fine presence, with the dynamic levels nicely distinguished in this recording. At times the sound conveys the sense of a studio recording, an aspect of the release which also commends itself to those interested in an effective recording. Yet this sense of clarity also allows the voices to be heard more precisely, thus reinforcing the sense of immediacy that is part of the visual presentation in this medium. The sound quality is fine throughout the Blu-ray recording, but particularly effective in the final scene in the fourth act (disc 2, tracks 8-17), as the score buildings to its powerful conclusion. This is a part of the opera in which the visual and sonic details are only enhanced through this level of refinement.

The Blu-ray release contains the same supporting materials as the DVD version of this opera. The documentary by Reiner E. Moritz “Lady Macbeth of Mtsensk: The Tragedy of Katerina Ismailova”, was already part of the DVD version, and it is included on the Blu-ray release. In fact, all the features of the original recording are found here, and given the qualitative differences in the sonic and visual levels, this version of the video is preferable for those who want to experience the opera almost as if they were in the audience for the production itself.

James L. Zychowicz

For this recording on standard DVD:

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):