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Music CD - Vincenzo Bellini - I Puritani
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Music CD: Vincenzo Bellini - I Puritani
List Price: $39.98
Our Price: $18.35
Your Save: $ 21.63 ( 54% )
Availability: Usually ships in 24 hours
Manufacturer: Deutsche Grammophon
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Average Customer Rating:  
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Aspect Ratio: 1.77:1
Audience Rating: NR (Not Rated)
Binding: DVD
EAN: 0044007344217
Format: Classical
Label: Deutsche Grammophon
Manufacturer: Deutsche Grammophon
Number Of Items: 2
Publisher: Deutsche Grammophon
Region Code: 0
Release Date: 2007-12-18
Running Time: 149
Studio: Deutsche Grammophon
Theatrical Release Date: 2006-12-30
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Spotlight customer reviews:
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Customer Rating:
Summary: Netrebko and Nothing More
Comment: This 2007 DVD is puzzling. With Juan Diego Florez scheduled to sing Arturo at the Met in the near future, why did the Met choose to film this production, with the WORST tenor who has ever sung it at the Met since its 1976 inception (Luciano Pavarotti sang it then, and it has been downhill ever since)? Eric Cutler is absolutely awful as Arturo; when he goes to sing his high D-flat in his opening aria, the camera is on the soprano, Anna Netrebko, indicating that maybe Cutler missed the note and they had to edit something in later. Elsewhere, his singing is more unpleasant than any Arturo I have heard in performance or recording.
As for Netrebko, her interpretive skills are excellent, and she is a very charismatic performer. Most of the other reviewers have covered this in detail.
The other members of the cast are variable. Franco Vassallo, the Riccardo, is also about the worst Riccardo I have heard. The 1976 Met production featured Sherrill Milnes, and since then Paolo Gavanelli and Thomas Hampson sang the role (Pablo Elvira and Matteo Manuguerra also sang the role with distinction elsewhere) much better than Vassallo does here. Vassallo's mouth vibrates excessively, with the inevitable forcing and spreading of the tone. His range does not extend to the top (interpolated) notes of the role, and in general he sounds like a comprimario. John Relyea, as Giorgio, does sing out of the left side of his mouth, but in general sings with feeling, and is not a liability.
A further word about this performance. For some reason, the Met chose to open some cuts, but introduce others that create musical imbalances. In Act 1, Riccardo's cabaletta has both verses, but then near the end there is a jarring cut to nearly the end of the piece, and it does not work. At the end of the Elvira/Giorgio duet there is only one verse, and then the end of the number is also hacked up, including the orchestral part. Sometimes singers request cuts to save their voices, but why cut the orchestral part? Similarly, much of the opening orchestral/choral music is cut.
Unfortunately, this recording reflects the outdated philosophy that an opera only needs a prima donna. I hope that Florez records the role of Arturo soon with a good soprano so that there is a more balanced recording available.
Customer Rating:
Summary: The old Stand and sing MET
Comment: The telecast of Fille du regiment set a very high standard for opera in genral and for the Met specifically. They returned to their old "star-driven" stand and sing production for Netrebko. The chorus was static and uninvolved, the baritone was loud and unsubtle, the tenor was tall, handsome and VERY nasal and the young bass has started to sing out of the side of his mouth. There must have been dubious cuts and the only acting and movement were done by Netrebko. Hers is a beautiful instrument, but not really suited to this kind of music.
I hope the Met keeps going in the new direction of energized and logical porductions. This was a true disappointment.
Customer Rating:
Summary: DISAPPOINTING..... DO NOT BUY THIS DVD
Comment: What a waste of money. Do not buy this DVD. Two of the males sing and act awful,John Relyea and specially Arturo sung by Eric Cutler is really a third class tenor or less. He does not sing, just shout. In some moments you think his throat will come out. Is absolutelly unpleasant to listen him singing. Is not a partner for Netrebko at all. Franco Vasallo as Riccardo sings very good. The Orchestra an Chorus are very good too.
Netrebko as always, sings and act very good but this is not a role for her voice. As another reviewer said she has not the coloratura required. If you are used to listen this role sung by Sutherland and Gruberova............ there is no comparison at all. Before buying this DVD I read many reviews, even the 2 stars. I decided to buy it because of Netrebko but never thought it was going to be as disapointing as it is. The Metropolitan Opera managers and Deutsche Grammophon should be ashamed to have produced the opera with that cast and the DVD, even with Netrebko singing.
If you want a very good I puritani's DVD. Buy the one sung by Gruberova at the Barcelona's Liceu. To listen buy the Sutherland-Pavarotti (it is a masterclass about how Puritani should be sung). Is absolutelly great and you will appreciate the beauty of this opera.
Again shame on Met and DG. I feel absolutelly cheated by them.
Customer Rating:
Summary: Incredible
Comment: Ha sido un placer ver y escuchar esta gran producción. Antes de comprarla había visto aquí mismo críticas hacia el decorado y cosas así...el decorado es más que suficiente, pero me parece extraviarse de lo que realmente es sobrecogedor, que es el arte de Anna Netrebko, que aquí alcanza uno de los cúlmenes del belcanto. Están inmensos ella y Franco Vassallo, y no tan bien Eric Cutler, que tiene una voz un poco nasal de más, aunque las escenas con Anna están cargadas de emotividad y de buen hacer, que quizás supla un poco ese déficit que a mí me parece sentir. Por otra parte, el bajo es también muy bueno, y la complicidad con Franco Vassallo es total. Así que es una obra muy recomendable y más todavía con la impresionante soprano de este plantel...sólo por el aria de la locura, vale la pena pagarla...sólo les digo que la Netrebko canta en un momento boca arriba, colgando sobre el foso, y su potencia y timbre es el mismo!
Customer Rating:
Summary: Ana Netrebko show
Comment: Agree with Mrs. Silvia Costa about the bad choice of the male singers. I also think that there is a lack of talent and creativity in most of the MET productions including this one. The outdated painted scenaries are a real shame. Whereas European productions are experimenting these days with new concepts of opera staging (some of them quite good and some others quite unfortunate) Americans seem to be stuck into a rather rigid and old fashioned concept of staging. This is a clear example that money and excess does not necessarily buy good taste specially if they do not go hand to hand with new ideas. About the great diva: I certainly love Anna Netrebko, particularly her mad scene that is quite breathtaking. However I cannot take out of my mind the legendary performances of other great divas such as Maria Callas and Edita Gruberova in the same role. Anna Netrebko is spectacularly beautiful and elegant in the role though.
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Editorial Reviews:
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It's hard to imagine a video opera collection without this superbly sung MET production of Bellini's I Puritani. Not that it's perfect by any means, but its excellences--most especially Anna Netrebko's electrifying singing and acting of Elvira--banish carping about other aspects of this memorable night at the opera. Netrebko is fragile from the start, her facial expressions and hand movements immediately conveying the girl's vulnerability. She has a mad scene in each act; the first when she realizes her fiancé has disappeared with another woman, the third, in the final act, a brief relapse when her returned fiancé is taken by the army to be executed. But it's in the second act that the real fireworks occur, with a Mad Scene that rivals Donizetti's Lucia for bel canto primacy. Here, Elvira is first heard off-stage, after the chorus has informed us that she's deranged. She enters wearing her wedding gown and begins Qui la voce in a voice as frail as her psyche. Netrebko is gripping here, wandering up and down the central staircase, a lost, pathetic creature. Later in the scene she delivers a spectacular display of theatrics as well as fearless vocalism by singing a florid coloratura passage while lying on her back, her head dangling into the orchestra pit. Tenor Eric Cutler is her fiancé, Arturo, who helps the Stuart Queen escape from the Puritan stronghold, not a wise move in Cromwell's England, not to mention unhinging Elvira. Bellini gives Arturo one of the most cruelly taxing entrance arias in opera, A te o cara, which Cutler delivers with aplomb. His singing throughout is ardent, well-tinted, and easeful. As Elvira's uncle, bass John Relyea is in excellent voice, his big Act III aria especially well done. Franco Vassallo, as Riccardo, Arturo's rival, is more generic, his baritone lacking the color and shading to bring the character to life. Conductor Patrick Summers leads singers and the superb MET Orchestra in an idiomatic performance, allowing the long lines of Bellinian melody to ripen and expand while also generating excitement in the more dramatic scenes. Visually Sandro Sequi's 30-year-old production with sets by Ming Cho Lee, is showing its age, but the lighting and video direction (by Gary Halvorson) manage to make it look better than it did in the house. Sharon Thomas' stage direction is largely limited to the stand-and-sing variety, the chorus composed into static formations that make for pretty still photos but lack life. Much of the acting is rudimentary, with the singers looking either bored or stiff or engaged in stock generic emoting. Only Netrebko surpasses this with acting that's on par with her singing--consumed by the character, intense and knowing in her subtle movements and reactions, conspiring with Bellini to make this a must-have. --Dan Davis
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