Verdi - La Traviata
by Carlo Rizzi, Willy Decker
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DVD Cover Information
Actor: Anna Netrebko, Helene Schneidermann, Rolando Villazon, Salvatore Cordella, Thomas HampsonDirector: Carlo Rizzi, Willy Decker
Brand: VERDI,G.
DVD: Region Code 0
Audio: English (Unknown); German (Subtitled); English (Subtitled); Italian (Subtitled); Spanish (Subtitled); French (Subtitled); English (Original Language); Italian (Published), DTS 5.1
Format: Color, DTS Surround Sound, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 132 minutes
DVD Release Date: 2006-06-13
Audience Rating: NR (Not Rated)
Studio: Deutsche Grammophon
Movie Reviews of Verdi - La Traviata
Movie Review: La Traviata of the twenty-first century and beyond
Summary: 5 Stars
For the past fifty-four years, everybody's been talking about "The Tosca" of Callas, Di Stefano and Cobbi: the August 1953 studio EMI recording under the baton of Maestro Victor De Sabata. It may finally have come to pass. Now, everybody will be talking about "The La Traviata" of Netrebko, Villazon and Hampson: the 2005 Saltzburg Decker's staging with Rizzi on the podium.
The minimalist and stark stage design, with its unlimited intellectual and emotional symbolism, creates an intentional void- we have seen enough of replicating realism of fatiguing chandeliers and old dusty Parisian gowns in other productions- but no one will ever forget the short red dress and the clock, and the intelligent directing and stellar singing and acting, which have sealded the fate of all La Traviatas to come in one's liftime.
With no curtains to rise and a bare stage, and with Violetta present from the very beginning, the drama unfolds with convincing pathos as soon as the first orchestral bar is played. Violetta's choreographic moves across the stage to meet her untimely and tragic death is the creation of a genius- Decker- and the execution of a consumate artist- Netrebko. This is the most innovative, the most emotional, and the most dramatic and live prelude or "overture" or "prologue," if you will, of all La Traviatas you'll ever see.
In Decker's brilliant and unparalleled staging, every nuance has a redeeming value that slowly depicts the cleansing and tranformation of Violetta's soul ready to meet her Maker. After a determined and enlightened Violetta confronts reality, she understands that the frolicking of the last few months with Alfredo is over, and that she lives on borrowed time. She first uncovers the clock, accepting her fate and that her time is running out. Then she pulls the huge wild- like her life- multicolored-flower-designed slipcovers away from the sofas, and the expected red color of the upholstrey has changed to white! And later, Violetta unzips her red dress of carnal passion and throws it away with distain and repulsion, revealing her white slip of purity, soon to be coverd with a black coat, like a shroud, heralding her approaching death.
The lack of distracting scenery allows the viewer to totally surrender to the music, the thrilling vocalism, and the emotions of the characters. And this format completely succeeds becouse of the superb quality of singing and acting. Anna Netrebko does not play Violetta, but she is Violetta: the kept woman available to the higher bettor, cynical and distrusting the power of pure love, for only carnal pleasure she has known.
Netrebko is a phenomenon combining voice, looks, and acting. Is she a phenomenal actress who possesess a phenomenal voice, or is she a phenomenal soparano who is a phenomenal actress? It's hard to tell; and that makes her unique. If she developd futher as a singing actress, she could be a formidable Tosca or Carmen. Netrebko's voice does not fit the standard classification of the soprano range. She crosses all levels, from lyric to spinto to coloratura, with phenomenal agility and contol, and with an unbelievable creamy darkness in the middle. From the sopranos seen on available videos, Netrebko's voice comes out as the most natural. She sings as if she speaks. The muscles of her face and neck show no distortion or annoying gimaces- even in close-up-shots- that other excellent sopranos use to project their voices. Netrebko uses her facial muscles only to show emotions, which makes her a unique singing actress. To compare Netrebko to Callas- as some do- is a disservice to both singers. Netrebko is Netrebko, and Callas is Callas. Period. Both are unique artists in their own right with no peers.
In all fairness, Villazon with such a mature, rounded and expressive voice, and a clarion that is rather unusual for a young tenor, Hampson, a lyric baritone of renown, with his smooth, honey-like and powerful but controlled singing, chorus and orchestra playing, are as good as Netrebko but, somehow, her charisma steals the show and she becomes the epicenter of the production. Artistically, musically, emotionally, and theatrically speaking, any production of La Traviata will rise or fall on the strength of its protagonist- Violetta. Netrebko, thanks to Decker's vision, focus, inspiration, and imagination, has become the paradigm and standard of all the Violettas to come: sluttish, witty, manipulative, opportunist, playful, sensual, seductive, and glamorizing and using sex for prosperity; but honest and ready for love. And when, for the first time, she experiences true love that has eluded her all her life, her spiriuality is awakened, and she is transformed, miraculously, into a powerful woman ready for sacrifice, repentance and salvation. Violetta is a complex and multifaceted woman, and Netrebko, with the help of Decker's denuded stage, touches Violetta's inner soul with depth, emotion, and thruthfulness, as it has never been sung, acted or seen before.
Some criticism of this DVD seems to be off base, and maybe it comes out of ignorance or emotional bareness. "It's vulgar!" What do you expect? Violetta is a glorified and high-prized prostitute! Spreading her uncovered thighs and legs, with exuberance and enthousiasm, on the red sofa raised by men, tells the whole story with honesty. "Nertebko in not Gheorghiu. Solti's La Traviata with Gheorghiu is the best Violetta on DVD." Of course, Netrebko is not Gheorghiu, and we should be thankful for that. Netrebko sings lying on her back, on her side, on her stomach, on all four, and on her knees! And while putting on and zipping up her allegoric red dress of caranal passion, or while unzipping it and taking it off! Netrebko is possessed by the character, as if there is no tomorrow, and constantly moves and acts with utmost discipline and precision. What more can you ask?. Netrebko is not a better Violetta but a different Violetta, and that makes her unique, and not like all the others. Netrebko's Violetta is totally her own, vocally and emotionally, and it can neither be taught nor acquired.
Villazon is a perfect match, vocally and dramatically. Why he has to be compare to "the young Domingo," no matter how flattering? Villazon's voice is more lyrical with more "Italianate" timbre and texture.
Hampson, a perfect and equal partner of Netrebko and Vollazon, "is stilted and cold." How an upper-crust Parisian novelist is supossed to behave and act when he meets for the first time the living-in hooker lover of his already socially compromised illegitimate mulato looking son?
Warning: this DVD is addictive. The more you watch it, the more you love it. This DVD for an opera fanatic, with a sensitve heart and a critical mind, is a masterpiece destined for eternity. And of course, it sould never be fotgotten that the master behind all this is the genius of Verdi. "Verismo" per se was not in Verdi's bag but, in La Traviata, he wrote the most human and the most true opera music of all times that has reached immortality.
Constantine A. Papas
El Paso, Texas
Summary of Verdi - La Traviata
Verdi's opera tells the tragic tale of Violetta, who is dying of consumption and leaves her beloved Alfredo at the request of his father, only to be reunited shortly before her death.No Track Information Available
Media Type: DVD
Artist: VERDI,G.
Title: LA TRAVIATA
Street Release Date: 07/18/2006
Genre: CLASSICAL COMPOSERS
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