Vincenzo Bellini - I Puritani
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Movie Reviews of Vincenzo Bellini - I Puritani
Movie Review: Five stars for Anna Netrebko, but bad performances of the male voices.
Summary: 3 Stars
Anna Netrebko gives us a wonderful performance in the role of Elvira. Nevertheless, I must disagree with most of the reviewers: just Miss Netrebko exists in this production, as the main male voices range from very bad (Arturo - Eric Cutler) to bad (Giorgio - John Relyea) and acceptable (Riccardo - Franco Vassalo).
People not used to hear opera probably did not notice the weakness of the male voices, but I think that all opera's lovers are asking themselves "Why did not the MET choose better ?"; "Which criterium was used to select the male voices ?".
Unfortunately, what could have been a memorable production is just a very disappointing one.
Nevertheless, Miss Netrebko's beautiful voice and acting make this an interesting DVD, which I rate with 3 stars, the mean of five stars for Anna Netrebko, Arturo*, Giorgio **, Riccardo ***, Chorus and Orchestra ****.
Movie Review: We might as well change the title to "I Netrebko!"
Summary: 5 Stars
I first saw this Met's production of I Puritani on HD screening at the movies. The video quality wasn't very good and rather dark, and there were a few technical glitches like the end of the last scene was cut off. I was amazed, in comparison, that this DVD is sharp with excellent video and audio quality. If your intent, watching this production, is to hear the 'Elvira' of this or that soprano, forget it and turn it off. If you want to see and hear Netrebko's Elvira, keep it going and you'll be in heaven. As with her other DVDs, Netrebko steals the show, theatrically and vocally. In her duet after the mad scene, she outsings Cutler, as she's been doing all along with all the other tenors. Netrebko's voice size is getting larger without affecting her lyricism, legato, flexibility and color. Netrebko's mad scene is a case in point what grand opera is all about: theater using music to convey drama. Without theater, historically, there would be no opera. Opera was conceptualized by the opera founding fathers as the means to serve the theater. Greeks invented the theater with its chorus, etc., and the Florentines added music for dramatic effect. That's why, thematically, the first operas, like Daphne and Orfeo and many others later, were based on Greek dramaturgy. All opera aficionados talk about the voice, the Goddess of opera, and that's true. On the other hand, if the voice is expressed with body language- theater, acting- the dramatic effect can be profound. That's where Netrebko comes in. Some said that lying on her back, with her hair flowing over the orchestra pit was a cheap trick. I'm sure she didn't ask for it, but stage directors use her unique physicallity and athleticism to enhance drama that we haven't seen in a long time. On the strength of Nerebko's merging theatricality and vocalism in the mad scene, this DVD deserves five stars and is highly recommended.
Constantine A. Papas
El Paso, Texas
Movie Review: Stunning performance
Summary: 5 Stars
I missed the high definition telecast almost one year ago to the day but thanks to modern technology and my home theater, the dvd in dts sound on a big screen brings into my home a tremendous performance by Anna Netrebko with outstanding support from Eric Cutler, Relyea , and others. According to other reviewers, her trills arent the trilliest, and her fioriture(?) isnt the best, but my goodness, are we lucky to have such a talent performing for us. Thanks to the Met for these telecasts and DG for releasing them. And may I add that Ms Flemings interviews with the late Beverly Sills and with Ms Netrebko put a human-face and touch on the opera telecasts that no operaquiz ever did or ever will.Movie Review: "Good, But Not Great"
Summary: 4 Stars
Star singer Anna Netrebko has a beautiful lyric soprano voice and is a pleasing actress. What she is not, however, is prodigiously gifted with coloratura skills. In this production of Bellini's masterpiece, she is enchanting to listen to and watch as long as one is prepared to ignore smudged fioriture, the absence of true trills, and the presence of scooped topmost notes. Whether she could benefit from more schooling, should she choose to continue in this repertoire, is an open question.
"I Puritani," was written for four spectacular singers, but, Netrebko apart, the Met has not cast this production from particular strength. Eric Cutler in the nearly impossible role of Arturo is a commanding figure, though he is undermined by an unpleasing, frequently nasal vocal production. True, he hits his notes, but his voice is not markedly beautiful. Similarly, John Relyea looks his part, but his rather gravelly voice gets in the way of any memorable impact. As Riccardo, Franco Vassalo is competent, but also in no way memorable. In sum, this production, for all the raves it has received, is hardly the night of four supreme stars expected in performances of this opera.
Further, the camera locations for this DVD performance are sometimes questionable. We, the viewers, are at moments in the wings or seemingly onstage with the singers, facing the conductor and looking out at the house, for no discernible purpose, except perhaps to give the bored among us the illusion of some few minutes of personal operatic fame. Even worse are the backstage visits conducted by Renee Fleming in Barbara Walters mode, asking dumb, unnecessary questions. The appeal here, I suspect, is the same as the one to diners in a fancy restaurant who, it is thought, like to watch the chef through a window open to the kitchen, or even worse cooking at their tableside. The idea that the production and stars should remain onstage and the audience in its seats probably was thought too non-interactive for contemporary multitaskers.
On the other hand, valuable among the special features of the DVD is the relevant between-scene commentary from the broadcast booth (thank God!) with the witty and charming Beverly Sills who shares her insights about this opera along with anecdotes of her own performances in it. Sills' remarks and the beauty of Netrebko's lyric singing, I'd argue, are the endearing features of this otherwise ordinary DVD.
Movie Review: Not Stylistically Correct Performance
Summary: 4 Stars
I read with surprise the rave reviews of this performance. While it has to be agreed that many aspects of Netrebko are wonderfully suited to this role, there are also critical shortcomings which are probably not obvious to audiences who are not well acquainted with the demands of Bel Canto. First on her plus points - she definitely looked the part, which is not often so, and while many viewers don't mind whether the singer looked the part, many also do, and this will keep these people happy. She has a lovely voice and a good acting ability - which certainly brings the role to life - again something not to be taken for granted. Thirdly she has star appeal, which will bring greater audiences to this sadly and unfairly neglected masterpiece by Bellini (even if its not Norma or La Sonnambula, it certainly deserves a revival).
However, viewers must also be aware that Bel Canto also requires the singer to have a good coloratura ability. This is unfortunately sorely missed here in Ms Netrebko's performance. Indeed audiences who are well acquainted with this work will have picked the glossing over of running notes and other obvious faults Ms Netrebko should have overcomed.
Perhaps it is wise of her to have appeared in a video recording rather than an audio one, where these faults would have been accentuated in the absence of her glamorous personality and great thespian skills. For it would have brought up very unfavorable comparisons with those who have managed the coloratura successfully - the legends of the past like Callas, Sutherland, Sills or even Freni, just to name a few.
Nonetheless, in times like ours, a greatly welcomed release.