Product Details

• Actors: Robert Lloyd, Judith Elizabeth Laurence, London Philharmonic, Adam Fischer
• Directors: Dennis Marks
• Format: Classical, Color, DVD, NTSC, Subtitled
• Subtitles: English, French, German
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.33:1
• Number of discs: 1
• Rated: NR (Not Rated)
• Studio: KULTUR VIDEO
• DVD Release Date: November 17, 2009
• Run Time: 64 minutes
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• ASIN: B002NY7YVY
• Amazon Best Sellers Rank: #140,477 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Opera in one act

This highly acclaimed film version of Béla Bartók's searing psychological opera, performed by Robert Lloyd and Elizabeth Laurence, won the 1989 Prix Italia Music Prize. Bartók's short opera, one of the composer's most impressive early works, tells the macabre legend of Duke Bluebeard, who brings his young wife Judith to live in his remote castle. The dramatic intensity increases as sinister secrets are gradually unveiled, bringing the opera to its haunting conclusion.

Libretto: Béla Balázs

Duke Bluebeard: Robert Lloyd
Judith: Elizabeth Laurence

The London Philharmonic
Conductor: Adam Fischer

Costume Designer: Anna Buruma
Designer: Bruce Macadie
Producer: Dennis Marks
Video Director: Leslie Megahey

Duke Bluebeard has brought his wife, Judith, to live with him in his castle. She has left her parents and her home to follow the enigmatic Duke and to share her life with him.

Judith sees seven locked doors, and begs Bluebeard to let her open them. When she tugs at the lock on the first door, she hears a long sigh. Bluebeard tells her that she may open the doors, as long as she does not ask him any questions. He gives her the key, and she enters his torture chamber. The walls are dripping with blood, and she sees a crimson light.

Judith is determined to open all the doors and let light flood the castle. Bluebeard gives Judith the key to the second door. This is the Armoury; Judith sees blood on the weapons. The third door gives way to a golden light. It is the Treasury, filled with coins, diamonds, pearls, and gold. Judith admires Bluebeard s apparent wealth, but she sees blood on the jewels. The fourth door hides Bluebeard's beautiful garden. Once again, there are signs of blood the stems of the flowers are bleeding and the soil is stained with blood. The fifth door opens, and Judith stands in awe of the Duke's kingdom; meadows, forests, mountains and rivers. But a cloud passing overhead casts a crimson shadow over the land.

Bluebeard begs Judith to love him, and to pry no further, but she will not rest until all the doors are opened. She opens the sixth door, and reveals a pale, still lake, which Bluebeard tells her is filled with tears. He swears that the seventh and last door must remain shut. Judith asks him if he has loved anyone before her, but he evades her questions. She demands that whatever lies concealed behind the final door be revealed, saying that she knows the rumours are true, that Bluebeard has murdered his former wives and that this is where they are kept.

Bluebeard finally relents and gives her the key. He shows her his former wives. The first one he met in the red dawn, the second in the golden noon, the third in the pale evening. His fourth wife, Judith, he met on a starlit, black night. He places a cloak on Judith's shoulders, necklaces and pearls around her neck, and a crown on her head. She takes her place next to Bluebeard's other wives. Now it will always be night in Duke Bluebeard's castle.

Customer Reviews

Most Helpful Customer Reviews

12 of 12 people found the following review helpful:

5.0 out of 5 stars Does justice to this incredible opera, April 15, 2010

By 

Zachary (Brooklyn, NY) - See all my reviews

Amazon Verified Purchase

This review is from: Bartok - Duke Bluebeard's Castle / (DVD)

(I'm assuming if you're reading this, you're familiar with this opera - possibly via the other DVD version that's currently on the market. This review is written for such people. If you have never heard this opera, stop reading NOW and click "Add to cart." Just do it, you won't regret it. And/or purchase the CD featuring Christa Ludwig as Judith. Or, if you like, check out the other movie version directed by Szinetar. It's all good.)

I was originally skeptical and hesitant to purchase this DVD because there were no reviews here and very little representation on Youtube. My love of Bartok's work won out, though, and I am glad it did. This is a worthy interpretation of this phenomenal piece that manages to flesh out the score and libretto while coloring it with valid insights and personal touches.

THE CAST - Robert Lloyd is a treasure as Bluebeard. His acting is a little wooden, but his voice is strong and he manages to bring a little more character to the role than many baritones. This is a Bluebeard who is just as affected by what Judith uncovers as she is. Elizabeth Laurence does not have the strong voice we're used to, but her high, lilting soprano infuses Judith with a kind of excitability, naivety and joy that supplants the redundant shrewishness of other interpretations. Usually, I feel pretty fed up with Judith by the end of the opera, but here, I really felt for her. Laurence has the acting chops to pull this subtlety-laden Judith off.

THE PRODUCTION - GORGEOUS scenery, understated but lovely costumes, inspired directorial choices, and well-placed transitions. The production really works with the music, and the two aspects really feel seamless. In short, I believe Bartok would have approved. This opera is really well-suited to the film medium in a way that most other operas aren't. If you don't believe me, just check out Door 6. There are some "weird" parts that feel a little jarring, but a little bit of reflection made me appreciate the genius behind these decisions, and I didn't think they strayed enough from the music or the libretto to detract from the experience.

THE ORCHESTRA - This might be my least favorite aspect of the film, but it is by no means weak. I just have my own preferences regarding tempi, and in certain places (Door 5 comes to mind) I feel the dramatic tension was weakened by the conductor's choices. Others will probably find it more to their taste.

OVERALL - Just buy it. I know you will come back to it the same way that I will if you love this opera. I'm tempted to make comparisons with Szinetar's film, but the two are just too different. I haven't made my mind up if I like one more than the other. They each have their strengths and weaknesses, but I think a sensitive and open-minded person will be able to appreciate both films whatever their own preferences and prejudices.