Customer Reviews

Bartok - Duke Bluebeard's Castle /

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(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.