Customer Reviews

Donizetti - Anna Bolena / Bonynge, Sutherland, Morris, Canadian Opera Company

5 star:		(6)
4 star:		(5)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

On May 22, 1984 Joan Sutherland gave her very first performance as Donizetti's Anna Bolena in Toronto. Two performances later, on May 28, the performance was televised with the premiere cast and quite a premiere cast it was: James Morris as Henry VIII, Judith Forst as Jane Seymour, Michael Myers as Percy and in the small role of Hervey, the as yet unknown Ben Heppner. Pirate videos have been floating around for years of this performance but what a treat it is to see this mint copy looking as if it were being telecast today! Sumptuous costumes and appropriately stern sets along with excellent camera work help the singers to bring their characters vividly to life. Even though Sutherland was definitely in her later years, there is plenty of voice left to cope with the many vocal as well as dramatic challenges of this role. It is also a great opportunity to see James Morris as Henry -- a role he rarely performed and never recorded. The role offers no vocal difficulties that Morris cannot master and he is visually the antithesis of the overweight letcher we expect Henry VIII to be. Richard Bonynge conducts with sensitivity and style, bringing a "rightness" to this performance which many modern day bel canto performances rarely deliver. As with VAI's Norma -- subtitles are permanent and not optional but this is a small drawback which can be easily overlooked and indeed a plus for those who are hearing this opera for the first time. This DVD comes highly recommended not only as an aural but a visual treat as well. Many thanks to VAI for releasing its recent DVD's (Great Opera Stars on the Bell Telephone Hour and NORMA) -- keep them coming!

In a perfect world, there would have been a video "Anna Bolena" with Maria Callas, but with that out of the question, I find this Sutherland version quite good. True --- her voice is not what it would have been ten years earlier ------ but it's still an impressive instrument quite capable of commanding the role. Secondly, she sounds considerably better here than she does on the London studio recording of 1987 (recorded three years after this performance). The supporting cast here is excellent, the orchestra plays well for Bonynge, and the picture is pretty good. I'm a great Callas admirer, but I truly find Sutherland's contribution to the art of bel canto to be as basic and fundamental as was Callas'. This is an excellent "Anna Bolena" , and if there are those who have a problem with Sutherland's downward transposition of the final scene by a whole step, they should simply give this performance a pass. Personally, I'm glad that Sutherland took this role into her repertoire, even at this late stage of her career. Is there any soprano out there today who could duplicate her accomplishment? If so, where are they??

This Anna Bolena recording does not have the best audio or visual quality that we really desire.However, it is an extremely important document and shows why Dame Joan was still "La Stupenda" at age close to 60 !It is ashame that the Met refused to mount this opera for Sutherland during her raving success around the world-a great lost for New Yorker!This is a must for any opera lover---------including fans of Dame Joan.

This Anna Bolena originates from Toronto, Canada, 1985, and it has a spectacular Joan Sutherland for the title role, along with James Morris as Enrico, and Judith Forst as Giovanna. Bonynge conducts with wonderful Donizetti style(Italiainate), and the rest of the principles are excellent. Buy it and enjoy. A few cuts, but check out B Sills' recording for the complete(near?) of this fabulouis opera!

After obtaining a copy of Sutherland's DVD performance of Lucrezia Borgia (I gorgeous rendition-a must!) I just had to get this Anna Bolena. Of course there's a four year difference between performances, and I heard so many rumours and opinions regarding the decline in voice, and yes, inevitably you can notice the difference. But as far as I'm concerned she can still surprise today's singers who are in their prime. Her coloratura, runs, trills, everything...are still clean, tasteful, absolutely beautiful! Whats more, her Jane Seymour, Judith Frost, is fantastic, first in her scena duet with Henry, then with Anna Bolena herself in Act 3 scene 1. The costumes, sets great!
Now the disappointments-a simply miscast Henry-James Morris. He sounds as if he were choking in some of the emballishments. Yes, he can sing Wagner, I've heard him, but certainly NOT bel canto! Others in the cast are more than adequate. Also the sound is pathetic!!! I can understand if its mono sound but sometimes the voices are too far back, the orchestra sounds muchy in places. I disappointment after the top quality of Lucrezia Borgia.

Still, a DVD I would not want to be without!!!
Bravo!

Though I was scepticle, I must agree with previous reviewers that after seeing/hearing this DVD of a favorite opera, "Anna Bolena", Ms Sutherland was still "La Stupenda". Yes there were transpositions and yes there were cuts but she has given us a great performance to enjoy and cherish. She was a big horsey woman who was never a beauty but that face can convey pathos, charm, innocent happiness and deep dispair. And the voice was still right on pitch, accurate on inflexion and nuance. WOW she was still in top form. We are truly fortunate to have this document to remember one of the truly great singers of this or any age. The production is lush and regal; quite worthy of Henry Tudor's court. And the Henry of James Morris is also worthy of that court. His is a headstrong, impetuious and very virile performance of a role that too often is unnoticed. His great Woton years were just begining and his voice and being truly became the part of Henry.
The opera itself is such a great achievement one cannot understand that after it ill-fated first performances in the 1830s (New Orleans 1839 the last) it was not done again until 1957 with Callas. In my opera books of the 1950s it's not even mentioned. Fortunately I was able to see Sills in a couple performances and she truly invaded the part. Both Sills and Sutherland were skilled interpreters of this gloriuous role and I hope to see many more performances of this beautiful opera.

Gaetano Donizetti was a composer at full speed. Operas flowed one after the other, contained in your resume more than 70. The style has always remained, but when it came Belcanto, Donizetti dominated, was unbeatable. Anne Boleyn is one of the three operas he made about the Tudor queens. His last performance was given in 1881 in Livorno. Was forgotten, languishing in the archives until you get to a Greek or American talent, never to know her nationality. Maria Callas Anna Bolena unearths, with Giulietta Simionatto and direction of Luchino Visconti makes a memorable show at Scala in 1957. After her, the great dramatic sopranos realized the potential of opera, who does not want to be cheered by the final scene. Leyla Gencer, Beverly Sills, Renata Scotto, Joan Sutherland and Dimitra Theodossiou interpreted the complex character, over the decades.
There are two commercial versions available on video. The earliest was recorded in Canada in 1984 with Joan Sutherland, James Morris and Judith Forst. Baton of Richard Bonynge and Ben Heppner in early career, playing the role of Hervey.
Portrait of its time, this assembly is tradition squared. Costumes loaded, little or no scenic interpretation. Everyone Paradita, beautiful singing. Everything in its place, the light is a constant shadow. The direction is limited to tell a story, transcribes what is in the libretto faithfully and nothing more. The highlights for the voices, all the soloists are of feedback. Sutherland has great agility of a coloratura soprano, her timbre like, though his diction is weak. Baritone James Moris are legitimate, not those that currently exist, has those serious and bulky caracteríticos full of singers of the past. Judith has Fosrt voice thick, enormous. The regency of my husband (of Sutherland) Boninger is classic, no innovations. The analog picture and sound are a little lacking for supporters of Blu-ray.
Anna Boleyn of Bergamo, recording made in 2006, is the opposite of Canada. His direction is impeccable, not only transcribes the lyrics, but makes a theatrical release. Provokes the viewer calls for reflection. The scenario stands possess the background, always present with members of the choir. The director's reading is clear, the life of the royals is public, no private space. The soloists do not have the same level voice of the Canadian version is in hand, they act, give realism to persongens. The light is part of the scenery, the costumes are lightweight and digital recording leaves everything in line.
Hear snakes and lizards Dimitra Theodossiou, but the soprano is based on Belcanto. Your voice can agility in difficult coloraturas, turns power and technique, but gets worn out in the end. The other soloists are guaranteed, all sing and act, that's modern opera.
Both versions show the evolution of opera. From traditional to modern reading assembly. Basic scenario of a vision, a way of telling the story, a provocation. All aspects related to production have evolved. Settings, costumes, lighting, color, movement choir, recording, direction of scenes and so on. Won the opera, which advanced in time, seeking to renew its modernized public. Recordings of the century are thought to video. But not everything is perfect, the voices of the past were higher than the present.

Portuguese:

Gaetano Donizetti era um compositor a toda velocidade. Óperas fluiam uma atrás da outra: constam em seu currículo mais de 70. O estílo sempre se mantinha, mas, quando o assunto era belcanto, Donizetti dominava, era imbatível. Anna Bolena é uma das três óperas que ele fez sobre as rainhas Tudor. Sua última apresentação se dera em 1881, em Livorno. Ficou esquecida, mofando nos arquivos, até que aparece uma grega ou americana talentosa, nunca sei a nacionalidade dela. Maria Callas desenterra Anna Bolena, juntamente com Giulietta Simionatto e a direção de Luchino Visconti faz um espetáculo memorável no Scala, em 1957. Depois dela, os grandes sopranos perceberam o potencial dramático da ópera, quem não quer ser aplaudido pela cena final. Leyla Gencer, Beverly Sills, Renata Scotto, Joan Sutherland e Dimitra Theodossiou interpretaram a complexa personagem, no decorrer das décadas.
Existem duas versões comerciais disponíveis em vídeo. A mais antiga foi gravada no Canadá, em 1984, com Joan Sutherland, James Morris e Judith Forst. Regência de Richard Bonynge e Ben Heppner em início de carreira, fazendo o papel de Hervey.
Retrato de sua época, essa montagem é tradição ao quadrado. Figurinos carregados, pouca ou quase nenhuma interpretação cênica. Todo mundo paradinho, cantando bonito. Tudo no seu devido lugar, a luz é uma penumbra constante. A direção se limita a contar uma história, transcreve o que está no libreto com fidelidade e nada mais. O destaque fica para as vozes, todos os solistas são de gabarito. Sutherland tem agilidade de um grande soprano coloratura, seu timbre agrada, entretanto sua dicção deixa a desejar. James Moris é barítono legítimo, não desses que existem atualmente, tem aqueles graves cheios e volumosos caracteríticos dos cantores do passado. Judith Fosrt tem voz densa, enorme. A regência do maridão (da Sutherland) Boninge é clássica, sem inovações. A imagem e o som analógicos deixam a desejar aos adeptos do blu-ray.
A Anna Bolena de Bergamo, gravação realizada em 2006, é o oposto da canadense. Sua direção é impecável, não transcreve apenas o libreto e sim faz uma versão teatral. Provoca o espectador, chama à reflexão. O cenário possuí arquibancadas ao fundo, sempre presentes com membros do coro. A leitura do diretor é clara, a vida dos membros da realeza é pública, não existe espaço privado. Os solistas não têm o mesmo nível vocal da versão canadense: em contrapartida, atuam, dão realismo aos persongens. A luz faz parte do cenário, os figurinos são leves e a gravação digital deixa tudo nos conformes.
Ouvi cobras e lagartos de Dimitra Theodossiou, mas o soprano se sustenta no belcanto. Sua voz consegue a agilidade nas difíceis coloraturas, despeja potência e técnica, mas chega desgastada no final. Os demais solistas se garantem, todos cantam e atuam , isso é ópera moderna.
As duas versões mostram a evolução da ópera. De montagem tradicional a leitura moderna. De encenação básica a uma visão, uma forma de contar a história, uma provocação. Todos os aspectos referentes a produção evoluíram. Cenários, figurinos, luz, cores, movimentação de coro, gravação, direção de cenas e etc. Ganhou a ópera, que avançou no tempo, se modernizou buscando renovar seu público. Gravações do século XXI são pensadas para o vídeo. Mas nem tudo é perfeito, as vozes de outrora eram superiores às atuais.

Opera is the most satisfying of all the arts. It brings the best of all worlds together- acting, drama, singing, orchestral music and even dance in the case of some operas, Gaetano Donizetti's operas were very popular and have become established bel canto traditions in many theateres all around the world. Bel canto operas flourished in the early 19th century, most significantly in Italy but they soon made their way to France and Germany and even Russia (Wagner himself was influenced by some bel canto opera techniques and even Tchaikovsky's highly romantic tragic opera "Eunege Onegin" shows bel canto influence. Donizetti was the most gifted of the bel canto composers, able to write arias and ensembles of powerful dramatic context as well as emotionally touching and beautiful to hear. For bel canto operas only the best singers must take part. Casting the perfect bel canto heroine is trying sometimes, since very few sopranos of the 20th century exercized a skilled combination of beautiful vocals and dramatic acting. Only Maria Callas and later Beverly Sills would be the best bel canto heroines.

Joan Sutherland- This is Australian soprano, who was married to conductor Richard Bonynge, has been hailed for her beautiful voice. It is beautiful. It is smooth, gracefull, rich, full and very round and heavy. Her voice is always at home in bel canto operas. It is non wonder then that she is most recognized for her performances in Lucrezia Borgia, Lucia Di Lammermoor and in this DVD, the role of Anne Boylen. As the tragic queen, she manages to portray a vast range of emotions and visually the whole production is impressive. Joan Sutherland is older in this video, which was filmed in the 80's but her dramatic persona is quite convincing. Her facial contortions, her cries and her grace make her very believable as the historic Anne Boylen. This opera was Donizetti's first big hit, earning him prestige in the Italian theater of San Carlo. He would produce and deliver operas to a favorable public for years to come.

The story of Henry 8th's merciless and cruel treatment of Anne is performed well. Henry 8th is sung by a bass-baritone (the archetypical opera villain voice) and strides with regial tyranny as the real king would have done. He has no actual arias but his talents are showcased in various recitatives with Jane Seymour (a mezzo soprano with some dramatic textures) and in the ensembles. Jane Seymour in this opera is a performance delivered rather well, despite some strains now and then, especiallly in the duet with Anne. Highlights in this opera include the quintet and sextets of Act 1 and 2, the romantic duet between Percy and Anne and of courses Anne's final scenes- the Mad Scene and her execution. It was Anne's Mad Scene that preceeded and echoed the later and more famous Mad Scene of Lucia Di Lammermoor, Donizettis most popular masterpiece. Both Ann and Lucia hallucinate of marriage, speak of lost love and are completely overwhelmed by melancholia, arias and roulades accompanied by the sounds of flutes. Although Lucia's Mad Scene is better musicallly and dramaticallly, Annes Mad Scene is quite dramatic as well. Her most challenging aria comes in the end in "Coppia Iniquia" in which she awaits her execution and plunges into roulades and exclamations against the terrible crime of her death.

I personally prefer Beverly Sills in the role of Anne Boylen, but there exists only a recording of it on cd and in the box set of the Three Tudor Queens. Beverlys live performance of Anne Boylen was never filmed but it must have been a sensation and the best interpretation. Joan Sutherland is a good singer but she falls short on acting credibility.

I think this a very authentic production of the opera, from staging to customes. A delight for opera purists.

For the casting, Joan is still amazing at her age. It is true that she does not possess the stamina at the end of the opera (listen to her last note and compare with her Decca CD recording), but in average, this is still Joan's typical great performance. James Morris handles his role brilliantly, and acts as if he were a king ^_^. I think the tenor Michael Myers' timbre is a bit too dark for my taste, but his overall vocal and acting skills are still admirable nonetheless. Other smaller roles are mostly very capable, including Ben Heppner taking up Hervey.

A minor criticism is that, in the year 1984, they are still recoring in mono! I do not understand this, and this may scare away some audiophiles. By setting up my surround sound system, I manage to get a more spatial sound stage. And after about 3 minutes after the overture, I totally forget about this audio deficiency since it is really an enjoyable opera performance.

Dame Joan Sutherland first essayed the role of Anna Bolena in Canada 1984, of which this release captures. Of all the female singers in any of these performances under review, Dame Joan's technique and vocal means is far and away the most superior - natch, she leaves the competition in the proverbial dust. Here nearing sixty, La Stupenda's customary coloratura zip and ease of technique are as impressive as ever. Scalework is a snap, trills deftly incorporated, not to mention the fullness and "largeness" of her tone, and most importantly, the voice can move. Of course time has diminished her resources, but when those very solid resources are better than those of singers half her age, how can quibbles be summoned with any credibility? To be sure, there are some concessions made, such as transposing or even changing a good deal of the score to give Sutherland a tessitura which will allow her to end on a confortable high note (all of which are Cs and Ds), but what is a Sutherland without a walloping concluding note to any aria or ensemble (and wallops she does - and stuns!)?
But what impresses the viewer most is what an adept stage performer Sutherland proved herself to be. She moves regally, wears her costumes well, and immerses herself to a degree of involvement in the dramatic situation; there is full awareness of the text as demonstrated by her actions and facial expressions. In addition, Sutherland is a confident, dignified presence, and fully displays her sagacious means as a person of the stage. This is a thoroughly competent, professional and efficient performance, not to be slighted in and of itself in any way.
That said, my standing reservation about Sutherland still holds. For all of the sterling qualities this vocal legend embodies, I yearn as always to hear a more developed musical imagination. Unlike Callas, Sills and Gruberova in this role, Sutherland displays little individuality, "vocal face" or an indelibly original personality channeling through the character. La Stupenda has the most prodigious inborn vocal means of any singer in her repertoire, but her often utilitarian use of it can leave one wanting for more. Throughout, there is very scarce use of dynamics other than that of mezzo to mezzo-forte. One will hear in vain for a true half-tone, or much less, any dynamically limned, artful shading; one longs for a well-bound, flexibly drawn-out of a legato line, for any tapering, bending and "lifting"of phrase-endings, or a magically sustained, diminished tone that floats. Too, the lack of tonal coloristic variety (further made so by the ever present mushy vowels and lack of crispness in enunciation), giving a semblance of monotony, does not impart to the listener a wide range of emotions, not helped by the transposing of some parts of the score. Inevitably, one must accept the compromises of transposing an entire piece to accommodate those concluding high notes. The glory of Dame Joan's voice was always in its upper third register; even in her prime, the rather inexpressive, hollow lower third was her least attractive feature, and transposing much of Anna's music accentuates what had by 1984 turned into a plum-in-the-mouth opaqueness of tone in that mittellage. Nevertheless, Sutherland on her own terms is a formidable presence, and it is a bracing experience in itself to witness the still-considerable means so soundly projected as here.
Judith Forst as Giovanna is a dedicated, wholly committed performer, with a warm, vibrant tone (sometimes growing pressed in its upper regions), and gives a most sympathetic portrayal. She is particularly effective at displaying her growing agitation at both being Enrico's replacement wife, and betraying her closest friend. Forst and Sutherland play off each other superbly in their big duet, with the former projecting a good deal of the requisite angst; both ladies end on a unison high C.
James Morris is luxury casting as Enrico VIII, perhaps one of the best documented. The bass-baritone, stunningly costumed, certainly looks the part: tall, big-framed and imposing, he has a voice to match, which is penetrating, flexible and surprisingly expressive. Towering over the whole cast, Morris dominates - as he should - the proceedings as the lurking, edgy menace who propels his wife to her doom. Michael Myers, much of his music cut, makes a fine Percy, singing and acting with conviction; Janet Stubb's boyish, nimbly sung Smeton makes a fine effect. It is amusing to see a young Ben Heppner, cast in the comprimario role of Percy.
Richard Bonynge presides over the Canadian Opera Orchestra with the usual mix of felicities and drawbacks. The coaching and accompanying of the singers, as always, remains without peer; unlike someone like Riccardo Muti, Bonynge knows how to let a singer breathe. On the other hand, Bonynge can short-circuit some of the excitement of the climaxes, particularly that of Act One (here turned into Act Two for this production). When Anna faces down her accusers, the tempo and pacing of the cabaletta "Ah! segnata è la mia sorte" and the resulting ensemble is disappointingly stodgy and lacking in headlong impetus - it ends the act "neatly", where it should be febrile and crackling with tension. Furthermore, one must cope with the limited, mono sound which makes the orchestra appear a bit murky and lacking in contrasts of textures. The camerawork is excellent, though; reactions, and close-ups important moments are captured right on time.
Visually, this production is a real pleasure to watch. The sets and costumes are sumptuous, expensive and elaborate, marvelously detailed, with deep, rich hues giving a truly renaissance feel; the quality of the DVD's picture often imparts that of a "movie-painting." The lush blues and burgundies give the requisite somber feel to the proceedings. Lotfi Mansouri's direction is purposeful, and, laudable for its intentions of going past the usual "park-and-bark"approach in the bel canto realm. Not only does Mansouri create beautiful stage tableaus, but the performers are blocked and made to enact their characters with some sense of direction and focus.
The main caveat of this peformance is in its cuts - over a half hour's worth. Granted, some internal trims are perhaps merited, but having Percy's "Vivi tu" sliced out altogether robs not only the overall impact of the score's structure, but also of denying the audience a chance to hear one of Donizetti's finest tunes.