Customer Reviews

Handel: Admeto [Blu-ray]

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

 

 

The main talking point about this production of Handel's Admeto, re di Tessaglia for the Festspiel Orchester Göttingen in 2009 is clearly Doris Dörrie's extraordinary Samurai setting of the opera. Notionally in the same period as the original 1727 production but translated to the samurai culture of Japan of this period (albeit in a highly stylised fashion), there are questions however about whether Dörrie's fascination for Japanese settings, while appropriate for the likes of Turandot and Madame Butterfly, can really be effectively applied to the Greek mythological subject of Handel's Baroque opera, Admeto.

Happily, the answer is, yes - it works and it works exceptionally well. If nothing else, the stripped back minimal staging and measured formalised gestures of the Japanese setting suit the conventions of opera seria, with their being no unnecessary elaboration or clutter to distract from the virtuoso solo singing. But with the bold lighting, coloured backgrounds, silk screens and shadow play, not to mention the extraordinary use of Takashi Endo's Japanese butoh dancers (most of them almost entirely naked), the director manages to make the emotional content of the subject tangible as well as heightened.

That subject is a mythological one that is well covered in opera, particularly in opera seria - the story of Admetus, the king of Thessaly, whose life is spared from a fatal illness by the sacrifice of his wife Alcestes. Gluck's opera Alceste covers the same story in a rather cut-down form without the Antigone subplot (Robert Wilson's minimalist production of Gluck's Alceste from the Châtelet Theatre in Paris, available on DVD, compares favourably with the production of Admeto here), but the storyline is much more involved in Handel's version. To their credit of the director and producer, the staging here is magnificent, bringing out depths in the relationships and conflicts between the characters, particularly in the case of Alceste's transformation into a samurai warrior accompanied by the long black-haired ghostly form of Endo's butoh dancer representing her Jealousy. The sight of Ercole (Hercules) as a sumo wrestler in a foam fat-suit may however take more getting used to. The production is not without humour and may not be to a traditionalist's taste, but it never detracts from the drama or the characterisation.

Tim Mead is fine as Admeto, but more so than the two male altos, it's the female roles - Marie Arnot as Alceste and particularly Kirsten Blaise as Antigone - that have the chance here to show a greater emotional and vocal range, and the chance to put some strong acting behind their parts as well. Using period instruments (happily resisting any urge to include traditional Japanese instrumentation), the Festspiel Orchester of Göttingen under the direction of Nicholas McGegan is also noteworthy.

The specifications of the Blu-ray are impressive - a 1080/60i, 16:9 encode, and a sparkling, vibrant DTS HD Master Audio 5.1 mix that far surpasses the limited distribution of the PCM 2.0 mix. There is not a great deal of detail in the staging to benefit from the High Definition transfer, but the reproduction of the vivid and striking colour schemes is nothing short of stunning. Subtitles are in a slightly small font (in Italian, English, German and French), and occasionally move to the top of the screen when necessary so as not to obscure the performers. The BD comes with a thin booklet giving a synopsis and information on the production, but a 21-minute featurette presents this better in the form of interviews with all the performers and the production team.

Admeto, re di Tessaglia (1727) by Georg Friedrich Händel is the most romantic opera that I have heard and watched by the composer from Halle. It`s a rejoice to see the old japanese imperial ambience created for this opera.

Tim Mead, in the role of the King Admeto sounds great and sad in the begin of the opera because of his fatal illness, but shines of Joy in the aria «Cangió d`aspetto il crudo fato», that in my opinion is the best happy aria from an opera by Händel. Mead dances and waves his arm of rejoice. It`s a great view!

Lady Arnet, in the role of Alceste seems a real Queen. Her best aria is, in my opinion «Quanto godrá, allor che mi vedrá» that would make any man fall in love if a woman sang it to him. Besides she is a very beautiful woman.

Lady Blaise, in the role of Antigona sounds wonderful, too and would break your heart to see her sing.

William Berger as Ercole plays in a heroic way. His costume like a Sumo Warrior seems to me creative and funny at the same time, but without to lose his heroic role.

David Bates sounds great in the role of Trasimede and sings with many feelings the aria «Da te piu tosto, partir vogl`io», the most romantic aria of this opera in my opinion. Almost that made me to weep. It`s full of tenderness.

Mr. Radley, in the role of Orindo is very tender and funny in the aria «Bella, non t` adirar». It`s funny but full of sincere feelings for a woman. Mr Friedrich is also very protector and faithful as Meraspe.

I recommend this DVD SET. If you want to experience romantic feelings with your wife or girl friend, buy it! I made it!

Admeto is a 2010 C Major Entertainment production set in the stylishly ritualized world of Samurai Japan. Doris Dörrie is responsible for this setting and the minimalist stage production. Could this work with a Handel opera one could ask oneself. The answer is yes. Tim Mead is tremendous in his role as Admeto. Nicholas McGegan leads the Festspielorchester Göttingen. The pace is right on the mark and I have a feeling that McGegan truly understands the spirit of Handel. The sound quality is astounding. Eva Zöllner has written the music notes. Translated into English by Stewart Spencer. Truly an amazing production. I very much enjoyed it. Highly recommended indeed. 5/5.

I saw Admeto on the Major bluray excerpts section. I bought it because I loved Dorrie's traditional Japanese staging,which fits the fixed conventions of baroque opera. The tonal values of the various backgrounds and Womens attire, are very much like those of the early 20th century artist Marie Laurencin,a friend of Apollinaire.Dorrie certainly has an understanding of lighting and colour. The sheep are a fine touch. Wrestlers and large linen Japanese masks make for an interesting experience. The Gottingen orchestra is conducted by Nick McGegan. The dance is in the hands of Tadashi Endo and his Ten-man Mamu dance Theatre.Mead as Admeto is good in his part as are the other singers,Alceste, Marie Arnet Antigona-Kirsten Blaise.The cast are young. Does one of Handels popular operas work in this format? Yes. A must for Handel Fans.

I'm just an amateur audience. I very much enjoyed this production.

I have quite a few of these Handel operas. It does seem to me that this opera needs the kind of treatment they gave it. The music is a bit boring, ; i didn't notice anything remarkable or exciting about Handel's music; sorry. So they have to load up everything else with color, astonishment, drama, sexiness, beauty, art, unusual art forms, and comedy, which miraculously worked. They really understand theatre.

It was so kinky that it could never have been done at the Metropolitan Opera, because the Met takes operas seriously, don't they? This had just the right amount of silliness for a modern audience watching an outmoded 18th century drama. I was amazed that a performance of this high caliber would be found at this Staatsoper.

The music, voices, dancing, and costumes are ideal, but getting the English subtitles to appear is very difficult as is getting the actual opera (after the video introduction sequence) to start.

The Japanese setting works very well. The score brings The Water Music to mind.

However, I recommend it only to those who have the patience to work through the tech problems.