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32 of 34 people found the following review helpful:
4.0 out of 5 stars
Beautifully Sung But be WARNED, July 19, 2006
This review is from: Jules Massenet - Werther (concert version) / Hampson, Graham, Piau, Degout, Schirrer, Piolino, Alvaro, Capitole de Toulouse, Plasson (Theate du Chatelet 2004, Live) (DVD)
For me the jury is still out on this. It is beautifully sung but if you are used to a tenor in the role, this is a difficult adjustment. I need to listen to it a few more times. Why the WARNING? This is a concert version. It is not staged. The only way to know that is the info provided on the back of the box. It is worth having as an alternative but I wish I had known it was not staged ahead of time.
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11 of 11 people found the following review helpful:
5.0 out of 5 stars
Ainsi soit il, tous les temps, April 18, 2007
This review is from: Jules Massenet - Werther (concert version) / Hampson, Graham, Piau, Degout, Schirrer, Piolino, Alvaro, Capitole de Toulouse, Plasson (Theate du Chatelet 2004, Live) (DVD)
Currently the DVD catalog holds three WERTHERS--Dvorsky (1985), Hampson (2002) and Alvarez (2005)--with fine singers in the principal roles. The DVDs differ greatly in every way, however. Dvorsky and Alvarez are tenors, while Hampson is baritone. The original score calls for tenor, but the composer himself lowered the title role ten years later for a performance in Saint Petersburg. So there is no reason to look down one's nose at Hampson's version, and his performance is so fine that it validates the alternative. Dvorsky appears in an opera film, severely cut--His version is only 101 minutes, while Hampson clocks in at 145 and Alvarez at 132. The film happens to be very fine, but represents only 2/3 of the opera. Hampson's is a concert version with no staging at all, although the cast interact in front of their microphones, sometimes at a disadvantage to the pickup. There is real drama to watching the singers, even the chorus, even in close-up, for they sing their hearts out. Alvarez has the advantage of singing onstage in a live performance, but the production is distracting with nonmusical nonsense going on from the beginning. Far better to see Hampson's young singers than to watch Alvarez' children in bathing trunks throwing beach balls around the set. In the absence of ideas for real staging, let the performance be concert. Finally, the Hampson version is to be preferred because it takes place in France, whereas Dvorsky's team is Slovak and Alvarez' is Austrian. French texts like this one are a harder for international companies than Italian or German texts, because French has quite a few more vowel sounds that need to be distinguished with high precision. The idiomatic singing of Hampson's French chorus and secondary cast members is wonderful. And the French are notable for their fine sense of pitch in choral singing, and really shine here. Let it be so, always.
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12 of 15 people found the following review helpful:
1.0 out of 5 stars
A great performance sabotaged, March 12, 2007
This review is from: Jules Massenet - Werther (concert version) / Hampson, Graham, Piau, Degout, Schirrer, Piolino, Alvaro, Capitole de Toulouse, Plasson (Theate du Chatelet 2004, Live) (DVD)
I have no idea how many (if any) stars to award this DVD. Take a stellar cast and a well conducted orchestra, put in a lot of microphones and cameras, and one starts with a first class performance. Then get a film editor who seems to have an attention deficit disorder(or believes that those who will watch this DVD have ADD) and who cuts and cuts from one thing to another, zooming and out; and the whole thing is sabotaged. If one has to watch with eyes shut, one might as well get a CD -- although with surround sound, this is a wonderful performance. It is a concert performance, but the stage director has the singers interacting with each other as much as possible. However the film editor did not understand that this is, after all, an opera, a drama, with characters and a story. Why, during the wonderful solos and duets with which this opera abounds, must he cut to closeups of the conductor and the orchestra players and then cut back and forth going against the music and drama instead of with it? Why, in the first act for example, does he close in on Ms. Graham but have the conductor's arm waving around between the camera and Ms. Graham. Why, at crucial points during an aria must he cut into the conductor grimacing at the orchestra? I could go on and on with how this performance has been sabotaged, but I think I have given the idea of what went so horribly wrong. It is very very frustrating and from my point of view completely ruins what could have been (and doubtless was for those lucky enough to have been present) a wonderful 5 star performance. I had looked forward to this DVD because I so admire Hampson and Graham, but now I am sorry I bothered. I would recommend getting the Petr Weigl production with Brigitte Fassbaender and Peter Dvorsky. It, as with all the Weigl productions, abridged to focus entirely on the relationship between the main characters, but for sheer drama, music and setting it is the best currently available.
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