Product Details

• Actors: Plácido Domingo, Shirley Verrett, Ruth Ann Swenson, Justino Díaz, Patricia Spence
• Directors: Brian Large
• Writers: Eugène Scribe
• Format: Classical, Color, NTSC
• Subtitles: English
• Rated: NR (Not Rated)
• Number of tapes: 2
• Studio: Kultur Video
• VHS Release Date: April 29, 1997
• Run Time: 189 minutes
• Average Customer Review: 4.1 out of 5 stars  See all reviews (9 customer reviews)
• ASIN: 6304469632
• Amazon Best Sellers Rank: #333,764 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com

This is both rare and well-done: a sadly neglected grand opera, as spectacular in its own way as Aida or Turandot, in a production that is not likely to be surpassed in the foreseeable future. Meyerbeer's L'Africaine is remembered today almost exclusively for a single aria that Enrico Caruso recorded in Italian, "O Paradiso," sung by Placido Domingo in the original French in this production. It also offers an intensely tangled plot, exotic dancing, pagan rituals, a dizzying storm at sea and shipwreck, and a wealth of flowing melody.

The story is a fictionalized treatment of the adventures of the Portuguese explorer Vasco da Gama (Domingo), with a love triangle involving Selika, queen of Madagascar (Shirley Verrett), and a Portuguese noblewoman, Ines (Ruth Ann Swenson). The whole cast is strong; Domingo is excellent, and Verrett often dominates the screen. --Joe McLellan

Customer Reviews

Most Helpful Customer Reviews

23 of 25 people found the following review helpful:

4.0 out of 5 stars Top notch hokum - peel a grape, recline and enjoy., May 3, 2002

By 

Julian Grant (London, Beijing, New York) - See all my reviews
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This review is from: Meyerbeer - L'Africaine / Arena, Domingo, Verrett, San Francisco Opera (DVD)

This was a 1988 revival of a 1971 production (available on a live CD) that teamed Domingo (Vasco da Gama) and Verrett (Selika - both then very much in their prime) in Meyerbeer's discursive swan-song. Seventeen years on, they are more statuesque than sexy, but both give larger-than-life performances that contain moments of completely thrilling vocalism. That is the only way to do a piece like this - which is leisurely, structurally broken-backed (though the many cuts exacerbate this) and contrasts music of real prophetic power (Verdi certainly took several ideas over into 'Aida') with some of mind-numbing banality, that is almost unintentionally comic - but that was Meyerbeer's problem, no quality control and a short breathed melodic invention that shows him wanting next to the real masters of 19th century opera. However, this traditional and opulent production makes the best possible case for the piece and it is thoroughly enjoyable in a slightly camp way.

The casting is very strong, with the exception of Justino Diaz's Nelusko, which has strong presence but not much vocal allure. As Inez, Vasco da Gama's fiancee and rival for Shirley Verrett, Ruth Ann Swneson sings with great beauty and has impressive stage presence, very much holding her own in the confrontation with Verrett in the last act (precursor of Aida and Amneris here). Domingo is refulgent of tone and dramatically convincing, and he and Verrett strike sparks. She really comes into her own in one of the most preposterous mad-scenes in all opera, where she is slowly poisoned by the scent of a giant tree, contriving to make this dramatically truthful and even moving. Bravos all round for a good old-fashioned night at the opera.

13 of 14 people found the following review helpful:

5.0 out of 5 stars Wonderful in every way!, December 27, 2003

By 

Alain Blouin "alblouin" (Ste-Foy, Québec Canada) - See all my reviews
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This review is from: Meyerbeer - L'Africaine / Arena, Domingo, Verrett, San Francisco Opera (DVD)

I've got to say, I am a Meyerbeer fan, as well as a fan of Grand opera in general. When I listened to "Les Huguenots", it was for me a real revelation. Thus, I had high hopes for this opera, which is Meyerbeer's last work, his swan song. I was in no way disappointed, though this work has a very different feel to it than Les Huguenots. While Les Huguenots is a very somber story, with persecution, impossible love, religion, and martyrdom, L'Africaine is entirely a love story, and manages to be sometimes very intimistic, despite it's use of chorus and grandiose effects.

If I had to compare this work to any other work of the romantic era, I would compare it to Verdi's "Falstaff". Of course, both works have, esthetically, pretty much nothing in common (if this work is musically similar to a Verdian work, it is Aïda, for it uses similar orientalizing elements), it's only that L'Africaine seems to have a bit of Verdi's last opera's atmosphere. For both composers, throughout their lives, composed melodramatic love stories, more or less in the spirit of their time. While Verdi ends with a comedy where he makes fun of all his teary-eyed tragedies, Meyerbeer gives us a last tragedy, but seems to approach it more philosophically. As if, used to this atmosphere, he tries to find a moral to the ensemble of the operas he ever composed, giving the sentence it's period, the sundae it's cherry. He approaches the cast's misfortunes with a tender eye, instead of over-dramatizing, and gives the world a somewhat lighter work than his previous Grand operas, which doesn't stop him from giving a worthy rendition of the characters' feelings, and being pathetic when need be (especially at Selika's death scene). Aside from Don Pedro, who is all evil, and Ines, who is all good, all characters have good and bad points, and overall, the moral of this work is pretty much that love smiles on everyone, but only your luck decides wether it will make you happy or sad. This is pretty much the moral of all melodramas.

From a musical point of view, I have trouble finding the famous downsides other reviewers have pointed. Regarding the lyricism, it is maybe less direct than Verdi's, but equally expressiveand effective. The arias are more elegant, have a more french aesthetic. But it in no way means that his lyrical invention is inferior. As I said, this work is not as passionate as Les Huguenots. As for the famous "broken-backed" act formation, I just don't see what it may be about. This is not because an opera doesn't have the musical continuity of Wagner's lyrical dramas that it lacks good structure. After all, despite Meyerbeer's success, the music critics of his time wouldn't have acclaimed the work as they did if it wasn't well-built. For me, an act is ok from the moment the story and the action make sense.

Regarding the cast, everyone is very good. Placido Domingo is thoroughly chilling as the intrepid explorer. He shows well that back then, the aria "O paradis" was a party-stopper. Shirley Verrett sings her second-act sleep aria very well, and is very moving at the opera's end. All of the supporting cast is also top-notch. The famous "workhouse" sounds are mostly when the music is "piano", soft. Most of the time, however, I've had no problems with this recording. The Dolby digital sound is very ok.

Finally, if you must make a choice between this work or Les huguenots, I'd say this dvd may be a surer bet than the Australian dvd of "Les huguenots", since the cast here is of greater quality. However, Les huguenots has, I think, a "grander" subject, and it's emotional impact is greater, I feel, than L'Africaine. Still, I would recommend you to buy both instead of making a choice, since each one has such a great musical and dramatic value.

6 of 6 people found the following review helpful:

5.0 out of 5 stars grand 19th century opera, very well done, July 12, 2005

By 

C. Harbison (Montague, MA United States) - See all my reviews
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Amazon Verified Purchase

This review is from: Meyerbeer - L'Africaine / Arena, Domingo, Verrett, San Francisco Opera (DVD)

The singing of all the principals is excellent, especially Verrett, Domingo and Swenson. The production of this complex, multi-scene work is fine, the conducting a little leaden. But all in all, it is surely the best available recording (3 other live performances on CD) of an archetypal mid-19th century cultural experience (with all its non-politically correct moments). Wonderful, if very carefully constructed melodic lines--this is where Verdi's great Don Carlos comes from. An essential operatic DVD.