Product Details

• Actors: Marilyn Horne, Paolo Montarsolo, Allan Monk, Douglas Ahlstedt, James Levine
• Directors: Jean-Pierre Ponnelle
• Format: Classical, NTSC, DTS Surround Sound, Dolby, Subtitled
• Language: Unknown (DTS 5.1), Unknown (PCM Stereo)
• Subtitles: Chinese, English, French, German, Italian, Spanish
• Region: All Regions
• Aspect Ratio: 1.33:1
• Number of discs: 2
• Rated: NR (Not Rated)
• Studio: Deutsche Grammophon
• DVD Release Date: March 13, 2007
• Run Time: 157 minutes
• Average Customer Review: 4.2 out of 5 stars  See all reviews (14 customer reviews)
• ASIN: B000JJSRN4
• Amazon Best Sellers Rank: #119,932 in Movies & TV (See Top 100 in Movies & TV)
• For more information about "Rossini - L'Italiana in Algeri" visit the Internet Movie Database (IMDb)

Editorial Reviews

ROSSINI:L'ITALIANA IN ALGER - DVD Movie

Customer Reviews

Most Helpful Customer Reviews

30 of 32 people found the following review helpful:

5.0 out of 5 stars A 20 year-old production with great sound and picture quality and, best of all, Marilyn Horne, April 21, 2007

By 

Toni Bernhard (Davis, CA United States) - See all my reviews

This review is from: Rossini - L'Italiana in Algeri (DVD)

In his book "A Night at the Opera," Denis Forman, after praising L'Italiana in Algeri, writes: "But beware, it needs an alpha production, and if the fizz and sparkle are missing, it can go flat and you will wonder what the heck I am going on about." "Flat" describes my reaction to L'Italiana until I watched this DVD. This production has that fizz and sparkle that Forman is referring to. It is present throughout - from Levine and orchestra to the excellent performances from all the players. This is Rossini as it's meant to be performed. Even if, like me, Rossini isn't one of your favorite opera composers, I doubt you'll be able to resist this production. And surprisingly, the picture and sound quality are excellent despite it having been filmed in 1986.

Special mention must be made of Marilyn Horne as Isabella. She just inhabits the role and her singing is extraordinary. Her mezzo voice is rich, creamy, and smooth; and when she hits those higher notes, the coloratura flowing out from her with such incredible ease, it's just spellbinding to listen to. In addition, the comic moments are made all that more effective by her crisp enunciation (which she's able to maintain no matter how fast the music is going). Strength, beauty, precision, ease. Horne's voice has it all.

The production is full of subtle comedic moments. One of the best occurs in the first act finale when Elvira, played by Myra Merritt, suddenly steps downstage, and lets her soprano voice soar, dominating the ensemble behind her. Horne, good-natured enough to make fun of her star status, turns and gives Merritt a priceless look that communicates that she's overstepping her rank in the cast. But Merritt ignores the look and lets her voice soar again. This time, Horne walks over to her and, with the brush of a hand, shoos her back upstage into the ensemble "pack." (This is before Horne decks the poor soul playing Mustafa, bringing Act I to a hilarious close.)

Led by Marilyn Horne, this is a DVD to treasure. (After all, where else can you see an opera star grating parmesan cheese over pasta in perfect time to Rossini's lightening-fast music?)

13 of 13 people found the following review helpful:

5.0 out of 5 stars Great performance, Met quality standard, June 30, 2007

By 

J. Espinosa Ihnen (Santiago de Chile) - See all my reviews
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This review is from: Rossini - L'Italiana in Algeri (DVD)

"Underrated masterpiece" is a frequently remark about "La Italiana". And I certainly agree. Generally considered inferior to "Il Barbiere de Siviglia" and "La Cenerentola", this early opera buffa contains some of the most charming Rossini music you can imagine, full of beautiful arias and brilliant ensembles. It reminds me Mozart more than the later.

In this 1987 Met recording, Jean Pierre Ponnelle's production shows colourful yet sober, and you can relax on his good taste to resolve every detail, from sets to costumes. No "modern" crap here: Mustafa's palace is Moorish, and we can see moor pirates, nice moor veiled girls from the "seraglio" and funny looking moor eunuchs, who sing at the very start the haunting chorus "Serenate il mesto ciglio", while they are making their usual embroidery.

Horne's voice may not suit everyone ears, partly due to her aggressive low tessitura and resounding chest notes, but she's always musical and accurate, and that's especially important when singing Rossini. Near her 50's in this DVD, she has some (little) trouble with very high notes, but she excels in every other issue, bravura passages included. Add her natural sympathy and easiness on the stage and you get a terrific Isabella. In my opinion, her arriving on Act I and next "Cruda sorte" delivering is just what defines a great opera artist.

Paolo Montarsolo is a full featured basso buffo, and if he can't sing 100% the fioritura Rossini wrote for the role, he compensates the fact by large with a splendid performance, considering both singing and performing. Though he was past his 60 in this recording, he's an agile Mustafa, looking a lot much younger. It's delightful to watch him absolutely overjoyed with his new degree of Pappataci, singing and dancing in the Lindoro-Taddeo-Mustafa trio "Fra gli amori e le belleze". He'll drive more than a good laugh from you, guaranteed.

Alan Monk, which I had never listened before, was quite a surprise for me as Taddeo. He sings in good voice and more than acceptable italianate sound, playing his part undiminished by the bigger-named Isabella and Mustafa.

Douglas Ahlstedt is the weakest link in the chain, mainly because he seems not to be the quick, spicy, Latin light tenor needed for the role. But he does a decent Lindoro, which I consider one of the most difficult tenor roles in Rossini's operas. Lindoro's notes are high, way high, and Ahlstedt gets to sing them all, and right on the pitch. Visually, he looks perhaps a little too thin and boyish besides the other heavier weighted players of the love triangle, Isabella and Taddeo, but all in all, he does the job nicely.

Secondary singers are also good and visually correct, especially graceful Myra Merrit's Elvira, who's moment of glory is of course the tremendous high note in Act I magnificent finale, cheerfully noticed by Horne, who won't let her steal the show and knocks Mustafa out at the very last moment. Prima donna's privileges are well observed here.

Levine guides the Met forces at the best Rossini pace you can imagine, delivering a precise, swift performance since the Overture's first notes to the happy ending. Perhaps in Act I finale he goes a little too fast, turning the original singing intringulis in a rather undistinguishable mumbling, but this is a minor complaint.

Sound quality is good in all 3 modes (2ch, Dolby 5.1 and DTS), 4:3 format picture is bright and clear. Subtitles in spanish are OK.

If you love Rossini masterful blending of humor and music, you can't go wrong with this DVD. Just enjoy it. And don't forget your limoncello.

6 of 6 people found the following review helpful:

3.0 out of 5 stars Just a couple of negative things to add, December 6, 2009

By 

M. Dubin - See all my reviews
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This review is from: Rossini - L'Italiana in Algeri (DVD)

I agree 100% with the other reviewers on the excellence of this production and the 1st rate performance by Marilyn Horne.

But I feel I would like to make a few negative points concerning James Levine:

1. It seems the James Levine cannot perform any opera "totally" complete. He almost always makes at least one cut somewhere. In this production, the "cut" is near the end of Mustafa's Act I aria. True, Montarsolo might have been a bit past his prime and had some difficulty at times with the more difficult coloratura passages. But there is nothing that demanding about the coda passages in his aria which Levine cut.

2. Levine is inconsistent. He utilizes the original "cello" version of Isabella's 1st Act II aria but opts for the later version of Lindoro's Act II aria.

3. Levine is too fast in the strettas, particularly the Act I finale and the Act II Quintet. I noticed several times that the vocalists were not all together in some of the ensembles due to some frantic tempos.