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Sigismondo


Price: $39.99 & FREE Shipping. Details
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Product Details

  • Format: Multiple Formats, Classical, Color, Dolby, NTSC, Widescreen
  • Language: Italian (Dolby Digital 5.1), Italian (PCM Stereo)
  • Subtitles: English, Italian, French, Spanish, Korean, Japanese
  • Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  • Aspect Ratio: 1.78:1
  • Number of discs: 2
  • Rated: NR (Not Rated)
  • Studio: Arthaus
  • DVD Release Date: September 25, 2012
  • Run Time: 183 minutes
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (4 customer reviews)
  • ASIN: B008P76X3I
  • Amazon Best Sellers Rank: #166,999 in Movies & TV (See Top 100 in Movies & TV)

Special Features

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Editorial Reviews

Early Rossini has a youthful, buoyant vibrancy about it, even in the dark swirls of drammi per musica like Sigismondo. The work, centered on a mad king and his delusions, was rarely played after its premiere in 1814. This performance marked the first from the critical new edition at the 2010 Rossini Opera Festival in Pesaro and was hailed as a "perfect symbiosis of music and stage work" resulting in "truly brilliant theatre." Complete with a cast of sought-after Rossini singers, this is not to be missed.

Customer Reviews

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Most Helpful Customer Reviews

9 of 10 people found the following review helpful By Dr. John W. Rippon VINE VOICE on November 5, 2012
Verified Purchase
Grove's Dictionary of Opera says of Sigismondo (Venice 1814)that this is arguable Rossini's most unrevivable serious opera and I must agree. If the cast and this production can't bring it to life than nothing will. The production is excellent. It tries by setting this story of a mentally unstable king who believes he has be betrayed by an unfaithful wife and goes off kilter in an insane asylum. This means a lot of extras trotting around doing crazy things (silently) while the main characters are spouting one dizzying bel canto line after another. The king is the well established true bel canto mezzo Daniela Barcellona (a "pants" role). She is devine. I can't help but play her sections over and over again. She is a consumate artist of this style of music.
The true find of this recording is rising star Olga Peretyatko who plays the king's unjustly maligned wife Aldimira. She is a superb singer of strong full voice and great physical as well as vocal beauty. I think it worth the price of the disc to hear her and Daniella sing together.
There are great Rossini moments in this opera. Duets, solos, concerted numbers and some delicious bel canto male singing by the "bad guy" Ladislao, the betrayer, sung by Antonino Siragusa. Yes much of the music is good Rossini but it is not to be lost forever in this failed venture. As you are listening this or that tune sounds familiar and ah! I know that theme. As Rossini often did, he recycled much of this opera in his next work, his first Neopolitan work, the quite successful (and a particular favorite of mine) Elisabetta Regina d'Inghilterra (1815). Even the orchestral opening of the second act here will lead you to hum "La Calumnia" of the Barber of Seville (Rome 1816). This is not Rossini for beginners. The libretto (by Foppa) of Sigismondo is impossible and even the genius of Rossini could not bring it to fruition. But for the collector and enthusiast it is a must for the few pearls here and a top rate cast.
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6 of 7 people found the following review helpful By Giordano Bruno on November 18, 2012
Was Mozart? It might be fun to argue the affirmative in a debate tournament. Consider some evidence:

* The loopy libretti he chose, most of them, would have served equally well for operas by Handel or Hasse. There isn't a speck of compromising plausibility about any of them. Rossini's "humor" is far closer to 18th C opera than to, for example, Offenbach.

* The story-line of a Rossini opera -- Sigismondo is a good example -- is advanced chiefly in the recitativos and ariosos, while the arias are devoted to generic expressions of emotions. That's why Rossini, like Vivaldi and Handel, was able to re-cycle his best arias from opera to opera without any sense of shameful incongruity.

* Rossini's operas generally follow the Baroque structures of alternating recitativos with ABA da capo arias. Rossini got wily with his da capos. He extended the B sections, tacked in extra B sections, rewrote the da capo A sections in musically clever ways, but the ever-satisfying da capo reprise is almost always recognizable. As it should be! Da capo makes both aesthetic and emotional sense!

* Rossini had a "thing" for high voices! Many of his male characters, including King Sigismondo in this opera, are given soprano or alto music. Castrati were getting scarce in the musical establishments of Rossini's era; hence, like Mozart (that other Baroque genius), Rossini gave us glorious "trouser roles" for the delectation of divas forevermore.

* There's virtually nothing in Rossini's musical/harmonic/rhythmic vocabulary that strays away from Baroque practice. In fact, a small "period instrument" Baroque orchestra serves quite well for any Rossini opera except perhaps Guillaume Tell. Such an orchestra would not serve even for early Verdi, let alone Berlioz.
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2 of 3 people found the following review helpful By oscar reyes retana m on November 12, 2012
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Singers are great. Director or produces should not be allowed to alter or modify in such a way the original idea and even worse, to add noise that modifies the music.
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By Shakra on November 19, 2014
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As usual, Rossini's music is fantastic. The production is one large peace of CRAP, setting the opera in a psychiatric
hospital. This was just as bad as was the MET's production of Armada. No wonder patrons leave in droves (I suspect) or do not come at all when such horrible productions are allowed to go on state. Sigismondo is an opera seria (drama) and not a comedy
as production believe.
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