Product Details

• Actors: Renee Fleming, Morten Frank Larsen, Julia Kleiter, Johan Weigel, Zurich Opera House Chorus & Orchestra
• Directors: Gotz Friedrich
• Format: AC-3, Classical, Color, Dolby, DTS Surround Sound, DVD, NTSC, Subtitled, Surround Sound, Widescreen
• Language: German
• Subtitles: Chinese, English, French, German, Spanish
• Region: All Regions
• Aspect Ratio: 1.77:1
• Number of discs: 1
• Rated: NR (Not Rated)
• Studio: Decca U.S.
• DVD Release Date: July 8, 2008
• Run Time: 180 minutes
• Average Customer Review: 3.6 out of 5 stars  See all reviews (10 customer reviews)
• ASIN: B0012L0TG6
• Amazon Best Sellers Rank: #74,563 in Movies & TV (See Top 100 in Movies & TV)

Editorial Reviews

Amazon.com

This 2007 Zurich Opera production of Richard Strauss’ Arabella is a winner, mostly due to Renée Fleming who traces the progress of the eponymous character from flighty young flirt to a strong, sensible woman, thus moving the opera from what can sometimes seem a sugary confection to an affecting coming-of-age story. It’s commonplace to praise the beauty of her voice, its rich timbre and easeful production always a pleasure to hear. In this Arabella we also note the acting that makes her transformation into a decisive woman seem natural and inevitable, while her singing fortunately lacks the mannerisms that sometimes creep into her phrasing. In short, she’s the Arabella of our time, and makes this very fine opera seem much more than that. Her sustained high phrases and the soaring lines of the final scene blend tonal beauty, meaning, and emotional power in equal measure. As her sister, Zdenka, soprano Julia Kleiter is a perfect match, almost stealing the show when she and Fleming are together on stage. Though saddled (as per the libretto) with male clothes for most of the opera, she’s as convincing as anyone can be in a pants role and her singing is silvery balm to the ears. Her big Act I duet with Fleming is stunning, the voices blending beautifully, the effect of Strauss’ long lines luminous. The other big role is that of Mandryka, the fabulously rich young man who’s smitten with Arabella. Their marriage is necessary to bail out the finances of the girls’ father, the count. Mandryka, "the right man" Arabella dreams of, is a juicy baritone role but Morten Frank Larsen’s tight voice, bleached tone and effortful high notes don’t make him our right man for the part, despite his youthful vigor and good looks. Johan Weigel, as Matteo, Arabella’s rejected suitor and Zdenka’s secret love, is broadly done as are the girls’ parents who provide suitable comic relief as sung by Alfred Muff and Cornelia Kallisch. Franz Welser-Most conducts the Zurich Opera orchestra and chorus with faceless efficiency. Gotz Friedrich’s minimalist production is off-putting at first, why the Art Deco settings instead of the old Vienna of Strauss’ i>Der Rosenkavalier, the early success he hoped to duplicate with Arabella. But one soon gets used to the updated setting and it does no violence to Strauss’ intentions, although one does expect a more opulent setting for this opera. The video direction of Felix Breisach is good; the cameras smoothly picking up singers and action. -- Dan Davis

Arabella is an all-regions color disc in 16:9 ratio. Sound options include PCM Stereo and DTS 5.0 Surround. Sung in German, subtitles are available in English French, German, Spanish and Chinese.

Product Description

The first DVD of Renée Fleming The definitive Strauss interpreter of our time (Chicago Sun-Times) in one of her greatest roles. Filmed in HD (High Definition) Widescreen. Production by the venerable opera director Götz Friedrich Among the most powerful creative influences on opera in recent times (Telegraph, London). Subtitles available: English, French, German, Spanish, Chinese

See all Editorial Reviews

Customer Reviews

Most Helpful Customer Reviews

39 of 43 people found the following review helpful:

5.0 out of 5 stars Beautiful Arabella, June 18, 2008

By 

Juan Duarte Cuadrado (Madrid, Madrid Spain) - See all my reviews
(REAL NAME)   

This review is from: Strauss: Arabella (DVD)

This new release of "Arabella" with Renée Fleming is not just a treat for all Richard Strauss lovers but for all lovers of great singing and acting.
Among all the singers I would point out the revelation of Julia Kleiter as a radiant Zdenka. Her portrait of Arabella's sister is at the same time innocent and full of passion and her voice is unbelievably pure, crystal-clear, a real Mozartian and Straussian singer. I am sure Ms Kleiter will become a great soprano star in this repertoire in the near future.
Morten Frank Larsen, called at the last minute to replace Thomas Hampson, gives a fully believable Mandryka, physically attractive, proud and arrogant as any good Mandryka should be, with a powerful baritone voice only marred by a slight wobble in his higher register.
But what makes this new release really unforgettable is the tender, poignant, unbelievably beautiful Arabella of Ms. Fleming. Her evolution from the flirtatious young woman of the first Act to the romantic, self-determined and mature heroine of the last scenes is utterly believable. Her duet with Kleiter "Aber der Richtige" is pure magic with the voices blending perfectly and her encounter with Mandryka at the Faschings Ball, burns with fire and passion. Her voice, in resplendent, luscious form, soars effortlessly to the highest register. Her last aria, "Das war sehr gut, Mandryka" must rank among the most gorgeous Strauss singing on CD or DVD ever! Above all Ms. Fleming's interpretation will surely make you fall in love with this Arabella.
Brava Ms. Fleming, your Arabella is really Bella!!!!!

31 of 39 people found the following review helpful:

2.0 out of 5 stars Sisters are doin' it for themselves..., July 16, 2008

By 

Charles G. Johnson "chizzzz" (San Francisco, CA) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: Strauss: Arabella (DVD)

As a young music major, my initial attraction to Strauss and to opera in general was through the Solti "Elektra," which thrilled me and stirred my imagination like no other vocal work. I must have worn out the LP copy in the music library at Carson-Newman College, overachieving in drop-the-needle test preparation. My other revelations were the Ormandy-Bach 'St. John Passion' and the incidental music from Hindemith's "Mathis der Maler."

In the following years I've jonesed on countless Salomes and Ariadnes and stretches of the Kleiber "Rosenkavalier," as well as the Hockney "FroSch" from L.A. But, now in my September years, I've come to treasure the sentiments in the final collaboration of Strauss and von Hofmannsthal, the opera "Arabella." Although a flawed dramatic work (the librettist died before he could refine his draft), this return to the city of 'Rosenkavalier' with a financially-challenged heroine embodying all of the sympathetic traits of the Marschallin, and then some, deeply appeals to me. Arabella is an outsider in the social scene of fin-de-siecle Vienna: a sensitive, kind girl seeking the calm assurance of the "right one" above the financial security of the local nobility. She is besieged by four suitors, none of which interests her, and tries to maintain a demeanor of kindness and generosity, but knows that she must make a romantic decision soon in order to rescue her debt-ridden family. She is willing to make the sacrifice, but lives in eternal hope for 'der Richtige.'

Mr. Right actually shows up just in time in the guise of Mandryka, the nephew of a former military colleague of Arabella's father. Mandryka is a sinfully rich landowner in the endless forests of eastern Europe. It's love at first sight for both; he from a photo of her and she from a distant glimpse of him. Of course, Waldner, Arabella's father, immediately approves the union.

Arabella unwittingly snags the richest catch of all, and it's obviously due to karma. The 'in dem wie' of the Marschallin becomes the 'wie ich bin' of Arabella. The love and forgiveness she shows to her sister, who nearly ruins all plans of the arranged marriage, and the final act of kindness Arabella shows toward Mandryka make the spectator's heart swell. The general design of her character as a source of understanding and compassion makes the outcome of this opera unusually satisfying. It just might be my favorite opera at this point in my life.

Now, how has Zurich presented this wonderful stage work? Well, the production is definitely minimalist, with bare, spacious sets, white furniture, and sheer curtains to separate spaces. Fin-de-siecle imagery is traded for a stylized modern look, but the production's costumes reach a fine balance of the modern and traditional. Renee Fleming's costumes are especially lovely; she has seldom been presented in a more flattering light. Her face and figure are absolutely gorgeous, and she compensates for her middle age by playing Arabella in a more coquettish manner than is usual or even logical. However, vocally, she is DEFINITELY the star of the show. There must have been a strict vocal coach on board requiring her to purge most of the vocal mannerisms she has lately brought to her roles...She is great!

I don't like the miking of this production....all performers must have been wearing personal mikes, resulting in a sound without any sense of hall space or resonance. This makes the singers sound more shrill than they would in the house.

As for the rest of the cast, the only other singer to be praised is Julia Kleiter as Zdenka, Arabella's younger sister. With a bit of gel, she creates a male look (for her masquerade as Arabella's brother) that is more believable than you're likely to see in most trouser roles. In the third act, sans gel, the female look is pleasing and natural. Vocally and dramatically, Julia complements and supports Renee at every level and is fantastic just on her own.

Unfortunately, these talented sisters must play to a pathetically parochial cast of singers that exhibits neither top-notch voices nor passable acting abilities. The deal killer is Morten Frank Larsen as Arabella's betrothed, whose European Metrosexual Mandryka in no way embodies the 'halber Bauer' of the character. Nor does he possess the vocal resources to sing this extremely taxing role credibly. On top of that, his voice is disturbingly ugly. Feh!

Better is Alfred Muff, a stage veteran, who shows some polish as Waldner, but who is definitely on auto-pilot. Fiakermilli somehow absorbs the ennui of the production and fails to thrill.

Franz Welser-Moest is, in this case, an incredibly unfeeling conductor, so much so that the tenderest moments that we love to savor are perfunctorily swept through, making it difficult for the principals to effectively emote. The second act is a musical travesty.

So, look elsewhere for your DVD Arabella. The one I return to again and again is the Glyndebourne production under Haitink. Even though Ashley Putnam is not vocally ideal, she captures the inherent dignity and compassion of the character. John Brocheler is visually and dramatically the best Mandryka ever (Bernd Weikl is the best vocally) and baptizes himself at the end with the glass of water in a true stroke of genius.

Kiri Te Kanawa is actually my favorite exponent of the title role, but the Met DVD also sports an insufficient supporting cast and substandard conducting. If you're a fan of Janowitz and Weikl, then, despite a dull visual palette, the recently-released Solti DVD is the one for you.

This one is not.

6 of 7 people found the following review helpful:

5.0 out of 5 stars The best of three!, November 13, 2008

By 

P. Sutherland (Berea, Ohio, USA) - See all my reviews
(REAL NAME)   

This review is from: Strauss: Arabella (DVD)

I have two other Arabellas, with Kanawa and Brendel and Janowitz and Weikl, and I liked this one the best. I wanted to see Renee Fleming in the part and she was spectacular; beautifully appointed, in fine voice and natural in the role. When Morten Frank Larsen appeared as Mandryka, I thought, "Ooohh la, la! Someone as beautiful as Fleming to play her match!" After a while, I thought he was as much the star of this opera as she was. His acting and singing were terrific and his character seemed believable and natural. (This is contrary to my impression of the opera film with Janowitz and Weikle, who were both way, way, way over the top!) Kudos to this pair!

Julia Kleiter was an excellent Zdenka and Johan Weigel portrayed Matteo very well as the pathetic character he is. Alfred Muff, as Graf Waldner, the father, was wonderful in the role (and the audience showed their admiration at the end). Cornelia Kallisch as the mother was great, too.

I was not too impressed with the Fiakermilli but I don't care for that part at all, no matter who's singing it. The ballroom scene with the fan dancers was the low point for me.

Otherwise, I liked the updated and simple set and costumes.

I also thought Franz Welser-Most did an excellent job conducting the beautiful score. As usual.

If you are new to Arabella, I'd recommend you buy this one!