Customer Reviews

Vivaldi - Orlando Furioso / Behr, Horne, Patterson, San Francisco Opera [VHS]

5 star:		(8)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

This is a glorious work by Vivaldi. It is a live, high-energy production. Of course, you have to accept the usual blemishes and imperfections of a live production. The only other production I know is an earlier (1977) recording, also with Marilyn Horne. I was expecting to hear a baritone as Ruggiero. This production has a counter-tenor or something like that: Jeffrey Gall. Normally I find counter-tenors annoying, but Jeffrey Gall quickly won me over. In fact, all the singers are wonderful. The staging, costumes, etc. are excellent. If you like Vivaldi, you definitely want this DVD. Watch for the moments when Alcina (Kathleen Kuhlmann) flirts. You will enjoy the statues. What fun!

The only disappointment is not in the production, but that no synopsis is included. There is a hint at the plot included in a few sentences on the back of the case. You will need to get the synopsis somewhere else. Just reading the back of the case and following the subtitles won't be enough to know what is happening. Why do the people who make DVD's have to be so stingy? How hard would it be to include a synopsis?

This is a beautiful rare performance of one of many often- neglected Baroque masterworks. I found the production lively, faithful to the spirit of the piece. The costumes are stunningly beautiful and the arias are very well sung. Much has been said in praise of Marilyn Horne's performance so I will concentrate on Kathleen Kuhlmann's excellent performance as Alcina. Alcina's arias are among the most inspired in this work of so many inspired, moving arias and Kathleen Kuhlmann never fails to make of each a separate treat. She has great stage presence and is able to convey the idea that Alcina is in fact a very complex character: evil and selfish, yes, but also lonely and in desperate need of affection and therefore very vulnerable. Kuhlmann is also a very attractive woman, which is essential to the role. "Orlando Furioso" is a strong reminder of what many of us have known all along: Baroque opera is a treasure house of extraordinary masterpieces which modern audiences still have to discover, from the great operas of Handel to the works of the very talented Italian composers, Vivaldi being the greatest of them.

Before I saw this work I didn't really care for Baroque opera. But since then I thought this was one of the best operas ever written. If you could compare it with food it would be dark chocolate. Vivaldi had good taste when it came to writing violin concerti but when it came to opera he was AWESOME!!! The other thing I like about this production is the performers. Marilyn Horne's voice is perfect for that sort of role. The other character that I like is Bradamante sung by Sandra Walker. I love her deep alto voice. Its definitely strong and flowing at the same time. I also like the stage set-up. The way that it transforms after each aria is awesome. I would definitely recommend this opera to any Baroque opera lover

This video production from S.Francisco Opera revives the first modern performance of this magnificent opera given in 1982 at the Teatro Filarmonico, Verona (Italy), with I Solisti Veneti playing and the wonderful costumes and scenes by Pier Luigi Pizzi (I was there). This production does full justice to the concept of "opera barocca" in terms of stage production, whereas on the vocal side Marilyn Horne here proves herself to have been the greatest vocalist and interpreter of the baroque opera of our times. Everyone who wants to know how a baroque opera should be performed and sung is urged to get this video. Other singers and performers are not at the same level, except William Matteuzzi (tenor). Audio transfer is good, video transfer not so good. On the whole, this is an historic (not minor) performance of the Vivaldi masterpiece (not a minor piece). Buy it!

This DVD is a treasure in my collection of operatic productions. Compact disc recordings are fine, but being able to "look" as well as "listen" is always better, giving one the sense of actually being there in the hall during the performance. Admittedly, Vivaldi opera can be a little less than exciting to many people, but the wonderful production and unusually fine singing should make this DVD a part of every serious opera lover's collection. Marilyn Horne is exceptionally fine in the title role, and her well-known musicality and rich voice are superb; this is exactly what one expects from Horne, and she is never disappointing. However, Miss Horne is equalled--if not surpassed--by the stunning performance by fellow mezzo-soprano Sandra Walker. Miss Walker delivers a masterful vocal technique, impeccable vocal agility, and fine acting ability in her flawless performance. When Miss Walker and counter-tenor Jeffrey Gall are paired together, sheer magic happens on the screen. This production from the San Francisco opera is a gem from top to bottom. The set design is creative, the costumes are gorgeous, the orchestra is outstanding, and the world-renowned singers are thrilling. Witnessing the musicality of Sandra Walker is worth the price of the DVD. I highly recommend this to all serious opera lovers.

I love Vivaldi's music and was really looking forward to my first Vivaldi opera. Orlando Furioso did NOT disappoint!

Let's face the fact that the story is really pure hokum, but then it is opera and who cares? The music absolutely knocked me out and the virtuoso performances by all involved is something you must see to believe.

After a month of sad times after 9/11, I just had to have something to take me away from this world, and this DVD did the trick! If you can watch this one and still be melancholy, I don't know what else to recommend. Buy it, enjoy it again and again as we have!

I have been returning to this DVD/performance, and as time goes by, one cannot help but feel nostalgic that the era of great lavish productions seems to have been sinking slowly in the Lethe of current cost-watching sobering times resulting in austere productions with scant decorations and street-like costumes. This particular production has it all - great music, the best singers, excellent sophisticated staging with costumes to take your breath away. In a way, this production is somewhat reminiscent of Jean-Pierre Ponnelle with his famous set of his Monteverdi's staging with Harnoncourt conducting, from the late 1970s.

First, the music - it is so good that it is regrettable that Vivaldi is not staged more; perhaps he does not aspire to the greatness of Handel, but certainly his music is varied, complex and pleasant to deserve more operatic presence. Although it should be noted that this opera at its premiere in Venice was not a triumph at all. Various reasons are stated - Vivaldi's low social status as well, while I personally think it can be attributed to fierce competition - apart from Handel, with Porpora, Sarro, Albinoni and many other baroque composers performed in La Serenissima at the time. Yet this music is excellent, and for Vivaldi fans some parts are so distinct - Alcina's aria "Vorresti amor da me?" in Act II starts as ubiquitous Four Seasons.

Secondly, the singers here - they are all superb. It is well-known that this production was done mostly around Marilyn Horne; indeed she is formidable here, and very fitting, as the role was originally intended for a female singer vs a castrato (as in Handel's Orlando). In fact, all high voices in this opera are cast for female singers - not surprising given Vivaldi's work for Ospedale della Pieta, with its famous orphaned girls ensemble. Here, Marilyn Horne reasserts her reputation as a great singer; while these days we have many other mezzos/contraltos whose voices are equally good or even better - Ewa Podles, Natalie Stutzman, Ann Hallenberg perhaps would sound even more interesting in Orlando's role.

Kathleen Kuhlmann as Alcina is simply amazing; same can be said of Jeffrey Gall whom I admire for his virtuosity. Susan Patterson as Angelica is marvelous, and Sandra Walker as Bradamante is splendid. Every singer here is a pleasure to listen to, truly this is a performance of the best quality. To appreciate it even more, one can compare this singing with a CD under Federico Maria Sardelli recorded in 2002. It is stunning how the same opera can sound so much poorer; yet a positive or interesting point in comparing the two Orlandos is the tremendous difference in libretto; indeed Prete Rosso worked on Orlando Furioso several times for different theaters, and so a few versions exist.

For a more pleasant comparison, a splendid recording with aforementioned Ann Hallenberg exists, although there she is not singing Orlando; it is a recoding made in 2004 under the baton of Jean-Christophe Spinosi, with Marie-Nicole Lemieux as Orlando. She is excellent, but Marilyn Horne is above on this DVD in vocal virtuosity.

The only critique would be the live audience with their inappropriate shrieks and laughter, testifying about the public lacking a general understanding of complex allegories and references of the story, and probably lack of knowledge of the story itself, its background and the cultural atmosphere of Vivaldi times; also it is amusing to hear the applause following every single aria. Yet again, we are lucky that San Francisco opera created this production, even though the live public sounds somewhat puzzled and intellectually challenged by it.

Overall, this is a highly recommended performance for baroque opera lovers.

I had to good fortune to see this production during its run in San Francisco something like twenty years ago. It was a memorable night in the theatre and I was pleased when this performance first came out of VHS and then when released on DVD.

The production was conceived as a showcase for the considerable talents of Marilyn Horne. Although this was a bit late in her long and illustrious career, she does not disappoint. Her high notes aren't as free or as high as earlier in her career, but it's still the same big, beautiful warm voice with that distinctive timbre that made her instrument so easily recognisable. The vocal fireworks in her major arias are dazzling. I especially like the aria "Sorge l'irato nembo" in which Orlando sings of a storm at sea. In the middle section, the seas have calmed and Vivladi adds some lovely musical scene-painting. The violins play a scintillating pattern that makes me think of the sun sparkling on the Venetian lagoon.

Ms Horne isn't left to carry the work on her own. The rest of the cast is equally superb. Susan Patterson is radiant as Angelica, getting a long a well-deserved ovation after her bravura aria "Chiara al pari di lucida stella." This is immediately preceded by a charming aria with viola obligato, sweetly sung by the Medoro of William Matteuzzi. I confess that I don't care much for counter-tenors and Jeffrey Gall sounds too squeaky to my ears, especially as he's frequently on-stage, and in contrast to, the richer tones of Sarah Walker's Bradamante. Kevin Langan brings an impressive presence and sonorous voice to the part of Astolfo. It's too bad that most of his music is left out in the performing edition used.

I've save the best for last in waiting to speak of Kathleen Kuhlmann's portrayal on the sorceress Alcina. She is so good that she almost steals the show. Indeed, I'll frequently put this DVD on just to see and hear her three main arias. She casts her spells upon Ruggiero whilst singing "Amorose ai rai." She taunts and teases her two lovers in the aria "Vorresti amor di me?" But best of all is her lament "Cosi potessi anch'io." Her lovers have broken her spells and fled when see she's the newly-wed Angelica and Medoro. She breaks down and sings this aria, in which the coloratura is no mere showpiece, but sobs of anguish.

The production is easy on the eyes and has its occasional moments of humour - at lease one of them unintended. Randall Behr conducts the San Francisco Opera Orchestra with tempi that are neither too stately nor too sprightly. The performing edition is trimmed down from that used in either of the CD recordings now available, especially when compared to that used on the Naïve recording issued as part of the complete Vivaldi Edition. I regret that I don't find much to recommend either of the CDs. The earlier set features Marilyn Horne again in the title role. But Claudio Scimone's tempi are slow, slow, slow and the result is dull, dull, dull. The tempi Jean-Christophe Spinosi favours on the Vivaldi Edition recording are anything but slow. Rather, they tend to be frenetic and the music goes by so quickly that you've no time to savour it.

For the most enjoyable presentation of this wonderful opera, you won't go wrong with this DVD.

Opera Title: Orlando Furioso

Opera Composer: Vivaldi

Audio Merits:9/10

Video Merits:9/10

Scenario-Libretto Merits:9/10

Costuming and Sets: 10/10

Cinematographic Merits:10/10

Musical Merits:10/10

Overall Artistic Performance:10/10

DVD Extras:6/10

Recording Total Quality:10/10.

Opera Lover's Comments: It needs to be said that Vivaldi's opera Orlando Furioso is an absolute masterwork, a pinnacle of achievement in the baroque operatic style. The arias are extraordinary and foreshadow some of the demands of modern opera. This DVD places this major operatic composition on display with some of the finest singing and acting performances you are likely to see in any baroque opera. Marilyn Horne is spectacular, as are Kuhlmann and Patterson. There are no weaknesses anywhere in the cast. The production values are uniformly high: great costumes, great hair, great make-up, great staging, great sets. This production is one of a handful of the finest operas available in modern digital video and audio. Are you starting to get the idea that I loved this DVD? I think you will, too.

I was not crazy about the opera but I was happy to get a chance to see it. I thought Marilyn Horn was terrific. I enjoyed the set and the costumes.