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Adams - Death of Klinghoffer / Randle, Sylvan, Howard, Maltman, Boutros, Melrose, Bickley, LSO

Adams/London Symphony Orch. (Actor) Rated:
NR
Format: DVD
4.1 4.1 out of 5 stars 38 ratings
IMDb6.7/10.0
$24.98
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November 11, 2003 		—
1
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Genre classical-music
Format Color, NTSC, Classical, Multiple Formats
Contributor Adams/London Symphony Orch.
Initial release date 2003-11-11
Language English

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Product details

  • Aspect Ratio ‏ : ‎ 1.78:1
  • Is Discontinued By Manufacturer ‏ : ‎ No
  • MPAA rating ‏ : ‎ NR (Not Rated)
  • Product Dimensions ‏ : ‎ 0.7 x 7.5 x 5.4 inches; 1 ounces
  • Item model number ‏ : ‎ 2613
  • Media Format ‏ : ‎ Color, NTSC, Classical, Multiple Formats
  • Run time ‏ : ‎ 0 minute
  • Release date ‏ : ‎ November 11, 2003
  • Actors ‏ : ‎ Adams/London Symphony Orch.
  • Subtitles: ‏ : ‎ English, Spanish, German, Italian, French
  • Studio ‏ : ‎ Decca
  • ASIN ‏ : ‎ B0000D9R0E
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.1 4.1 out of 5 stars 38 ratings

Customer reviews

4.1 out of 5 stars
38 global ratings

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Top reviews from the United States

  • Gio
    5.0 out of 5 stars The View from Mount Parnassus
    Reviewed in the United States on February 17, 2011
    Verified Purchase
    Just this once, I'd like to avoid controversy, eschew politics, pose as a cultural tourist from another galaxy -- or from any other century than the Terrible 20th, the century I would least have chosen for the bulk of my lifetime if I'd had any options -- and evaluate this "performance" on strictly technical grounds. You'll find plenty of fierce partisanship in other reviews, by people with greater moral certainty than I can claim, and you will NOT be able to watch/hear this DVD without "taking sides" ... or possibly taking both sides, or neither. [If you don't remember the hijacking of the cruise ship Achille Lauro in 1985, you'd be smart to run a search and get the basic historical event established in your mind. It would be absurd to pretend that this opera/film is not a political statement.]

    For starters, this is NOT a film of John Adams's opera "The Death of Klinghoffer." It's a film grafted on the music of that opera -- a "trope" in musicological terms -- that doesn't attempt to replicate the whole opera as it was staged in Brussels and San Francisco in 1991. I was present for the SF performances. This isn't the same work, though much of the music is revisited. What film director Penny Woodcock has created, in some sort of collaboration with John Adams, is effectively a new genre, an operatic film rather than a filmed opera. It's worth seeing/hearing on that basis alone, as a bold experiment, even if the results distress or disappoint you.

    The film is a collage of dramatized violence, actual newsreel footage, and out-of-sequence scenes of happenings during and after the hijacking of the cruise ship. The principal characters - the Captain, First Officer Giordano Bruno, Marilyn Klinghoffer, Leon Klinghoffer himself, and each of the four Palestinian hijackers -- sing their thoughts as arias, as if on stage, while much of the contextual footage is "underscored" by choral and orchestral music. The music is very good -- let's be clear about that -- in the unique eclectic modernist/minimalist idiom in which John Adams composes. But the opera upstages itself on film just as it did on stage in its premiere performances. I don't think John Adams expected or intended otherwise. The performers in this film achieve what might seem impossible, that is, being plausible both as singers and as movie actors. They exude a kind of earnest dignity in both tasks that elevates and universalizes the emotional drama. I totally disagree with reviewers who have said that this event, the hijacking and the murder, are beyond the scope of opera; I'd argue that only Opera -- the synthesis of music and theater -- has the power to render the impact of such an event.

    That was my thought at the performances in San Francisco, that the goal of this opera was a transcendence of mere Art, mere hoity-toity extravagant entertainment, seeking instead a kind of public catharsis through music, theater, and dance comparable to the cathartic impact of Greek tragedy on the citizens of ancient Athens. And I thought composer Adams and librettist Alice Goodman had come astonishingly close, not yet perfect, in need of editing and focusing, but close to the sort of opera that would mean something more to its audience than a balmy evening's diversion. I foresaw revisions, further rehearsals, additions and cuts before the scheduled performances in Los Angeles....

    As it happened, the LA performances were cancelled because of controversy, specifically because the hijackers were depicted with human sympathy, and there has never yet been another staging of the work in the USA. John Adams's other major operas -- the earlier "Nixon in China" and the recent "Doctor Atomic" -- have also generated political controversy and outrage. Relevance? I like that in an opera.
    13 people found this helpful
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  • Ed Uyeshima
    4.0 out of 5 stars Propulsive Screen Adaptation of a Politically Charged Opera With Multiple Agendas
    Reviewed in the United States on July 12, 2006
    Director Penny Woolcock deserves an immense amount of credit for providing a vibrant, emotionally expansive if not altogether dramatically effective 2003 screen translation of what was likely the last decade's most controversial opera. What began as an elaborate oratorio in 1991 was renowned composer John Adams' highly emotional "The Death of Klinghoffer", a controversial work with even greater political and emotional resonance post-9/11. The story concerns itself with the 1985 hijacking of the cruise ship Achille Lauro by members of the Palestinian Liberation Front. It is related in a series of arias and recitatives by critical participants in the situation - the ship's captain and first officer; the four terrorists; and key passengers who were held captive over three days, in particular, the Klinghoffers who were celebrating their 36th wedding anniversary.

    Adams' familiar post-minimalist music turns out to be surprisingly compatible with the true-life story, as the propulsive vocal parts blend well with Alice Goodman's politically charged libretto. Sung off-screen to vivid montages, the beautiful choruses provide effective bridges and a broader context to the immediate drama of the opera, an aspect that was likely left quite abstract when sung onstage. The other powerful dimension Woolcock brings to this adaptation is the use of real locations and archived footage to make relevant the opera's overall abstraction to the viewer. This is a brave move since the political situation suddenly becomes actualized with the film. As it turns out, it is a dramatically smart move given that Woolcock has a strong cinematic sense of the story, for instance, she apparently cut twenty minutes of the music to make the story flow better, repositions powerful solo arias to enhance the characters' interactions, and adds often traumatizing historical footage and faux-news reports to give the story even greater realism. Solely from that standpoint, this may be the best screen adaptation of a major opera I have ever seen.

    The biggest challenge of this production, however, is Goodman's libretto, which seems intent on supporting both sides of the Israeli-Palestinian conflict. For instance, the opera takes the bold step of putting Israelis and Nazis on the same plain by comparing images of a post-Holocaust concentration camp with those of a mass grave from the 1982 slaughter at the Sabra and Chatila refugee camps. In making such an exerted effort to share the motivation of the terrorists as well as the suffering of the crew and passengers, the drama becomes somewhat diluted by the multiple perspectives. By contrast, look at Paul Greengrass' recent "United 93" for a successful example of shifting varying viewpoints without losing the overall dramatic momentum. Some contend that the opera takes discernible political sides, though I think it's a mistake to brand the work as purely pro-Palestinian since the Klinghoffers are portrayed sympathetically if rather one-dimensionally as people caught in the wrong place at the wrong time. In particular, the execution of husband Leon, paralyzed from a stroke and wheelchair-bound, is shown shockingly as the act of a thug more than that of a political terrorist.

    Fortunately, Woolcock has recruited world-class singers who are able to tone down their singing for the cameras. The standouts are baritone Christopher Maltman as the conflicted captain; fellow baritone Leigh Melrose, who makes the macho posturing of the aptly named terrorist, "Rambo", feel palpable; and in the film's only comic moment, soprano Kirsten Blasé, who makes her cowering showgirl a convincing media whore. Surprisingly, the Klinghoffers are not given arias to sing until near the end, but mezzo-soprano Yvonne Howard is dynamic as Marilyn especially as she confronts the captain. Baritone Sanford Sylvan, a familiar Adams regular who played Chou En-Lai in "Nixon in China", has one powerful aria sung as a voiceover to an extended, haunting image of his dead body sinking deeper into the ocean. In another interesting voiceover done to accommodate the original opera's doubling of roles, a non-singing actor, Emil Marwa, plays the most vulnerable terrorist, Omar, while mezzo Susan Bickley sings his inner thoughts. The 2003 DVD has a surprising number of extras for an opera production, including a commentary track from Woolcock and various cast members. The best extra is an interesting making-of documentary, "Filming `The Death of Klinghoffer'", which includes tandem interviews with Adams and Woolcock and goes into the major aspects of putting the challenging production together.
    12 people found this helpful
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  • Daniel McCauley
    5.0 out of 5 stars Not your usual opera film.
    Reviewed in the United States on October 29, 2024
    Verified Purchase
    The score is quite melodic. The filming is realistic, dramatic, documentary - like. And the treatment of the Jewish/Palestinian conflict rigorously even-handed.
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  • Informal
    3.0 out of 5 stars I love opera but it never translates well to video
    Reviewed in the United States on November 12, 2014
    Verified Purchase
    I love opera but it never translates well to video. As far as opera on film goes, this is OK, but it in no way translates well at all to this medium.

    As far as the Opera itself, Klinghoffer is a powerful piece that tries hard to strike a balance between criticism of Palestinians and criticism of Israeli Jews. Like most opera it is overlong for modern audiences and like most modern opera it tries too hard to be original. However it makes a pretty strong impact on the viewer, and the music, while droning and repetitive, sticks with you.

    If you can see Klinghoffer live, I recommend it. If not, this movie will do, but it's a poor substitute.
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Top reviews from other countries

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  • Michel Auclair
    5.0 out of 5 stars Very good opera.
    Reviewed in Canada on March 22, 2015
    Verified Purchase
    To me: this a greath opera.
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  • Cetalir
    5.0 out of 5 stars Une réalisation majeure à portée politique
    Reviewed in France on August 29, 2016
    Verified Purchase
    Vous pourrez constater qu'il existe une série de commentaires très intéressants en Anglais d'où ma décision, finalement, d'apporter une contribution complémentaire en Français pour celles et ceux qui auraient des difficultés avec la langue anglaise.

    Comme l'un des commentateurs le souligne d'emblée, la version proposée ici est un peu différente de l'œuvre originale, certaines sections ayant été soit purement et simplement supprimées soit remplacées par des séquences parlées. On pourra contester cette approche au motif qu'elle dénature la partition originelle ou bien se poser la question sur les raisons qui ont conduit à ces choix.

    Le parti-pris, rare, pris ici est de monter et donc tourner cet opéra comme un film bénéficiant d’une mise en scène en condition réelle donc fondamentalement sur un navire de croisière sur lequel vont se dérouler l'action et le drame. Le propos est de nous plonger au cœur de l'action pour nous interpeller à chaque instant sur ce qui se passe, les raisons de ce qui se déroule sous nos yeux impuissants et le questionnement pour tenter de savoir ce que nous aurions fait si nous avions été les acteurs de cet épisode réel. D’où un impact émotionnel intense qui devrait tirer des larmes de beaucoup d’entre nous.

    En outre, et c’est l’intérêt majeur de cette production, le réalisateur a choisi de replacer cet horrible fait-divers dans son contexte historique, faisant démarrer l’opéra – et le film – par une longue séquence montrant la violence de la colonisation du territoire palestinien par les combattants d’Israël tout juste réchappés des camps de la mort nazi. On comprend mieux, du coup, cette logique probablement insoluble d’œil pour œil et dent pour dent, les raisons profondément enracinées qui conduisent certains, plus ou moins bien préparés, à se lancer dans des actions terroristes dans un mélange de désespoir, d’esprit de revanche ou de vengeance, de recherche de sens à donner à une vie qui n’en a guère ou de justification dans un fanatisme tantôt politique tantôt religieux. Par les temps qui courent, ceci résonne encore plus en particulier à nos yeux français et apporte un éclairage complémentaire aux attentats que notre pays connaît régulièrement depuis près de deux ans désormais.

    Il ne s’agit pas ici d’accuser les uns ou les autres et, d’ailleurs, le metteur en scène montre clairement que tous sont coupables. Les Anglais pour avoir favorisé la création d’Israël sur des bases iniques, les Israéliens pour leur intransigeance, les Palestiniens pour des actes intolérables, l’OLP pour sa dérive politique, le monde en général pour ses compromissions permanentes, etc…

    Il ne faudrait toutefois pas en conclure que la musique passerait du coup au second plan. Au contraire, elle n’en prend que plus de force par sa contextualisation immédiate, par la violence qu’elle illustre alors qu’Adams délivre ici une partition bien plus subtile que dans bien d’autres de ses opéras. Chaque chanteur est absolument excellent tant musicalement que comme acteur ayant parfaitement intégré la portée dramatique, politique et personnelle de son rôle. Les terribles dilemmes, les interrogations, les doutes, la conséquence des choix à faire sont rendus à la perfection si bien que l’on vit les choses en direct avec eux. A noter que la synchronisation des images avec le chant et l’orchestre est absolument irréprochable.

    De mon point de vue, il s’agit là d’une réalisation majeure d’un opéra trop peu connu et encore moins joué de John Adams. C’est de toute façon le seul DVD disponible et qui viendra utilement compléter le coffret CD sous la direction de Kent Nagano.
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  • angele
    4.0 out of 5 stars John Adams
    Reviewed in France on April 19, 2018
    Verified Purchase
    Une version réussie d'un opéra et surtout une musique éblouissante. Ce qui est un peu déroutant, c'est que l'on est dans un film, mais qu'au lieu de paroles, le tout est (évidemment) chanté.
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  • montrealmichael
    4.0 out of 5 stars I was pleased to be able to see it for myself
    Reviewed in Canada on January 13, 2015
    Verified Purchase
    Not the opera itself but a clever film version of it. I was pleased to be able to see it for myself, to judge it in light of the controversy its performances have created.
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  • Bernard Cote
    4.0 out of 5 stars J'adore
    Reviewed in Canada on September 4, 2014
    Verified Purchase
    Superbe. Bon équilibre
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