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Mozart - La Finta Giardiniera / Richard Croft, Ann-Christine Biel, Petteri Salomaa, Stuart Kale, Britt-Marie Aruhn, Arnold Ostman, Drottningholm Theatre
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Arminda: EVA PILAT
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Serpetta: ANN CHRISTINE BIEL
Roberto / Nardo: PETTERI SALOMAA
This perfect exposition starts off with three classic buffo roles: an amorous old man, a wily maid and a handsome young gardener. The Cavaliere offers a serious role à la opera seria. And a female gardener who is finta , in other words a fake, is a mezzo carattere, the title given in opera buffa to roles that are allowed to alternate between the comic and the serious, between sentimentality and drama. With its clever changes between major and minor keys, this plot is anything but clichéd.
Kultur is proud to present Mozart from the intimate setting of Sweden's Drottningholm Court Theatre, dating back to 1766, providing a perfect stage for these operas and featuring excellent casts and superb directors, accompanied by period instruments for a truly authentic experience.
'For true Mozart stick with Drottningholm.' Gramophone
'Excellent standard... notable for the clarity of the period-instrument sound and for a production wholly appropriate to the tiny Drottningholm space.' Gramophone
Chorus and Orchestra of the Drottningholm Court Theatre
Conducted by ARNOLD ÖSTMAN
Stage Direction by GÖRAN JÄRVEFELT
Costumes by BÖRJE EDH and GÖRAN JÄRVEFELT
Choreography by REGINA BECK-FRIIS
Directed and Produced for TV by THOMAS OLOFSSON
Top Customer Reviews
I played this recently released DVD of La Finta Giardiniera three times in sucession, nearly 8 hours stem to stern, because I could not believe what I was hearing. This was no 18th Century elevator music but a fully realized, dramatically mature and musically accomplished (and beautiful as only Mozart reveals the deeper meaning of that word) work of operatic art. It occurred to me that Mozart was a victim of his own supreme genius. That these adolescent works were guilty of not being Le Nozze di Figaro. But even Mozart wrote only one Figaro. From now on, each work should be judged on its own merits: intrinsic musical value and excellence in comparison to other composers of the era. La Finta is superior to any other composer's comic opera of the period (the ones we know about).Read more ›
The score is one of Mozart's technically most challenging offering great chunks of through-composed music linking one idea to another in unbroken chains in almost Wagnerian style. The young Mozart was clearly a genius, but an untempered one - throwing his entire arsenal of creativity into his first "mature" opera, a work of great musical difficulty. He delivered the work to Munich for a mid December premiere, but an additional 3 weeks of rehearsals were needed before it's January 13th premiere.
The jewel that is the 400 seat Drottningholm Palace Theatre still employs the original 1766 stage machinery - fully intact - (thunder and wave machines, flying chairs, etc.) often used in its productions, the orchestra plays original instruments, wears wigs and dresses in the time period, allowing presentations of as close to a total recreation of 18th century opera as we're likely to see anywhere these days.
Goran Jarvefelt creates a production that feels as if it traveled through time directly from Mozart to us. His use (as well as most of the productions I've seen from here) of the tiny Drottningholm stage is a textbook lesson in the creative use of limited space to its fullest possibilities. He moves us swiftly through courtyards, bed chambers, workrooms, parlours, a wild forest, and a garden/glade.Read more ›
In addition, this production from Drottningholm is exemplary in many ways. Period instrument are actually sometimes capable of _more_ dramatic contrasts than their modern counterparts, even if they do require fewer decibels to achieve this effect. This makes Don Anchise's aria particularly delightul, with the orchestra illustrating the flutes and oboes he hears in his heart.
Also, although I was unfamiliar with any of the singers, I am impressed with all of them. First, musically: no matter how bumbling, doddering, or enraged the character in the opera, Mozart's music requires a certain lightness and agility, and these singers all achieve it, while at the same time displaying the full expressive ranges of their characters. In this regard, particular kudos go to Petteri Salomaa Eva Pilat, since, as a bass and a dramatic soprano, their training would have been the most likely to lead them to forego melody and pitch in favor of "color," but they never did this once in the entire opera. Likewise, Stuart Kale, as the amorous old (middle-aged, we'd say now) man, while occasionally heavy-handed with the use of his authority, is never heavy-handed in his singing.Read more ›
Most Recent Customer Reviews
This is a charming production. Perhaps the best staging faithful to Mozart's atmosphere and spirit.
Once the pleasant absurdity of the story accepted, it preserves the... Read more
Disappointed. wrong viewing region. had to return dvd.It needs to be made clear on the buying info what region the dvd is.Published on November 12, 2012 by mal
I DID NOT LIKE THIS PRODUCTION AT ALL. THE COSTUMES & MAKE-UPS WERE HIDEOUS, THE SETS WERE NOT VERY GOOD EITHER. Read morePublished on April 10, 2012 by Ron Rioux
Well done opera on a small stage with period pieces; made me feel Mozart would come out after the show. Read morePublished on April 12, 2011 by sergei kochkin
My recent experience with the Mozart 22 video of this opera made me eager to listen when I saw that Kulture was distributing it (new on most store's DVD shelves). Read morePublished on July 16, 2009 by drkhimxz
I purchased this DVD solely as a reference for a production of THE MEDIUM that I am currently directing. Read morePublished on March 6, 2009 by Lone Star Lark
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