Claus Guth -- remember this name -- a so-called innovator for opera settings who obviously wants to modernize old operas like Le Nozze di Figaro, to make them palatable for twenty-first century viewers.
On 29 November 1827 Mozart's Singspiel Die Entführung aus dem Serail was performed in Covent Garden as the new grand opera The Seraglio with additional music, airs, etc. composed by Mr.Kramer -- as if this would make Mozart's music more presentable. The Magic Flute was offered to the Parisian public as Les mystères d'Isis, which included changes in song settings, etc. Here is the last sentence of what Berlioz wrote about this performance: "The Mysteries of Isis was played in that [altered] form, printed and published with the name of that idiot Lachnith actually with Mozart's on the title page." [Lachnith, Louise Wenceslas was a German composer living in Paris.]
Now back to Claus Guth, who altered Mozart's opera by adding one character, Cherub. This is a male angel who wanders onto stage at the most inappropriate moments and into the action, throws feathers into the air and at the actors, and wants to make us believe that he is controlling destiny. He wears short white cupid-wings making him look like a plucked white chicken in blue shorts.
The stage set consiss of hallways, stairs, and doors. In this setting -- Berlioz would have said idiotic scenery -- the best opera singers of 2006 gave a stellar performance; down to the smallest role the singers were flawless.
Deutsche Grammophone supplied a good booklet with the DVD-set. The provided synopsis and descriptive essay in English, French, and German give insight into the opera.
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Le Nozze Di Figaro
Christine Schäfer
(Actor),
Dorothea Röschmann
(Actor, Performer),
Brian Large
(Director)
&
0
more Rated: NR (Not Rated) Format: DVD
$48.26 $48.26
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New condition price: $48.26 New condition price: $48.26$48.26
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Genre | Classical / Opera & Vocal |
Format | Widescreen, DVD-Video, NTSC, DTS Surround Sound, Subtitled, Classical |
Contributor | Wolfgang Amadeus Mozart, Uli Kirsh, Vienna Philharmonic Orchestra, Uli Kirsch, Anna Netrebko, Christine Schafer, Christine Sch fer, Nikolaus Harnoncourt, Dorothea Roschmann, Franz Bartolomey, Stefan Gottfried, Bo Skovhus, Vienna State Opera Concert Chorus, Eva Liebau, Dorothea R schmann, Ildebrando d'Arcangelo, Patrick Henckens, Christine Schäfer, Brian Large, Marie McLaughlin, Oliver Ringelhahn, Christine Schöfer, Franz-Josef Selig, Dorothea Röschmann, Florian Boesch See more |
Language | Italian, English, French, Spanish, Mandarin Chinese, German |
Runtime | 3 hours and 22 minutes |
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Product details
- Aspect Ratio : 1.78:1
- Is discontinued by manufacturer : No
- Language : Italian, English, French, Spanish, Mandarin Chinese, German
- Product Dimensions : 1.78 x 19.05 x 13.72 cm; 90.72 g
- Item model number : 0734245
- Director : Brian Large, Nikolaus Harnoncourt
- Media Format : Widescreen, DVD-Video, NTSC, DTS Surround Sound, Subtitled, Classical
- Run time : 3 hours and 22 minutes
- Release date : July 3 2007
- Actors : Christine Schäfer, Dorothea Röschmann, Nikolaus Harnoncourt, Anna Netrebko, Dorothea Roschmann
- Dubbed: : Italian, French, Mandarin Chinese, English, Spanish, German
- Subtitles: : Spanish, French, English, Italian, German
- Language : Italian (DTS 5.1), Italian (PCM)
- Studio : Universal Music Canada
- ASIN : B000LC4TJ0
- Country of origin : USA
- Number of discs : 2
- Best Sellers Rank: #100,800 in Movies & TV Shows (See Top 100 in Movies & TV Shows)
- #323 in Opera Music (Music)
- #2,244 in Music Video & Concert
- #2,324 in Music Videos & Concerts
- Customer Reviews:
Customer reviews
3.9 out of 5 stars
3.9 out of 5
139 global ratings
How are ratings calculated?
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Top reviews
Top reviews from Canada
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Reviewed in Canada on June 23, 2011
Verified Purchase
Reviewed in Canada on September 15, 2023
I bought this in a DVD format a few years ago, but only now I watched it, and I had the surprise of my life, the negative one I mean.
The only two things I liked about this interpretation of this superb opera were the music itself and the vocal quality of the singers.
What didn’t I like? Everything else, I could write a few pages about that, I just mention one issue: the fondling of the female singers breasts by the male singers during the whole opera, and of one female singer doing the same of male singer’s penis toward the end of act 4.
If you like dirty sex, then you’ll like this version of the opera directed by this idiot Claus Guth, otherwise I wouldn’t recommend it to anyone else.
By the way you can find much better sex videos online.
The only two things I liked about this interpretation of this superb opera were the music itself and the vocal quality of the singers.
What didn’t I like? Everything else, I could write a few pages about that, I just mention one issue: the fondling of the female singers breasts by the male singers during the whole opera, and of one female singer doing the same of male singer’s penis toward the end of act 4.
If you like dirty sex, then you’ll like this version of the opera directed by this idiot Claus Guth, otherwise I wouldn’t recommend it to anyone else.
By the way you can find much better sex videos online.
Reviewed in Canada on June 19, 2012
Verified Purchase
This is my first Mozart opera. I bought the DVD because I am a great fan of Anna Netrebko. She has a great voice and is very easy on the eyeballs. It is a different style of opera from what I am used to (Donnizetti, Puccini, Verdi) with its long sections of recitative which suddenely break into beautiful arias. I have watched it several times and I am still unsure as to what the story line is supposed to be. In fact I am begining to suspect that the plot line, such as it is, is simply a framework on which to hang some wonderful music. Perhaps in its day is was considered somewhat risque but by today's standards it is only mildly amusing.
Having said all this I have to state that some of the music is enough to move me to laughter and/or tears. On the other hand there are large parts that I feel I could sell as a garanteed cure for insomnia. Figaro's aria at the end of the first act where he is describing to Cherubino the wonders of military life is a hoot. Cherubino's song (arietta) in the second act "Voi che sapete", is a delight. The third act has a the contessa's aria "Dove sono", and the duet of Susanna and the contessa "Che soave zeffiretto". Here the advantages of a DVD come to the fore as one is able to skip backwards and forwards as much as one desires.
As for the staging I can only give it a single star. I have sinced watched two other DVD versions borrowed from the library one of which starred the great Kiri Te Kanawa. Both of these had traditional stagings and these I preferred. Plus, the addition of the Cherub is a complete distraction.
Having said all this I have to state that some of the music is enough to move me to laughter and/or tears. On the other hand there are large parts that I feel I could sell as a garanteed cure for insomnia. Figaro's aria at the end of the first act where he is describing to Cherubino the wonders of military life is a hoot. Cherubino's song (arietta) in the second act "Voi che sapete", is a delight. The third act has a the contessa's aria "Dove sono", and the duet of Susanna and the contessa "Che soave zeffiretto". Here the advantages of a DVD come to the fore as one is able to skip backwards and forwards as much as one desires.
As for the staging I can only give it a single star. I have sinced watched two other DVD versions borrowed from the library one of which starred the great Kiri Te Kanawa. Both of these had traditional stagings and these I preferred. Plus, the addition of the Cherub is a complete distraction.
Top reviews from other countries
méloman
5.0 out of 5 stars
tres bien. conforme.
Reviewed in France on September 27, 2023Verified Purchase
très bien délais et état.
rvandertoorn@hotmail.com
1.0 out of 5 stars
Foute Bluray !
Reviewed in the Netherlands on August 29, 2020Verified Purchase
Op deze Bluray van Le Nozze di Figaro is een fabrieksfout ! De cover ( boekje , omslag , en tekst op de bluray ) is Mozart - Le Nozze di Figaro , echter , bij het afdraaien blijkt er een Berlin Gala Konzert op te staan. Heb het 2 weken geleden naar het afzender adres teruggestuurd maar hoor er niks meer over. NIET KOPEN DUS !!!
Feymann
5.0 out of 5 stars
una delle migliori versioni
Reviewed in Italy on August 4, 2017Verified Purchase
Salzburg Festpiele offre ogni anno delle rappresentazioni originali, più o meno condivisibili. questa versione è a mio parere molto pulita e di facile comprensione anche per chi non è abituato all'ascolto del repertorio operistico. è una delle prime (non primissima) opere in cui emerge il carattere di anna netrebko, e secondo me una delle poche in cui assume in pieno il carattere che interpreta. Bravi D'arcangelo, Skovhus e Harnoncourt.
Dr Tomato
5.0 out of 5 stars
Marriage is a serious matter....
Reviewed in the United Kingdom on June 2, 2016Verified Purchase
Don't be put off by the negative reviews below. They are partially right - but you will throw a beautiful baby out with the bathwater if you don't give this a listen.
The Angel thing is simply unnecessary, pretentious, and distracting. There is no need to "embody" (the actor's word, but it's not his fault - he's just doing the job that the real culprit, the stage director gave him) anything visually. As Harnoncourt says, the music amplifies and explains the characters. We get the message that the characters are driven by conflicting urges from what Mozart and Da Ponte wrote - we don't need no visual aids....
The dancing is silly, as well. Not proper choreography, just a half-hearted attempt to get non-dancers to do a bit of movement which reminds me more of a stage school end-of-term project rather than elite performers at a major international festival. The round jumps they make Figaro do are particularly Pythonesque.
But despite all this, this is a superb realisation. The darker side of the characters' predicaments and their inner conflicts is emphasized, but the plot is not traduced. Compared with some productions that treat the sexual shenanigans as a sort of Brian Rix/Carry On giggle, the director is here at pains to point out that this little community is in real danger of breaking down, largely due to the arrogance and intemperance of the man who should be looking after everybody. A microcosm of the society that Beaumarchais, Da Ponte and Mozart were criticising.
Remember in Amadeus WAM tells the emperor that Figaro is a "moral" play? Well, this production focuses on that angle, and does it superbly, because of the music.
Harnoncourt does slow some tempi down to make a point, but so what? No-one whinges when Klemperer does it. The results are wonderfully expressive. The range of musical expression is spectacular: with the Revenge Arias and the harpsichord continuo, we could be in a Handel Opera seria; but with the Countess's traumatic "Dove Sono?" I am tempted to the view that Mozart was the first real bel Canto composer.
The singing is uniformly superb. Netrebko acts as well as singing perfectly ( her part doesn't allow her the fireworks that she's capable of in Bellini or Verdi - but she deserves credit for staying true to Mozart's style, not accusations of ordinariness); the men are excellent. and the glory of the production is Schafer's Cherubino. Just listen to the applause, and you'll see that the audience agree.
You may not want this as your introduction to Figaro or your only version (not that it couldn't serve from a musical point of view) but if you want a good "traditional" staging, try John Eliot Gardiner, with the peerless Bryn Terfel as Figaro and Alison Hagley playing a perfectly-judged (and beautifully sung) Susanna in the traditional Buffa style - no Ibsen in sight. But I am certainly not giving me Harnoncourt version to charity - it's staying at home, if only to allow me to listen to one of the very best Cherubinos on record......
The Angel thing is simply unnecessary, pretentious, and distracting. There is no need to "embody" (the actor's word, but it's not his fault - he's just doing the job that the real culprit, the stage director gave him) anything visually. As Harnoncourt says, the music amplifies and explains the characters. We get the message that the characters are driven by conflicting urges from what Mozart and Da Ponte wrote - we don't need no visual aids....
The dancing is silly, as well. Not proper choreography, just a half-hearted attempt to get non-dancers to do a bit of movement which reminds me more of a stage school end-of-term project rather than elite performers at a major international festival. The round jumps they make Figaro do are particularly Pythonesque.
But despite all this, this is a superb realisation. The darker side of the characters' predicaments and their inner conflicts is emphasized, but the plot is not traduced. Compared with some productions that treat the sexual shenanigans as a sort of Brian Rix/Carry On giggle, the director is here at pains to point out that this little community is in real danger of breaking down, largely due to the arrogance and intemperance of the man who should be looking after everybody. A microcosm of the society that Beaumarchais, Da Ponte and Mozart were criticising.
Remember in Amadeus WAM tells the emperor that Figaro is a "moral" play? Well, this production focuses on that angle, and does it superbly, because of the music.
Harnoncourt does slow some tempi down to make a point, but so what? No-one whinges when Klemperer does it. The results are wonderfully expressive. The range of musical expression is spectacular: with the Revenge Arias and the harpsichord continuo, we could be in a Handel Opera seria; but with the Countess's traumatic "Dove Sono?" I am tempted to the view that Mozart was the first real bel Canto composer.
The singing is uniformly superb. Netrebko acts as well as singing perfectly ( her part doesn't allow her the fireworks that she's capable of in Bellini or Verdi - but she deserves credit for staying true to Mozart's style, not accusations of ordinariness); the men are excellent. and the glory of the production is Schafer's Cherubino. Just listen to the applause, and you'll see that the audience agree.
You may not want this as your introduction to Figaro or your only version (not that it couldn't serve from a musical point of view) but if you want a good "traditional" staging, try John Eliot Gardiner, with the peerless Bryn Terfel as Figaro and Alison Hagley playing a perfectly-judged (and beautifully sung) Susanna in the traditional Buffa style - no Ibsen in sight. But I am certainly not giving me Harnoncourt version to charity - it's staying at home, if only to allow me to listen to one of the very best Cherubinos on record......
6 people found this helpful
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THE BLUEMAHLER
5.0 out of 5 stars
Not one for the opera fundamentalists, but a vital Figaro for the 21st century.
Reviewed in the United States on August 28, 2011Verified Purchase
If one thinks comic book fans are a tad over-zealous in filmed approaches to their tight-wearing heroes, then a quick glance at reactions from many American opera fans, to contemporary opera, will reveal that those Marvel boys are a subdued lot. American opera fans tend to approach staged/filmed opera the way some fundamentalist Christians approach the good book, insisting on face value inerrancy and or the King James Version. So impassioned, or insistent on orthodox and/or period staging, are such American Opera fans that their first line of attack is to typically spew the over-used, tiresome, and oh so predictable "EURO-TRASH" slur. The idea, for those inclined, is to keep the composer locked in his or her own boxed time and, thus, shut the composer off to newer generations and fresh interpretations (Traditional Shakespeare fans are almost as bad). However, Mozart is still a vital voice in music, regardless of his worshippers. It is no accident that opera in Europe is far bigger, far more attended, and better supported than it is here in the states where the opera "fans" make a false religion out of the art form, slap an institutional sheen on it and transform breathing theater into a museum piece.
Over two hundred years after its debut, The Marriage of Figaro remains an extraordinarily three dimensional work, which does not flinch from portraying deeply flawed characters. Numerous filmed versions of the opera have been released, but the 2006 Salzburg entry may be the most uncompromising to date. There is, of course, Peter Sellars mid-nineties version which, aptly, takes place in Trump Tower, but the line-up of the 2006 film should be a yield sign to opera fundamentalists. The conductor, Nikolas Harnoncourt, has a well-earned reputation for "weirdness." In that, Harnoncourt,an Austrian by birth, possibly even surpasses that typically eccentric German music director Michael Gielen. Harnoncourt lead several of the M22 projects but Le nozze di Figaro is Harnoncourt at his most personal and insightful.Harnoncourt's is not porcelain conducting here; he mirrors the disconcerting underside of Da Ponte's libretto as interpreted by star director Claus Guth. Harnoncourt's seasoned pacing reinforces the nuanced poignancy, beauty, mature humor, and prospective, life-affirming drama of this music. Thankfully, Harnoncourt does not try to coat Mozart's writing with a kind of Rossini whipped topping.
Oddly,the romantics,more often than not,dismissed Mozart as one of those "powdered wig composers" and seemed oblivious to his remarkably progressive (and darker) hued works. While Figaro has comic elements, like Cosi Fan Tutti (the final and most complex of the Mozart/Da Ponte operas), it embraces every facet of human complexity. If one dispenses of pre-conceived notions and honestly approaches Da Ponte's libretto (which 'fans' are rarely disposed to do) then the context, rather than the period content, of the opera prevails. Guth, Harnoncourt, Christian Schmidt (whose stage design is exemplary),a uniformly excellent cast, the Vienna Philharmonic, and the production team do just that.
It is Susanna and Cherubino here who are the eyes of Figaro's storm. Anna Netrebko (a bonafide opera sex symbol,but hardly an artistic lightweight)as Susanna is objectified, but conflicted. She is pragmatically determined and,through sheer cunning, she attains her goal. The always interesting Christine Schafer is assurance personified as the shell-shocked, testosterone spitfire Cherubino. Both women vividly resonate in their acting and singing. The men are nearly equal. Bo Skovhus paradoxically evokes repulsion and sympathy as the clammy Count Almaviva, who is consumed with fragile, Poe-like compulsion for the servant he truly seems to love, yet cannot fully attain. Ildebrando D' Arcangelo's gallant, mercurial Figaro scorches suggested impotence, yet he never loses his admirable splendor.
Guth and company do not flinch from the libretto's displays of ruthless, erotic intrigue and the director employs poetic liberties: Susanna and the Count are already engaged in an affair. The Count has been secretly claiming his privilege with Susanna. Susanna is attracted to the Count, but she loves and is protective of the sensitive Figaro. She wants to put an end to the Count's sexual liberties with her, and her recourse to the cessation lies in the Countess. This Figaro is comic in a Bergmanesque manner: the humor is birthed from expansive contemplation. Chrubino's angelic double (another poetic liberty) sets the motion, manipulating and advancing the unfolding, dizzying range of sweltering agendas, like chaotic lines in a diagram (at the end of the third act). These agendas reveal the inherent hunger of the characters. This is no vegetarian Figaro but its sets, hauntingly deprived of furniture, echo the decay of the aristocratic, cannibalistic mindset.
This probably should not be an introductory Figaro. Nor should the 2009 Netherlands Figaro, which features the resplendent Danielle de Niese as Susanna and is set, by directors Jossi Wieler and Sergio Morabito,inside a car showroom (it is actually not as ill-fitting, whacky as it sounds and really is winningly charming). If one needs to start off with a more traditional staging, then there are two equally strong recommendations: Oliver Mille's 1994 version with Alison Hagley as Susanna (Hagley may be the quintessential Susanna on film) and Constanze Backes' memorable rendition of Barbarina's cavatina (an example of Mozart's ability to take a simple song, about a lost pin, and turn into sublime poetry). The more recent 2008 version by David McVicar and featuring Miah Persson as Susanna has almost become a universal favorite among traditionalists. However, Guth's Figaro restores the provocative sense of danger to Mozart's greatest opera. It is a memorable, shattering and potent alternative to an over-crowded field of staid productions.
* this is a slightly altered version of a review appearing at 366 weird movies.
Over two hundred years after its debut, The Marriage of Figaro remains an extraordinarily three dimensional work, which does not flinch from portraying deeply flawed characters. Numerous filmed versions of the opera have been released, but the 2006 Salzburg entry may be the most uncompromising to date. There is, of course, Peter Sellars mid-nineties version which, aptly, takes place in Trump Tower, but the line-up of the 2006 film should be a yield sign to opera fundamentalists. The conductor, Nikolas Harnoncourt, has a well-earned reputation for "weirdness." In that, Harnoncourt,an Austrian by birth, possibly even surpasses that typically eccentric German music director Michael Gielen. Harnoncourt lead several of the M22 projects but Le nozze di Figaro is Harnoncourt at his most personal and insightful.Harnoncourt's is not porcelain conducting here; he mirrors the disconcerting underside of Da Ponte's libretto as interpreted by star director Claus Guth. Harnoncourt's seasoned pacing reinforces the nuanced poignancy, beauty, mature humor, and prospective, life-affirming drama of this music. Thankfully, Harnoncourt does not try to coat Mozart's writing with a kind of Rossini whipped topping.
Oddly,the romantics,more often than not,dismissed Mozart as one of those "powdered wig composers" and seemed oblivious to his remarkably progressive (and darker) hued works. While Figaro has comic elements, like Cosi Fan Tutti (the final and most complex of the Mozart/Da Ponte operas), it embraces every facet of human complexity. If one dispenses of pre-conceived notions and honestly approaches Da Ponte's libretto (which 'fans' are rarely disposed to do) then the context, rather than the period content, of the opera prevails. Guth, Harnoncourt, Christian Schmidt (whose stage design is exemplary),a uniformly excellent cast, the Vienna Philharmonic, and the production team do just that.
It is Susanna and Cherubino here who are the eyes of Figaro's storm. Anna Netrebko (a bonafide opera sex symbol,but hardly an artistic lightweight)as Susanna is objectified, but conflicted. She is pragmatically determined and,through sheer cunning, she attains her goal. The always interesting Christine Schafer is assurance personified as the shell-shocked, testosterone spitfire Cherubino. Both women vividly resonate in their acting and singing. The men are nearly equal. Bo Skovhus paradoxically evokes repulsion and sympathy as the clammy Count Almaviva, who is consumed with fragile, Poe-like compulsion for the servant he truly seems to love, yet cannot fully attain. Ildebrando D' Arcangelo's gallant, mercurial Figaro scorches suggested impotence, yet he never loses his admirable splendor.
Guth and company do not flinch from the libretto's displays of ruthless, erotic intrigue and the director employs poetic liberties: Susanna and the Count are already engaged in an affair. The Count has been secretly claiming his privilege with Susanna. Susanna is attracted to the Count, but she loves and is protective of the sensitive Figaro. She wants to put an end to the Count's sexual liberties with her, and her recourse to the cessation lies in the Countess. This Figaro is comic in a Bergmanesque manner: the humor is birthed from expansive contemplation. Chrubino's angelic double (another poetic liberty) sets the motion, manipulating and advancing the unfolding, dizzying range of sweltering agendas, like chaotic lines in a diagram (at the end of the third act). These agendas reveal the inherent hunger of the characters. This is no vegetarian Figaro but its sets, hauntingly deprived of furniture, echo the decay of the aristocratic, cannibalistic mindset.
This probably should not be an introductory Figaro. Nor should the 2009 Netherlands Figaro, which features the resplendent Danielle de Niese as Susanna and is set, by directors Jossi Wieler and Sergio Morabito,inside a car showroom (it is actually not as ill-fitting, whacky as it sounds and really is winningly charming). If one needs to start off with a more traditional staging, then there are two equally strong recommendations: Oliver Mille's 1994 version with Alison Hagley as Susanna (Hagley may be the quintessential Susanna on film) and Constanze Backes' memorable rendition of Barbarina's cavatina (an example of Mozart's ability to take a simple song, about a lost pin, and turn into sublime poetry). The more recent 2008 version by David McVicar and featuring Miah Persson as Susanna has almost become a universal favorite among traditionalists. However, Guth's Figaro restores the provocative sense of danger to Mozart's greatest opera. It is a memorable, shattering and potent alternative to an over-crowded field of staid productions.
* this is a slightly altered version of a review appearing at 366 weird movies.
15 people found this helpful
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