Bellini: I Puritani
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Actor: Anna Netrebko, Eric Cutler, Franco Vassallo, John Relyea, Patrick SummersBrand: Universal Studios
DVD: Region Code 0
Audio: English (Unknown); German (Subtitled); English (Subtitled); Italian (Subtitled); French (Subtitled); Spanish (Subtitled); Italian (Original Language), DTS 5.1; English (Original Language)
Format: Classical, Color, NTSC
Picture Format: 1.77:1
Running Time: 149 minutes
DVD Release Date: 2007-12-18
Audience Rating: NR (Not Rated)
Studio: Deutsche Grammophon
DVD Reviews of Bellini: I Puritani
DVD Review: Anna Netrebko - I Puritani de Bellini.
Summary: 5 Stars
The Metropolitan Opera in New York shows on DVD's last opera Bellini. The differential of this recording is the soprano known for his performance. Not imagine Anna Netrebko as a coloratura soprano, singing operas Belcanto. I already admired her Manon, has praised his Traviata and has put her on the shelf The Woman, the Voice. I Puritani was a surprise.
Anna Netrebko is in tune with what's most modern opera. This assumes a beautiful voice, his is lyrical, sweet, enters the ears with pleasure. Performance scenic impeccable, it incorporates the persongem, his youth and vigor to run that risk. The last attribute is physical: the opera singers do not accept more plump and static on stage. Netrebko radiates a beauty that enchants the big guys and let the ladies dying of envy. But not a soprano who specializes in belcanto can make a good Elvira?
Who hears the coloraturas of Joan Sutherland, Edita Gruberova's or Beverly Sills will balk with Netrebko. His are all there, not with the agility that the three ladies mentioned above printed to Elvira, but the rewards are greater than the losses. His aria of madness is madness even. Hit the stage and throws her hair in the pit, all singing in a thankless position and still manages to keep the voice. Her Elvira is virginal fragility, either in voice or expression. Steal the scene and makes the other characters look small on size talent.
The other singers are not the same level soprano. Franco Vassalo is weak as Ricardo. His voice vibrates too much, it strives to achieve the other notas.Thomas Hampson and Sherrill Milnes are infinitely superior in that role. Eric Cutler is a Arturo median nasal voice and an interpretation without charisma.
The production of Met is classic, sets and costumes of the time, all correct and in place. The interviews are interesting and captions. The direction of innovative video offers angles, sometimes interesting, sometimes esquisitos.A conducted by Patrick Summers is conservative, bureaucratic, although correct. The chorus of the Met has a standard of excellence and this presentation was no different.
I Puritani has a name in this recording: Anna Netrebko. It loads the opera on the back, beyond the limits and the only difference in a recording that without it would be like okra aged, dull. Why it is worth having this DVD in the collection.
Anna Netrebko carrega nas costas I Puritani de Bellini.
O Metropolitan Opera de New York apresenta em DVD a última ópera de Bellini. O diferencial dessa gravação é o soprano chamado para a récita. Não imaginava Anna Netrebko como um soprano coloratura, cantando óperas do Belcanto. Já admirei sua Manon, já elogiei sua Traviata e já coloquei na prateleira sua The Woman, the Voice. I Puritani foi uma surpresa.
Anna Netrebko está sintonizada com o que há de mais moderno em ópera. Isso pressupõe uma bela voz: a sua é lírica, adoçicada, entra nos ouvidos com prazer. Atuação cênica impecável, ela incorpora o persongem, sua juventude e seu vigor permite que corra riscos. O último atributo é físico: a ópera não aceita mais cantoras gordinhas e estáticas no palco. Netrebko irradia uma beleza que encanta os marmanjos e deixa as senhoras morrendo de inveja. Mas um soprano que não é especialista em belcanto consegue fazer uma boa Elvira?
Quem ouve as coloraturas de Joan Sutherland, de Edita Gruberova ou da Beverly Sills vai torcer o nariz com a Netrebko. As suas estão todas lá, não com a agilidade que as três senhoras acima citadas imprimiram a Elvira, mas as compensações são maiores que as perdas. Sua ária da loucura é uma loucura mesmo. Deita no palco e joga os cabelos no fosso da orquestra, tudo isso cantando numa posição ingrata e ainda consegue manter a voz. Sua Elvira tem a fragilidade virginal, seja na voz ou na expressão. Rouba a cena e faz os outros personagens parecerem pequenos diante de tamanho talento.
Os outros cantores não estão no mesmo nível do soprano. Franco Vassalo é fraco como Ricardo. Sua voz vibra em excesso, esforça-se demais para atingir as notas.Thomas Hampson e Sherrill Milnes são infinitamente superiores nesse papel. Eric Cutler faz um Arturo mediano, voz anasalada e uma interpretação sem carisma.
A produção do Met é clássica, cenários e figurinos de época, tudo correto e no devido lugar. As entrevistas são interessantes e legendadas. A direção de vídeo propõe ângulos inovadores, às vezes interessantes, às vezes esquisitos.A regência de Patrick Summers é conservadora, burocrática , embora correta. O coro do Met tem um padrão de excelência e nessa apresentação não foi diferente.
I Puritani tem um nome nessa gravação: Anna Netrebko. Ela carrega a ópera nas costas, extrapola os limites e é o único diferencial em uma gravação que, sem ela, ficaria como quiabo envelhecido, sem graça. Por ela vale a pena ter esse DVD no acervo.
Ali Hassan Ayache
Description of Bellini: I Puritani
Live from The Metropolitan Opera, international sensation Anna Netrebko sings Elvira Walton (and her famous mad scene) in I Puritani, a spectacular production revived especially for Ms. Netrebko. The stellar cast includes tenor Eric Cutler as Arturo, Franco Vassallo as Riccardo, and John Relyea as Giorgio. The Music Director of the Houston Grand Opera, Patrick Summers, conducts the magnificent Metropolitan Opera Orchestra and Chorus. Included is a bonus DVD containing revealing conversations between Anna Netrebko and Renée Fleming, as well as the late Beverly Sills. The stunning performance on this DVD has been adored by millions of people already through its live transmission in high-definition to movie theatres in the US, Canada and Europe, and broadcasted live on Metropolitan Opera Radio and on Sirius Satellite radio channel 85.It's hard to imagine a video opera collection without this superbly sung MET production of Bellini's I Puritani. Not that it's perfect by any means, but its excellences--most especially Anna Netrebko's electrifying singing and acting of Elvira--banish carping about other aspects of this memorable night at the opera. Netrebko is fragile from the start, her facial expressions and hand movements immediately conveying the girl's vulnerability. She has a mad scene in each act; the first when she realizes her fiancé has disappeared with another woman, the third, in the final act, a brief relapse when her returned fiancé is taken by the army to be executed. But it's in the second act that the real fireworks occur, with a Mad Scene that rivals Donizetti's Lucia for bel canto primacy. Here, Elvira is first heard off-stage, after the chorus has informed us that she's deranged. She enters wearing her wedding gown and begins Qui la voce in a voice as frail as her psyche. Netrebko is gripping here, wandering up and down the central staircase, a lost, pathetic creature. Later in the scene she delivers a spectacular display of theatrics as well as fearless vocalism by singing a florid coloratura passage while lying on her back, her head dangling into the orchestra pit.
Tenor Eric Cutler is her fiancé, Arturo, who helps the Stuart Queen escape from the Puritan stronghold, not a wise move in Cromwell's England, not to mention unhinging Elvira. Bellini gives Arturo one of the most cruelly taxing entrance arias in opera, A te o cara, which Cutler delivers with aplomb. His singing throughout is ardent, well-tinted, and easeful. As Elvira's uncle, bass John Relyea is in excellent voice, his big Act III aria especially well done. Franco Vassallo, as Riccardo, Arturo's rival, is more generic, his baritone lacking the color and shading to bring the character to life. Conductor Patrick Summers leads singers and the superb MET Orchestra in an idiomatic performance, allowing the long lines of Bellinian melody to ripen and expand while also generating excitement in the more dramatic scenes.
Visually Sandro Sequi's 30-year-old production with sets by Ming Cho Lee, is showing its age, but the lighting and video direction (by Gary Halvorson) manage to make it look better than it did in the house. Sharon Thomas' stage direction is largely limited to the stand-and-sing variety, the chorus composed into static formations that make for pretty still photos but lack life. Much of the acting is rudimentary, with the singers looking either bored or stiff or engaged in stock generic emoting. Only Netrebko surpasses this with acting that's on par with her singing--consumed by the character, intense and knowing in her subtle movements and reactions, conspiring with Bellini to make this a must-have. --Dan Davis
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