影片简介
The original title: Georges Bizet (1838-1875) - Carmen
Outpu: 2008
Genre: Classical, Opera
Director: Philippe Jordan
Performers:Morales - Hans Voschezang, Micaela: Lisa Milne, Don Jose - Marcus Haddock, Zuniga - Jonathan Best, Carmen - Anne Sofie von Otter, Frasquita - Mary Hegarty, Mercedes - Christine Rice, Lillas Pastia - Anthony Wise, Escamillo - Laurent Naouri, Le Dancaire - Quentin Hayes, Le Remendado - Colin Judson, Le Guide - Franck Lopez, The Glyndebourne Chorus & London Philharmonic Orchestra
David McVicar, the director of this Glyndebourne Carmen, tells us in an extra feature that Bizets masterwork “is the first musical…its hit number after hit number after hit number.” Indeed, theres the feel of a Broadway or West End show—the sets, the dancing, the fighting and, especially, the costumes. Fortunately, with the dynamic and sensitive Philippe Jordan in the pit, the music isnt short-changed. But theres no question that this rendering of the Worlds Best-Known Opera is meant to be entertaining, and it certainly is.
With a long-running Broadway show, its not unusual for the producers to drop a “name” performer into a lead role that he or she isnt quite right for to keep up box office receipts. Thats not the motivation here, of course, but some will find Anne Sofie von Otter not ideally suited to represent Bizets headstrong and darkly sensual heroine. Von Otter is a great singer and can do anything she wants to do vocally—listen to the first act “Habanera,” for instance. But despite lots of writhing and allegedly erotic orange-eating and cigar-smoking, von Otter isnt totally convincing as the ultimate temptress, occasionally looking more like Carol Burnett doing an impression of a diva doing Carmen. No question: von Otter is a terrific artist who, vocally, nails what the star of the show is all about. This is apparent when she massages the “Gypsy Song,” modulating her voice with a defiant and manipulative seductiveness. But this is a Carmen meant to be watched as well as heard, and the Swedish mezzo cant do the Bad Girl thing as well as some lesser singers.
In terms of the other principals, Marcus Haddocks Don José is satisfactory, even if his voice is lacking a bit in body and heft. José is a character of Wagnerian complexity and Haddock doesnt reveal the full range of his internal conflict. Lisa Milne portrays an earnest and decent Micaëla with well-supported and appealingly contoured vocalism. As Escamillo, Laurent Naouri has the requisite rock-star swagger, yet his bullfighter is a more sympathetic character than usual Hes not simply a puffed-up, self-satisfied egomaniac but, rather, the sort of uncomplicated mans man who undoubtedly makes José quite insecure. The various smaller roles are covered well.
The sound, Dolby Digital TrueHD for both stereo and surround, is outstanding, with the LPOs contribution weighty and detailed. With multichannel, the trumpet calls in act I are convincingly offstage. The camerawork is expert and the high-definition picture offers the natural crispness were already taking for granted with Blu-ray, never more so than with the eye-popping final act. There are loads of extras, including the standard plot synopsis, commentary from the cast, conductor, and director, and small segments discussing the choreography, costumes, stage fighting, and Glyndebournes famed gardens. The booklet contains a new short story—actually more a kind of internal dialogue for Don José—by British novelist Jeanette Winterson.
Theres another Carmen available on Blu-ray, the first such operatic duplication in the new format that Im aware of; its a Covent Garden production conducted by Antonio Pappano. That Decca version stars Anna Caterina Antonacci, who definitely embodies the leading ladys carnality, and Jonas Kaufman, a more vocally compelling José than Haddock. But for pure entertainment, and to show off the Blu-ray format in all its glory, Ill return to the Opus Arte every time.
Outpu: 2008
Genre: Classical, Opera
Director: Philippe Jordan
Performers:Morales - Hans Voschezang, Micaela: Lisa Milne, Don Jose - Marcus Haddock, Zuniga - Jonathan Best, Carmen - Anne Sofie von Otter, Frasquita - Mary Hegarty, Mercedes - Christine Rice, Lillas Pastia - Anthony Wise, Escamillo - Laurent Naouri, Le Dancaire - Quentin Hayes, Le Remendado - Colin Judson, Le Guide - Franck Lopez, The Glyndebourne Chorus & London Philharmonic Orchestra
David McVicar, the director of this Glyndebourne Carmen, tells us in an extra feature that Bizets masterwork “is the first musical…its hit number after hit number after hit number.” Indeed, theres the feel of a Broadway or West End show—the sets, the dancing, the fighting and, especially, the costumes. Fortunately, with the dynamic and sensitive Philippe Jordan in the pit, the music isnt short-changed. But theres no question that this rendering of the Worlds Best-Known Opera is meant to be entertaining, and it certainly is.
With a long-running Broadway show, its not unusual for the producers to drop a “name” performer into a lead role that he or she isnt quite right for to keep up box office receipts. Thats not the motivation here, of course, but some will find Anne Sofie von Otter not ideally suited to represent Bizets headstrong and darkly sensual heroine. Von Otter is a great singer and can do anything she wants to do vocally—listen to the first act “Habanera,” for instance. But despite lots of writhing and allegedly erotic orange-eating and cigar-smoking, von Otter isnt totally convincing as the ultimate temptress, occasionally looking more like Carol Burnett doing an impression of a diva doing Carmen. No question: von Otter is a terrific artist who, vocally, nails what the star of the show is all about. This is apparent when she massages the “Gypsy Song,” modulating her voice with a defiant and manipulative seductiveness. But this is a Carmen meant to be watched as well as heard, and the Swedish mezzo cant do the Bad Girl thing as well as some lesser singers.
In terms of the other principals, Marcus Haddocks Don José is satisfactory, even if his voice is lacking a bit in body and heft. José is a character of Wagnerian complexity and Haddock doesnt reveal the full range of his internal conflict. Lisa Milne portrays an earnest and decent Micaëla with well-supported and appealingly contoured vocalism. As Escamillo, Laurent Naouri has the requisite rock-star swagger, yet his bullfighter is a more sympathetic character than usual Hes not simply a puffed-up, self-satisfied egomaniac but, rather, the sort of uncomplicated mans man who undoubtedly makes José quite insecure. The various smaller roles are covered well.
The sound, Dolby Digital TrueHD for both stereo and surround, is outstanding, with the LPOs contribution weighty and detailed. With multichannel, the trumpet calls in act I are convincingly offstage. The camerawork is expert and the high-definition picture offers the natural crispness were already taking for granted with Blu-ray, never more so than with the eye-popping final act. There are loads of extras, including the standard plot synopsis, commentary from the cast, conductor, and director, and small segments discussing the choreography, costumes, stage fighting, and Glyndebournes famed gardens. The booklet contains a new short story—actually more a kind of internal dialogue for Don José—by British novelist Jeanette Winterson.
Theres another Carmen available on Blu-ray, the first such operatic duplication in the new format that Im aware of; its a Covent Garden production conducted by Antonio Pappano. That Decca version stars Anna Caterina Antonacci, who definitely embodies the leading ladys carnality, and Jonas Kaufman, a more vocally compelling José than Haddock. But for pure entertainment, and to show off the Blu-ray format in all its glory, Ill return to the Opus Arte every time.
