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Détails sur le produit
Descriptions du produit
Vladimir Jurowski and Sir Peter Hall are re-united for a fresh and vibrant but timelessly elegant production of Rossini's much-loved setting of the Cinderella story, with a fine cast led by Ruxandra Donose in the title role. Filmed in June 2005 with high definition cameras and recorded in multitrack 5.1 surround sound.
<h3 class="productDescriptionSource">Press Reviews
"This is a performance that meets the Glyndebourne gold standard...Hall has decided to keep it real and produced something understated, sensitive and thus deeply pleasurable." (The Daily Telegraph)
"Vladimir Jurowski, Glyndebourne's young music director, draws sparkling playing from the London Philharmonic..." (The Sunday Telegraph)
"This is a truly marvellous performance on all counts - staging, conducting and singing...The sense of an ensemble on top form is underlined by Vladimir Jurowski's exacting, pellucid and vivid interpretation, so that the music, like the libretto, is presented afresh. The superb cast has no weaknesses and many strengths..." (Gramophone)
"...highly polished and brilliant playing..." (BBC Music Magazine)
Raquela Sheeran (Clorinda)
Lucia Cirillo (Tisbe)
Ruxandra Donose (Angelina)
Nathan Berg (Alidoro)
Luciano di Pasquale (Don Magnifico)
Maxim Mironov (Don Ramiro)
London Philharmonic Orchestra; Vladimir Jurowski
Stage Director: Sir Peter Hall
Catalogue Number: OA0944D
Date of Performance: 2005
Running Time: 187 minutes
Sound: DTS Surround; LPCM Stereo
Aspect Ratio: 16:9 Anamorphic
Subtitles: EN, FR, DE, ES, IT
Label: Opus Arte
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Commentaires en ligne
Meilleurs commentaires des clients
Dans cet ouvrage comme dans La Gazza Ladra (La Pie voleuse),Rossini aborde le thème de l'innocence persécutée qui finalement triomphe de ses ennemis.
Le même spectacle existe en Blu Ray disc.
Commentaires client les plus utiles sur Amazon.com (beta)
La Cenerentola is given the sub-heading (by Rossini) "a Dramma giocoso in two acts"; significantly, it is an inscription deliberately shared with Don Giovanni, the finest "serious comedy" ever staged. Mozart's spirit hovers over this opera; combining, as it does, comedy and a darker world view than is the youthful Rossini's norm. There is no room for farce. This is a relatively sober tale of impoverished gentility struggling to regain a social foothold. There is no fairy Godmother; rather a Voltaire-like philosophe (Alidoro) who attempts to manipulate events for ends never completely clear. This opera is truly representative of it's age and that is how Sir Peter stages it. The London Philharmonic is nicely conducted by the youthful Vladimir Jurowski. That this opera succeeds so well is a tribute to all concerned in this beautiful, resonant production.
First performed at the Teatro Valle, Rome on 25 January 1817 on the heels of Rossini's successful il Barbieri di Siviglia, and with a libretto by Jacopo Ferretti, La Cenerentola is as much a child of the Enlightenment with it's rational values and philosophe trained Prince in the person of Don Ramiro as it is an expression of nascent Romanticism with it's triumph of love over social hierarchy. If you are expecting a traditional fairy tale you will be disappointed. It is more a comedy of manners with serious overtones: the struggles of individual merit attempting to overcome class restrictions. It is an expression of the Age of Franklin, Washington and Jefferson. This Cinderella will better herself not through magic but through intrinsic worth, as coached by Alidoro, a philosopher/social mechanic. Sir Peter Hall suggests (in the 30 minute documentary on disc 2 entitled Insights) that opera singers should be clothed in the style of the music they sing. This production is placed in the era of 1815-1830 and is stunningly visual. The grandees are beautifully dressed in their period clothing, Cenerentola and her family suitably seedy in costumes looking moth-eaten, lived-in and dirty, yet suggestive of former gentility. It is obvious that great thought went into the staging of this opera. The sets also reflect the social position of their denizens, a loving recreation of the era which draws you into the world of this opera like no other component. It is a visual treat.
The acting and singing are fine because both aspects of the drama are stressed. The vile, narcissistic step-sisters Clorinda (Raquela Sheeran) and Tisbe (Lucia Cirillo) are excellently portrayed. The Father ironically named Don Magnifico (Luciano di Pasquale) is superbly repugnant. The philosophe Alidoro (Nathan Berg) is sung with a suitably rich Bass-Baritone reminiscent of Mozart's Sarastro in the Magic Flute. Dandini (appropriately named), the servant who masquerades as the prince to discover which of the sisters is most worthy of marriage, is sung by Simone Alberghini. The prince Don Ramiro (Maxim Mironov) is youthful with a fine, slightly reedy tenor. Angelina (another appropriate name) also known as Cenerentola is sung by lovely Ruxandra Donose. Her voice struck me as slightly problematic. It is a dark mezzo-soprano leaning toward contralto and is an excellent instrument: lyrical and supple. It's a voice that will only improve with time. At her lower register she projects softly so that hearing her distinctly on my sound system required my close attention and an occasional finger on the volume button. Her upper register is fine, with no difficulty in projection (though she's no Bette Midler).
The opera was recorded live at the Glyndebourne Opera House on June 2 & 4 2005. It is shot in 16/9 anamorphic widescreen high-definition film and looks beautiful. The double layer DVD is NTSC encoded for all regions. Sound is available in LPCM stereo and 5.1 DTS Digital Surround and is stunningly lifelike with great presence and immediacy. Good home theater systems will have a field day. Subtitles are in English, French, German, Spanish and Italian. Extras include a Cast Gallery, an Illustrated Synopsis and a short documentary Insights with Sir Peter Hall and Vladimir Jurowski. The running time of the 2 discs is 187 minutes.
On balance, this is my favorite Cenerentola because of its insightful production. It is intelligently presented and beautiful to look at. Opus Arte is releasing some fine DVD sets and this is another example of their high standards. Strongly recommended.
My only very minor quibbles -- and this comes from this being a live production -- are that sometimes there is some problem with the singers being a bit behind the beat in the faster passages of the buffo arias. All the singers are excellent although Alberghini (Dandini) is a bit wooly-voiced, especially in the early scenes. I was not at all bothered by Donose's lower register as Birman was, but I see why he mentions it. At first I thought Mironov (Don Ramiro), whose voice was aptly described by Birman as 'reedy', had a bothersome Supervia-like rapid vibrato/tremolo but he got that under control and impressed with his accurate coloratura and some sly comic acting.
I loved that this production was traditional. Sir Peter Hall knows not to mess with a librettist's invention and yet he did come up with some inventive stage action within the context of the traditional mise en scene. Bravo for that. (Though I was a bit taken aback when the stepsisters, early in Act I, appeared to be receiving the prince's heralds while still in their undergarments. Tsk tsk.)
This is definitely five-star production and gets my hearty recommendation.
The goodies first - the production is simply the best 21st century productions of this opera, the Liceu and MET productions included. The conducting and direction are both eminent - Jurowski and Hall really collaborated to bring out the score's essential elements to great effect! The ensemble works shine, the dramatic elements vividly put across. The orchestra plays with verve and in great Rossinian style, not some thing to be taken for granted in a London performance, and young Valdimir Jurowski really tops predecessors like Neville Marriner in works of this genre. What the audience would look forward to is his 'Il Barbiere di Sivigli' and 'Gugliemo Tell'.
The sets and costumes are truly top rate, rivalling the classic grandeur of the 1980 La Scala production directed by Jean Pierre Ponnelle as well as the 1988 Salzburg production.
While Jurowski's conducting rivals that of a Claudio Abbado and Riccardo Chailly, his leads are a jot less effective - vocally, the Angelina of Ruxandra Donose nowhere is in the league of Frederica von Stade or Ann Murray, nor the 21st century Didonato and Garanca, let alone Cecilia Bartoli of the mid-1990 production at Houston. Added to this, visually Donose is pretty in a slighty overbearing manner, some thing not ideal for Cenerentola. Coupled with Hall's new interpretation, it seems that she's effortfully re-creating a 'Princess Diana' on the operatic stage instead of La Cenerentola!
As Prince Ramiro, young Russian tenor Maxim Mironov is vocally very capable, with a timbre that JDF would but envy. He is a tad too green on stage, but overall, he is still a successful Don Ramiro, if not as convincing as Francisco Araiza, or vocally as accomplished as Raul Gimenez.
the rest of the cast is very outstanding, with Simone Alberghini's Dandini clearly standing out as the best ever Dandini (even more so that Corbelli or Gino Quillico).
Di Pasquale is a good Magnifico, but his attire is perhaps to shabby to be appropriate.
All in all, this is by a big margin the best 21st century La Cenerentola, and only a small margin behind the great 20th century top ones.
The cast is a very strong one and is therefore capable of favourable comparison with Bartoli's portrayal at Houston to take an example of strong casting from an earlier generation.
As already touched upon, the baron at home is portrayed as essentially unkempt. However he remains blissfully unaware of the impression he gives and exudes an over-developed ego. These characteristics are well brought out by Luciano Di Pasquale who has just the right kind of sonorous voice to carry the role vocally. The three other leading men, Alidoro played by Nathan Berg, Dandini played by Simone Alberghini and Don Ramiro played by Maxim Mironov are all strong characterisations as appropriate to their roles. Thus Simone Alberghini brings a great deal of enjoyable and humorous exaggeration to the role of Dandini, Maxim Mironov brings a passionate desire to undo injustice to his role as Don Ramiro and Nathan Berg brings a young man's relatively inexperienced enthusiasm to the role of the prince. These portrayals work well dramatically and are all sung and acted with complete conviction.
The two sisters, Clorinda played by Raquela Sheeran and Tisbe played by Lucia Cirillo, provide an on-going element of comedy as Rossini intended and knock sparks off each other and also work well in this way with Dandini. Both these singers have a fine sense of comedic timing and so avoid heavy-handed overstatement. This makes the whole portrayal far more believable as well as amusing. Both are fine singers as well as actresses and are well able to match the equally gifted pair in the Houston production mentioned above.
Cinderella as portrayed by Ruxandra Donose, is a stronger character than usual and is able to stand up to her two step sisters as well as attempting to fight her cause with the baron before the ball. This is more acceptable as an interpretation than some weaker `servant' portrayals and is more in line with a modern woman and her generation's perception of the role of women of any sort. She brings a mature mezzo soprano voice to the part which fits in well with the stronger overall concept. Her technical control is excellent and she despatches her extended final aria with considerable aplomb without in any way losing her essential moral goodness and generosity.
The whole cast, orchestra and singers are driven at an exhilarating pace by Vladimir Jurowski. At times this must border on the vocal limits for enunciation of the words and it is with an element of jaw-dropping amazement that one witnesses feats of successful vocal gymnastics which still manage to just avoid being a touch too fast for effect. This is exhilarating stuff and one of the many wonders of the performance.
There are the usual bonuses from Opus Arte in the form of an illustrated synopsis and cast gallery. In addition there is a 25 minute documentary during which Jurowski and the producer,Peter Hall explain the ideas behind this production.
The camera work is totally involving and the imaging is crisp and offers good colour depth and definition. The sound is presented in full-range surround 5.0 and stereo formats and clearly reproduces both the vocal and instrumental detail.
This is a very fine modern alternative to the well-established older versions still available. It brings a considerable advantage in terms of recording technology and delivers an exhilarating musical and dramatic experience for the viewer. The audience clearly loved it and I would expect future purchasers to respond in the same way. For these reasons it seems that this disc must deserve a full 5 star rating.
Some dialogue from the comments section that may offer further help:
I think this version is directly comparable to the Salzburg 1988 live version, with Chailly conducting, and Ann Murray in the title role.
Both have sumptuous sets, and very well defined social awareness of the plot. The principals are both well sung, with the Salzurg cast (Murray/Araiza/G. Quilico/Berry/Schone) having a slight edge over this present one, but only by a margin really. (U.S. review)